Latest / Arroe Collins Like It's Live / Priviledge Power Addiction Murder Kill Dick From Author Luke Goebel

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Priviledge Power Addiction Murder Kill Dick From Author Luke Goebel · Arroe Collins Like It's Live

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Speaker 1: Arrow dot net. It's a collection of podcasts that come
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Speaker 1: net one of the top choices. Something our parents would say,
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Speaker 1: Come on, even your grandparents said it. But where did
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Speaker 1: Enjoy your exploration. Hello, and good morning everybody. Hello, how
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Speaker 1: you doing today?
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Speaker 3: Luke? I'm doing good. How are you?
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Speaker 1: Absolutely fantastic and very excited to share a conversation with you, because,
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Speaker 1: oh my god, you know how to paint a picture?
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Speaker 1: Where did you learn this art? And what grade were
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Speaker 1: you in when the teacher said, oh my god, Luke,
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Speaker 1: you've got it.
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Speaker 2: Oh man, I don't know if I ever had that experience.
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Speaker 2: I think they were just like glad that I wasn't
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Speaker 2: a complete and utter, hopeless case of rebellion and failure.
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Speaker 3: Name r like, well, maybe could maybe do some of that, and.
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Speaker 1: But to turn it into words on a page show
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Speaker 1: because there are so many people, and you know this,
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Speaker 1: we all know them. They all like to hide. I
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Speaker 1: call them hiding writers, and and and so and then
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Speaker 1: you've got the courage and the confidence to step out
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Speaker 1: here with Killed Dick. And it's not just a normal book.
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Speaker 1: You're talking about something that feels like it's happening, and
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Speaker 1: it's like, all of a sudden, we feel like that
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Speaker 1: we're a fly on the wall and we're watching it.
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Speaker 2: You know, that's really nice. I mean it is. It
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Speaker 2: is like a very hypersaturated and an intensely portrayed world,
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Speaker 2: and I think it captures some of the sense of just,
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Speaker 2: you know, kind of psychic crisis that people are in
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Speaker 2: and we're we're in these characters' heads and they're in
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Speaker 2: a very rich and very beautiful and very horrific world
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Speaker 2: that feels sort of like film, and they're having a
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Speaker 2: hard time figuring out kind of what's real and what's
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Speaker 2: not real, you know, like what they're being pressured to
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Speaker 2: believe so many things and to adhere to so many ideologies,
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Speaker 2: just like everyone is now and this kind of binary thinking,
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Speaker 2: and meanwhile, you know, no one's taking care of the
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Speaker 2: people who really need to be taken care of, and
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Speaker 2: everybody's getting lost in their own thoughts and so like
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Speaker 2: the hyper reality of the of the not in the
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Speaker 2: Bodiartian sense, but in the like saturated you know, richness
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Speaker 2: of this of this La Noir, this like portrait of
2:22
Speaker 2: the city and of life, has to be so overwhelming
2:25
Speaker 2: to contend with the noise in everyone's heads.
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Speaker 1: Well, you're so right about Brentwood being that way. I've
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Speaker 1: been to Brentwood. I know the fancs.
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Speaker 3: I know.
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Speaker 1: Actually they're not even fancies. They're like frickin' walls, is
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Speaker 1: what they are, surrounding these homes. And and so you
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Speaker 1: don't know what's going on behind that mystery that's going on.
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Speaker 1: And then all of a sudden you come across the
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Speaker 1: story like this, and of course right away my mind
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Speaker 1: is back at Brentwood again. I'm going, oh, I know
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Speaker 1: exactly what euse he's talking about. I know what he's
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Speaker 1: talking about here, I've seen it.
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Speaker 2: I mean, that's the thing about La is it's the
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Speaker 2: place of the birthplace of real noir, and and and
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Speaker 2: it's just such a it's just such an exciting world.
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Speaker 2: You know, there's just so many different different rabbit holes
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Speaker 2: and different powers and different you know, places and environments
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Speaker 2: to explore. So Susie really, you know, she goes down
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Speaker 2: the rabbit hole. She starts out with my main character,
3:12
Speaker 2: Cuzi Vogman. She starts out with no agency. You know,
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Speaker 2: her dad is the primary attorney to Richard Sickler, who
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Speaker 2: makes oxy cotton.
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Speaker 3: She's hooked on oxy cotton. She's poolside.
