Tuesday, April 26, 2011

My first (and last) word on the Royal Wedding.


On July 31, 1981, I got up at the crack of dawn to watch Charles, Prince of Wales, marry Lady Diana Spencer.

Impossible to say that now without a slight self-deprecating flinch, as you would if admitting, “I voted for Ralph Nader for president,” or “I once bought a Sony Betamax.” Because the resultant crack-up of the marriage, and the hideous scars it left on the institution it was intended to bolster, have become permanently ingrained on our culture. What we’ve witnessed, over the past thirty years, has been the dissolution of a dynasty in slow motion. It seems a safe bet it will sail on for the duration of Elizabeth II’s life—she’s just a few years away from being the longest-reigning sovereign in English history, and she really hasn’t given anyone grounds for termination; it would be almost ungallant to boot her out of office for doing exactly everything that was asked of her sixty years ago. But after she’s gone…? All bets are off. And another gaudy royal fertility pageant isn’t going to fix that.

In 1981, I was going through a medievalist phase, buoyed by a reading of Thomas Costain’s magisterial series of books on the House of Plantagenet, and by Shakespeare’s cycle of history plays on the same kings. I found it enormously appealing that the same throne that was so hotly contested and so brutally won in the 15th century, was still around in the 20th, though occupied not by a bold young warrior prince like Edward IV or Henry V, but by a pleasant middle-aged woman known for her handbags. I relished the idea that vestiges of ancient pageantry still persisted, like the Order of the Garter, though that honor was now reserved not for the valorous and heroic, but for tycoons and entrepreneurs. And there was something wonderfully exotic about the search for a suitable young virgin to present as a gift to a royal heir who was dutifully, if reluctantly, putting his tomcatting days behind him and getting down to the matter of lineage-tending; though the sacrificial aspect to this wasn’t very different, if you thought about it, from casting young virgins into rumbling volcanoes.

There were a few people at the time who pointed out how embarrassingly anachronistic it was to celebrate a hereditary monarchy in a country that was ostensibly a democratic meritocracy, but we just considered them grouches and spoilsports, and shut them out.

Very different today, in a “won’t get fooled again” sort of way, which is why I’ll be sleeping in on April 29 (and no, I won’t be setting the TiVo, either). To be sure, Prince William and his bride-to-be don’t appear to be the spectacular mismatch his parents were in 1981. They’re roughly the same age (as opposed to the 13-year difference between Charles and Diana), they’ve been a couple for several years (as contrasted to the mail-order-bride aspect of Diana’s recruitment), and it seems inconceivable that Kate Middleton has remained a virgin all this time, which means she’s entering this marriage with eyes wider open than Diana could have managed. Also, thanks to Diana’s hands-on parenting, Prince William seems much more grounded than his dithering, sensitive-to-light father was thirty years ago (or at any time since). In fact, you get the idea that if William were just an ordinary Joe, he and Kate would end up choosing each other anyway.

In other words, they seem like nice kids. I wish them well. And what I wish them, most of all, is that the whole Windsor dynasty is quietly dismantled and put away in a drawer before it has time to suck them into its gaping maw. What I wish for them is what I’d wish for any young couple: let them be free to build a life together. On their own, alone.

Doesn’t that just seem…well, civilized? 

Thursday, April 21, 2011

Introducing The Sugarman Bootlegs.

A few years ago, I made the decision—based on the way the book industry was trending—to switch from fiction to nonfiction, with happy results (see my memoir of my year on the canine agility circuit, Dogged Pursuit, now in paperback—and my upcoming Italian opus, Seven Seasons In Siena: My Quixotic Quest for Acceptance by Tuscany's Proudest People, due June 21 from Ballantine).

But fans of my novels (I wrote seven between 1992 and 2007) still regularly petition me for something new, which has made me realize that while the market for fiction may have contracted, demand is still there—just not in the kind of numbers that make traditional publishing viable.

So I'm taking my fiction directly to my readers, via the rapidly expanding—in fact, the goddamn exploding—world of e-book publishing.

This week my eighth novel, The Sugarman Bootlegs, went on sale on both the Amazon and Barnes and Noble websites, as a digital download for their respective e-readers, Kindle and Nook.