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Speaker 2: She has every opulence, but no agency, and she just
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Speaker 2: like goes on this journey to become you know, the
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Speaker 2: female Luigimanngioni essentially on election Day twenty sixteen. And through
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Speaker 2: the process of going through all of la and seeing
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Speaker 2: all of these you know, secret societies and cults and
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Speaker 2: addictions and skid row and the ultra powerful and the
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Speaker 2: elite and the totally powerless, she kind of is forced
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Speaker 2: to take action in a world that looks just like ours,
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Speaker 2: in a world where people feel like there's really not
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Speaker 2: a lot of action that they can take.
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Speaker 1: And then you throw in Peter and it's like, oh,
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Speaker 1: now we've got a twist here, because Peter's got an
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Speaker 1: idea that it's you know, it's it's rehab, but it's
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Speaker 1: a scam. I mean, all of a sudden, now we've
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Speaker 1: got conflict and we've got a mystery. Now we've got
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Speaker 1: to figure out how how in hell is is Susie
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Speaker 1: going to take care of this situation. I mean she's
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Speaker 1: only nineteen years old.
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Speaker 2: Yeah, I mean, you know, it took from I took
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Speaker 2: from The Big Sleep, I took from you know, some
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Speaker 2: other noirs, and I also took from obviously the Portrait
4:17
Speaker 2: of the city that was you know, Nathaniel West first
4:19
Speaker 2: did with Day the Locust, and you know, Brett Easton
4:22
Speaker 2: Ellis is done and Joan Diddion is done. I also
4:24
Speaker 2: took the fun that Babbitts has with la and and
4:27
Speaker 2: the you know, the hedonism and the sensuality and and
4:31
Speaker 2: you know, you play three card Monti.
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Speaker 3: It's sort of like if you look.
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Speaker 2: Over here, and now you look over there, you look
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Speaker 2: over here, you look over there, and it's like, where
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Speaker 2: is the real power and where can you locate the
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Speaker 2: actual corruption of this world? And how can you try
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Speaker 2: to change it? Sort of like Marlowe does, you know.
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Speaker 2: But for Susie it's a it's a different kind of
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Speaker 2: of action. She's, yeah, she's totally she's totally powerless. And
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Speaker 2: then suddenly she finds that she understands, uh kind of
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Speaker 2: you know, the systems, where the real corruption is, where
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Speaker 2: the real rod is, Who's getting, you know, killed by
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Speaker 2: this corruption. You know, in this case, it's a metaphor
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Speaker 2: for nine hundred thousand dead people from opioids. My brother
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Speaker 2: died of oxy so many people, everybody's lost somebody, if
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Speaker 2: not lots of people. And you know, and and she's
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Speaker 2: faced with the hamlet like glemma of like we you know,
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Speaker 2: do I do something or do I not do something?
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Speaker 2: In her case, you know, you have to answer that
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Speaker 2: question yourself when you're done with the book. But what
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Speaker 2: did you think did you think she was involved in
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Speaker 2: in the final denu mond in the in the in
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Speaker 2: the major revolutions of the of the of election day,
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Speaker 2: or do you think she was kind of more of
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Speaker 2: a hapless victim of other people's actions.
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Speaker 1: Well, I think she's a victim. And the only reason
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Speaker 1: why is because I've been the guy that parents here
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Speaker 1: in the Carolina is they call me in to go
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Speaker 1: to the funerals and talk at the funerals, and they go,
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Speaker 1: you need to talk to not the people that are
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Speaker 1: there as family members, you need to talk to those
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Speaker 1: that are hooked on opioids. And so therefore, all the
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Speaker 1: way through this frickin' book, I was sitting there going
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Speaker 1: Susie is somebody that I could be talking at her funeral,
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Speaker 1: and I need to be talking to her friends. So
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Speaker 1: that's the angle I took on this thing, is that,
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Speaker 1: oh my god. I mean, it's like when when you
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Speaker 1: start getting into the reality and the depth of what
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Speaker 1: an opioid is, and people are still even though it's
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Speaker 1: been around for ten, fifteen, twenty years, they're still uneducated
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Speaker 1: about this disease.
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Speaker 2: Yeah, I mean, I guess that's the thing when you're
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Speaker 2: when you're writing, when you're talking about a book this long.
6:18
Speaker 2: It's been two months now, I've been on you know,
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Speaker 2: a million podcasts and interviews and traveling the country and
6:24
Speaker 2: in the world, and luckily it's had a great, you know,
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Speaker 2: reception and critically it's been well received, you know, best
6:30
Speaker 2: seller and all this stuff. But like you kind of
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Speaker 2: forget the book a little bit, and when when I'm
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Speaker 2: writing it, you know, I know Susie doesn't die. I
6:37
Speaker 2: guess we all know that from the start that she's
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Speaker 2: not gonna die.
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Speaker 3: But you were worried about her at times. You actually
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Speaker 3: saw it like m because you're a parent.
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Speaker 1: Yeah, well, okay, you won me over on that because
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Speaker 1: there were many times that I looked at my wife
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Speaker 1: and said, thank God our daughter didn't go in this direction,
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Speaker 1: because that was our biggest fear in this time period
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Speaker 1: twenty sixteen. Dude, that's when my big girl was once
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Speaker 1: a little girl and then she faced that world.
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Speaker 3: Yeah.
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Speaker 2: I mean, that's the interesting thing I guess is that
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Speaker 2: is that, you know, so much of the trauma I
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Speaker 2: think that Susie experiences early on comes from her father, Yes,
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Speaker 2: being this sort of like overbearing, you know, like like
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Speaker 2: brutish and an abusive father in some ways, but essentially
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Speaker 2: he's trying to protect his daughter from what he fears
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Speaker 2: is you know, the constant onslought of threat as somebody
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Speaker 2: on the West Side, as somebody with privilege, as a
7:28
Speaker 2: you know, as a Jewish father who's you know, kind
7:31
Speaker 2: of insanely focused on you know, Hitler and World War
7:35
Speaker 2: two and all these other things. But also the riots
7:37
Speaker 2: and the unrest and the kind of things that La has.
7:40
Speaker 2: But that are just such a great mirror and reflection
7:43
Speaker 2: of the stresses and the anxieties that people all across
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Speaker 2: America have, thinking that their society is going to rip
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Speaker 2: in half, that their leadership isn't going to serve them
7:50
Speaker 2: that you know that any moment the riots are going
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Speaker 2: to erupt, the people of the R fifteens are going
7:54
Speaker 2: to come through. You know, it's really his desire to
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Speaker 2: protect her that that makes her so trauma, which I
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Speaker 2: think is an interesting kind of mirror to our world.
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Speaker 3: Right, Please don't move.
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Speaker 1: There's more with Luke Goebbel coming up next the name
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Speaker 1: of his book, Kill Dick. We are back with author
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Speaker 1: Luke Goble. You know, I have to wonder how many
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Speaker 1: people are going to pick up this book that haven't
8:16
Speaker 1: been to Los Angeles because my daughter graduated from UCLA,
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Speaker 1: so therefore I know, oh my god, we spent a
8:22
Speaker 1: lot of time in that area. And the thing is
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Speaker 1: is that I guess it's one of those where when
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Speaker 1: I was reading the book, I'm going, I expect this
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Speaker 1: from La. Yep, that's what's going on in La. Yeah,
8:31
Speaker 1: that's what's happening. But the thing that really captured my heart, Luke,
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Speaker 1: was the way that I felt like that you knew
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Speaker 1: who I was as the reader, and all of a sudden,
8:39
Speaker 1: as this story unfolds, it's like, where are you going?
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Speaker 1: Because you can't go anywhere. You're now a witness and
8:44
Speaker 1: it's like, oh God, I can't go anywhere as a reader.
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Speaker 1: He knows exactly where I am.
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Speaker 3: Oh man, that's a huge compliment. I mean, thank you
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Speaker 3: very much.