And what is The Sugarman Bootlegs...? It's a Hitchcock story for the YouTube age. It starts with two friends discovering old video of an unknown saloon singer, which they try to pass of as archival footage of a long-lost cabaret legend. But their prank backfires when the viral sensation takes on a vivid—and lethal—life of its own...and as its fame increases, so does the body count.

Basically, it's the bastard child of All About Eve and Frankenstein—with the biggest mid-story twist since The Crying Game.

AND...it's only $2.99.

So join me in this little experiment, and together we'll see whether my fiction (hell, fiction in general) can come roaring back to life in this crazy new samizdat format.

(Oh, and check back here in a month or so, for some news about those old, out-of-print novels of mine. 'S'all I'm sayin' for now.)

Monday, March 14, 2011

Thor & Loki: Blood Brothers.

In 2005 I wrote a miniseries for Marvel entitled Loki, which was about the tricker god's antagonistic relationship with his step-brother, Thor, god of thunder. There were two things that made if different from any previous Thor-Loki throwdown: first, the story begins not with Loki attempting to seize control over Asgard, but the moment he finally does so (that's right, it starts with Loki winning); and second, the ravishingly gorgeous painted artwork of Esad Ribic.


The series was a runaway hit and was collected in both hardcover and trade paperback. Now, with Kenneth Branagh's big-budget Thor movie coming to theaters, Marvel has repackaged the series in a new hardcover edition called Thor & Loki: Blood Brothers, and even more gratifyingly, has turned the entire story into a four-part animated TV miniseries. And rather than start from scratch and try to come up with graphics that match the majesty of Esad's painted images, they have—by some uncanny, jaw-dropping digital alchemy—just animated Esad's artwork itself.


Throw in some ridiculously gifted, classically trained voice actors and a score that Carl Orff might have written, and you've got an adaptation every bit as powerful as the original—maybe even more so. (And I can say that, 'cause I'm the guy, knowhumsayin'?)




You can get the first episode on iTunes, PSN, Xbox Live and a couple other places on 3/28.  Enjoy.

Sunday, March 13, 2011

On theatrical jealousy.

Earlier this month—in my capacity as a member of the Gentlemen's Auxiliary of the spoken-word ensemble BoyGirlBoyGirl—I took part in a revue entitled "The Alternative History of Chicago Theater (Abridged)", sponsored by WBEZ (Chicago Public Radio). My colleagues Susan Karp, Rachel Claff and I each did a short piece on the subject of ambition, jealousy, and frustrated hopes. My contribution follows:
For about 50 years in the early 1990s, William Petersen was ubiquitous on Chicago’s theater scene. He took every lead in every production of every play by every company. I was a young writer doing P.R. work for the old Halsted Theatre Centre, so you can trust me: it was my business to know the landscape. And I saw William Petersen tackle every iconic role in the western repertoire, except Lady Bracknell, and I was probably just sick that day. Kings and killers, vice-lords and varsity-men—William Petersen, William Petersen, William Petersen, William Petersen. All over Chicago struggling actors scrutinized themselves in their mirrors and asked, “What has William Petersen got that I haven’t got? What elusive quality does he possess that I don’t seem to generate? Is it already too late for me? What is the point of going on?” 
Which makes you wonder what William Petersen thought when he looked in his mirror. Possibly something like...“What has John Malkovich got that I haven’t got? Why does John Malkovich get on magazine covers? I am so much hotter. Why does John Malkovich get to do movies? Why does John Malkovich get to do movies about 18th century French aristocrats? Is there an actor alive less like an 18th century French aristocrat than John Malkovich? Why does John Malkovich get to do movies about being John Malkovich? Why have I stalled out at this regional level? Why am I only a local phenomenon? Would it help if I grew a beard? Why did I turn down Platoon? Is it already too late for me? What is the point of going on?” 
And then you have to wonder what John Malkovich thought when he looked in his mirror. Probably something like…“Ohhh yeah. Mmmm-hm. It’s all good. I am so glad I turned down Platoon.”

Photo by Jerry Schulman.

Welcome.

Teatro Rodi is the official blog of Robert Rodi—novelist, fantasist, monologuist, memoirist, essayist and musician. It's where you can find news about upcoming projects, publications and performances; it's also the place to find writings that haven't been published anywhere else. (See how deftly I avoided saying, "where I can dump all my stray scraps and blatherings.") Anyway, welcome aboard.