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Speaker 2: I guess I hadn't really ever thought about it being
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Speaker 2: said in that way, but I guess you know, that's true,
8:58
Speaker 2: that there's a real focus on kind of where people's
9:02
Speaker 2: psychologies are as part of this nation and being kind
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Speaker 2: of strapped to this consciousness bomb that we were in
9:08
Speaker 2: in twenty sixteen and that we're still into some extent,
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Speaker 2: and this sense of like you are a witness to this,
9:14
Speaker 2: and some of that I think is just, you know,
9:17
Speaker 2: just having morals and having a heart, and part of that,
9:19
Speaker 2: you know that we're all that we're all. We all
9:21
Speaker 2: drive by. I don't know what you see in terms
9:23
Speaker 2: of homelessness, but in la and in Portland, where I'm also,
9:27
Speaker 2: and you know, it's like you drive through town or
9:29
Speaker 2: you walk through town, and it's just the amount of
9:32
Speaker 2: addiction and homelessness and the lack of services and the
9:35
Speaker 2: lack of any kind of plan is just is just
9:38
Speaker 2: mind blowing, you know. And I'm not hyper political in
9:42
Speaker 2: the traditional sense of binaries, but but there's just there
9:45
Speaker 2: really is not a plan for these people. And you know,
9:48
Speaker 2: the defund the police movement, which has its strength and
9:51
Speaker 2: its weaknesses as really and and the kind of agenda
9:54
Speaker 2: like of of visibility has really like left a kind
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Speaker 2: of vacancy which is some kind of and then you
10:00
Speaker 2: look at life Senser Pratt and that was a disaster.
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Speaker 3: But you know, you get what I'm saying.
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Speaker 1: I do because I really feel like that you as
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Speaker 1: the author and you as the story creator, is that
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Speaker 1: you went in and you did a lot of research,
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Speaker 1: because I mean even the way I mean, I just
10:12
Speaker 1: feel like that there were times that you would have
10:13
Speaker 1: a scene inside the book and you would go back
10:16
Speaker 1: to it saying it's missing something, it's missing a key part.
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Speaker 1: Oh god, I just felt it there. Oh, this is
10:21
Speaker 1: what it was missing. But it's one of those where
10:23
Speaker 1: it was like it wasn't streame thinking for you, but
10:25
Speaker 1: it was well planned out and well orchestrated because you
10:28
Speaker 1: took the time to do the research to make this
10:30
Speaker 1: thing authentic.
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Speaker 3: I mean, that's true.
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Speaker 2: I toured skid Row with with a woman who'd lived
10:35
Speaker 2: there her whole life and done not a prison and
10:37
Speaker 2: in prison reform. You know, I've been I've been somebody
10:41
Speaker 2: I'm sober. I've been an addict. I've been on both sides.
10:44
Speaker 2: My brother died of you know, of the of the
10:47
Speaker 2: of addiction to oxy uh and and it's just you know,
10:50
Speaker 2: I've I've I've lived it in a lot of ways.
10:52
Speaker 2: But I've also lived the fun and the glamour and
10:54
Speaker 2: the and the access of of la as a screenwriter
10:58
Speaker 2: and as someone who's worked with him that way and
11:00
Speaker 2: been with you know, some of the best actors of
11:02
Speaker 2: our of our time, and producers and artists and and
11:06
Speaker 2: in an artist circle of of you know, some of
11:08
Speaker 2: the most talented and and and renowned artists of our
11:11
Speaker 2: of our of my lifetime as well. So I've lived
11:14
Speaker 2: in a lot of different ways and had access to
11:16
Speaker 2: a lot of different things to draw from. But also
11:19
Speaker 2: it's just about, like you know, it's always got to
11:21
Speaker 2: be fun, it's always got to be entertaining, it's always
11:24
Speaker 2: got to be like they say.
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Speaker 3: The number one selling word is delicious.
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Speaker 2: It's you know, all of that, and then yo yo
11:31
Speaker 2: back to like, wow, it's terrifying, it's real life, it's horror.
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Speaker 3: Wait nope, it's cinema. Wait no, it's real You know,
11:38
Speaker 3: and that's the sort of dream.
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Speaker 2: Of LA and that's what's so exciting about a Los Angeles,
11:41
Speaker 2: but also the world that we all live in now
11:43
Speaker 2: with with the devices and the you know, and the
11:46
Speaker 2: media overload. It's like we're always in between fantasy and reality,
11:50
Speaker 2: and reality has a has a dark and dangerous edge
11:53
Speaker 2: at times, and at other times it's you know, it's
11:55
Speaker 2: it's the simple beauty of flowers and of a well
11:58
Speaker 2: written sentence, and you know, I wanted to bring all
11:59
Speaker 2: of that. I wanted to kind of be like, this
12:02
Speaker 2: is what it feels like to be alive right now.
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Speaker 1: I love the idea that you were open enough to
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Speaker 1: talk about your own personal journey, because when when I
12:09
Speaker 1: read that there was a Hunter s. Thompson comparison here,
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Speaker 1: my mind immediately went to, Okay, Hunter lived his books
12:17
Speaker 1: before he interpreted his book. And now that I hear
12:20
Speaker 1: your voice and I hear your passion and everything that's
12:22
Speaker 1: on the inside, I'm going, yes, Yes, it's because you
12:27
Speaker 1: speak the street and and you know, not all authors
12:30
Speaker 1: can do that.
12:32
Speaker 3: Yeah.
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Speaker 2: I always say, if you haven't been at least charged
12:34
Speaker 2: with one felony, do I really want to read your book? No?
12:42
Speaker 3: I mean I have.
12:42
Speaker 2: I mean, that's that's nice of you to say. I mean,
12:45
Speaker 2: there's there was a lot of my life where it
12:47
Speaker 2: could have gone you know, the other way. It could
12:50
Speaker 2: have gone bad. I could have been dead, it could
12:52
Speaker 2: have you know. So there is a certain hard one
12:54
Speaker 2: experience that I just thought was the way that you
12:57
Speaker 2: went about becoming an artist, because I guess I was
12:59
Speaker 2: in her used to literature and to and to art
13:02
Speaker 2: through my father, who really.
13:04
Speaker 3: Was was like a fan of music.
13:06
Speaker 2: And like last night, my sister and I sat and
13:08
Speaker 2: we played that game everybody said around brink of Wine
13:10
Speaker 2: except me, and we played the game that everybody gets
13:12
Speaker 2: to play a song, you know, and we've went through
13:14
Speaker 2: the old American you know, like catalog of American lyricists
13:19
Speaker 2: and and country rock and roll blues and you.
13:22
Speaker 3: Know, just that kind of like how about this, how
13:24
Speaker 3: about this one?
13:24
Speaker 2: You know, the writing is so brilliant, But there was
13:27
Speaker 2: a certain outlaw streak, and there was a certain like,
13:29
Speaker 2: you know, lineage of like I called Kezy when I
13:31
Speaker 2: was twelve, and I you know, I read Hunter Thom's
13:33
Speaker 2: and I.
13:34
Speaker 3: Did all that, and I thought, that's just what you did.
13:37
Speaker 2: I think maybe because I'm from a small town in Ohio,
13:39
Speaker 2: and we didn't have access to, you know, the kind
13:41
Speaker 2: of literary world of New York City or LA that
13:43
Speaker 2: I would encounter later, So it was sort of, I
13:46
Speaker 2: don't know, it was a time period. Also, the book
13:48
Speaker 2: has a real you know, radical streak and real radical
13:51
Speaker 2: heart and and affeelity toward the kind of direct action
13:55
Speaker 2: and protest of the nineties, of this sense of like,
13:58
Speaker 2: there's got to be something we can do to protect
13:59
Speaker 2: the planet and these people. And you know, now you
14:02
Speaker 2: look back and even from twenty sixteen year vent and
14:05
Speaker 2: I go like, well, you know, we do find our balance.
14:07
Speaker 2: It seems like some of the of the of the
14:10
Speaker 2: feeling of like I need to be you know, a
14:13
Speaker 2: radical and blow up the ski lodge or do this
14:16
Speaker 2: is sort of sometimes almost always premature, and almost always
14:20
Speaker 2: about somebody's own sense of feeling victimized or feeling like
14:23
Speaker 2: they need to, you know, strike back against the confines
14:26
Speaker 2: of their own childhood or their own experiences.
14:28
Speaker 3: So that's that we still need action.
14:30
Speaker 1: Let me ask you a question from one creative writer
14:32
Speaker 1: to another creative writer. When when you write with such
14:35
Speaker 1: authenticity to your words, do you ever wonder somebody is
14:39
Speaker 1: going to read deeper into it and think what is
14:42
Speaker 1: he up to? And because I mean, it seems like
14:44
Speaker 1: writers right now are under a careful eye, because it
14:47
Speaker 1: seems like, oh, well, this is what he wrote about
14:49
Speaker 1: in twenty twelve. Oh this must be true, this is
14:52
Speaker 1: his image now because he wrote about it. And and
14:55
Speaker 1: do you face those fears at all, going oh my god.
14:57
Speaker 1: As a writer, I could release something that somebody is
15:01
Speaker 1: going to read differently.
15:03
Speaker 2: Absolutely and and and I'm and I'm and I'm I
15:06
Speaker 2: would say, you know, I fall into the category of
15:11
Speaker 2: being too daring, probably then less. But then when it's
15:14
Speaker 2: over and I look at it, I think then I
15:16
Speaker 2: should have gone even harder. I should have been even
15:19
Speaker 2: more daring, because you know, the the the politeness to
15:23
Speaker 2: the point of obsolescence is a threat I think with
15:26
Speaker 2: with where we're going, like over the long curve of
15:28
Speaker 2: history and over where we're going in society. I think
15:30
Speaker 2: becoming gentler, becoming more kind, becoming more thoughtful, becoming more
15:34
Speaker 2: inclusive is the right trajectory, of course, But we also
15:38
Speaker 2: have to, you know, have something to say and something
15:41
Speaker 2: that expires and excites and and entertains and dazzles and
15:45
Speaker 2: pushes art forward, or else it becomes pedantic lip service
15:49
Speaker 2: to whatever the group think is of that moment, and
15:51
Speaker 2: so threading that needle of being like, what do I
15:54
Speaker 2: have to.
15:54
Speaker 3: Say that's original? And how can I say it in
15:56
Speaker 3: a way that's original and that excites people? And that
15:59
Speaker 3: gets people to want to live without necessarily.
16:01
Speaker 2: Doing anything that you know, harms anyone, you know, but like,
16:06
Speaker 2: but like when I see a great film, or I
16:09
Speaker 2: read a great book, or I hear even a great song,
16:11
Speaker 2: like there's something about it that does like upset me
16:15
Speaker 2: if it's really successful, And that upsetting of the reality
16:18
Speaker 2: and that changing of the of the internal weather or
16:20
Speaker 2: the radio station of somebody's mind is what's exciting about art.
16:24
Speaker 3: If we don't do that, then what are we doing.
16:26
Speaker 2: We're you know, we're sort of just maintaining status quote,
16:29
Speaker 2: which there's plenty of room for that, and there's a
16:31
Speaker 2: lot of money to be made off of it, and
16:32
Speaker 2: some of it's really good. But I do want something
16:34
Speaker 2: that I look at and I go, wait a minute,
16:36
Speaker 2: I don't know how I feel about this yet, And
16:38
Speaker 2: that's what makes it an interesting and long sustained project.
16:41
Speaker 2: When you're in a novel, when you're reading a novel
16:43
Speaker 2: where you're like, I don't know how I feel about
16:46
Speaker 2: this yet, you know what I mean, until it's all
16:48
Speaker 2: done and then and then you go like, oh, I
16:50
Speaker 2: get it. And that makes me feel differently about my world,
16:54
Speaker 2: and it makes me want to do better. It makes
16:56
Speaker 2: me want to try again. It makes me want to
16:58
Speaker 2: reinvigorate my human you know what I mean?
17:02
Speaker 1: No, no, no, because right away you read it what
17:04
Speaker 1: you put my mind into. Okay, what's this soundtrack going
17:06
Speaker 1: to sound?
17:06
Speaker 2: Like?
17:06
Speaker 1: It's gonna be Motley Crue meets Imagine Dragons with a
17:09
Speaker 1: little bit of Morgan Walling in it, because that dude
17:12
Speaker 1: has got guts to talking about subjects he's not supposed to,
17:15
Speaker 1: and it's like he needs that rebel in there for
17:17
Speaker 1: that soundtrack when it hits Netflix or a big movie screen.
17:21
Speaker 2: Yeah, I mean, you know, I think there is a
17:24
Speaker 2: certain kind of like way in which negotiating maleness on
17:30
Speaker 2: the page right now is interesting and it is a
17:33
Speaker 2: challenge we're going through, you know, the hills and valleys
17:35
Speaker 2: of the changing you know, landscape of society and of
17:39
Speaker 2: publishing and literature.
17:41
Speaker 3: And it definitely was in my mind.
17:43
Speaker 2: You know, it was like, how do I, as a
17:45
Speaker 2: as a man speak and have something to say in
17:48
Speaker 2: a time where there's a lot of scrutiny and a
17:51
Speaker 2: lot of kind of rejection of most of what comes
17:53
Speaker 2: out of that of that gender camp, you know what
17:56
Speaker 2: I mean. And so I think part of what happened
18:00
Speaker 2: with this book is it started out as as lots
18:03
Speaker 2: of points of views, well four or five points of
18:05
Speaker 2: views of an ensemble third person close. And it wasn't
18:08
Speaker 2: until the book was done and already had been accepted
18:11
Speaker 2: that I realized, oh, Susie has to speak, and she'll
18:13
Speaker 2: be first person, and she'll be first person, so I
18:16
Speaker 2: sort of and that I think was such a revelation
18:19
Speaker 2: and such like an honor to be in this female
18:22
Speaker 2: point of view. And largely people have been like, yes,
18:25
Speaker 2: she feels really real, like you, how did you find
18:28
Speaker 2: a female voice inside of you? And I feel like
18:31
Speaker 2: that in some way is like an honor and a
18:34
Speaker 2: bridge to some kind of unity, when right now it
18:37
Speaker 2: does feel like there's a lot of you know, for
18:40
Speaker 2: good reason division.
18:42
Speaker 1: So I know I'm going to go over my time
18:44
Speaker 1: limit with you. But the thing is is that so
18:46
Speaker 1: is if you were in the real world, is Susie
18:48
Speaker 1: somebody that you met on the outside of an in
18:50
Speaker 1: and out burger or somebody who came into in and
18:52
Speaker 1: Out because she was hungry and she just wanted to
18:55
Speaker 1: make a connection with somebody, even if it made me
18:58
Speaker 1: borrow it a couple of bucks and then walking out
18:59
Speaker 1: the war.
19:01
Speaker 3: Yeah, I mean I give her my wallet.
19:03
Speaker 2: I love Susie Bobelman, Like, I just love her, and
19:06
Speaker 2: I love the world of of of the book, you know,
19:09
Speaker 2: and everybody has their doubts, like and everything is the sales,
19:12
Speaker 2: you know, you got to like there's always this risk
19:15
Speaker 2: of like you're you're hustling your product or something. But
19:17
Speaker 2: like like I want to read it again whenever I
19:20
Speaker 2: whenever I'm when it's when it's been like a while.
19:22
Speaker 2: I've been talking about this for two three months. Like
19:24
Speaker 2: it makes me want to go back into the world
19:25
Speaker 2: because it is saturated, it is rich, it is human,
19:28
Speaker 2: it is like you know, it's smelly and it's luxurious
19:31
Speaker 2: and it's delicious and it's disastrous and it's dangerous, and
19:34
Speaker 2: there's there's you know, there's these this this this serial
19:38
Speaker 2: killer that's you know, killing the addicted all true Town
19:42
Speaker 2: and I mean there are times where it's like, God.
19:43
Speaker 3: This is this is I don't know how I feel
19:45
Speaker 3: about this.
19:46
Speaker 2: And then there's other times where it's like this is play,
19:49
Speaker 2: this is fiction, this is advocacy, this is direct action,
19:53
Speaker 2: like this is supposed to make you remember, you know,
19:55
Speaker 2: the sparkling, jeweled heart of spiritualism wrapped in the the
20:00
Speaker 2: disgust and the filth of realism.
20:02
Speaker 1: Where can people go to find out more about everything
20:06
Speaker 1: that you're doing so they can follow you and give
20:08
Speaker 1: you some support?
20:09
Speaker 2: Sir, thank you so much for having me Killdick dot com.
20:13
Speaker 2: Loop likes glue on Instagram. I talk to everybody. You
20:17
Speaker 2: write me, I'll write you back. You can buy the
20:19
Speaker 2: book anywhere, you know, The Thirsty Caterpillar, And like, as
20:23
Speaker 2: we go somebody that I'm doing a partnership with to
20:25
Speaker 2: support a local candidate. I'm on the board of directors
20:28
Speaker 2: of the Portland Alano Club. We're coming with the Addicted
20:31
Speaker 2: along with some really great authors coming Melissa Febo's.
20:38
Speaker 3: Yeah. You can buy the book from Pals. You can
20:39
Speaker 3: buy the book from the Strand.
20:41
Speaker 2: I mean any of your big, beautiful, longest running bookstores
20:45
Speaker 2: in America, or your local bookshop.
20:47
Speaker 3: If they don't have it, ask them to get it.
20:48
Speaker 3: That's right.
20:49
Speaker 1: Please come back to this show anytime in the future.
20:51
Speaker 1: The door is always love to be open for you.
20:53
Speaker 3: Luke. I love your voice, I love your show. You're
20:55
Speaker 3: the greatest. Thank you so much.
20:56
Speaker 1: Will you be brilliant today?
20:57
Speaker 3: Okay, all right, take care. Thank you you served