Author / Edward Champion

Posts by Edward Champion

Edward Champion is the Managing Editor of Reluctant Habits.
by Edward Champion

My Evening with James Lipton

James Lipton, host of Inside the Actors Studio, has passed away. Here is my James Lipton story.

I had just moved to New York City and I was then a punkish and somewhat obnoxious independent podcaster who did ridiculously comprehensive and quirky interviews with authors. I had, like many other film and book geeks, been a devout watcher of Inside the Actors Studio. You didn’t know whether or not Lipton was serious or playing an absurdist role — especially with the Proust questionnaire. But you did have the sense that you were seeing someone who was orchestrating a somewhat important conversation, even if the dignified atmosphere didn’t always feel entirely earned.

Anyway, I learned that James Lipton had a book called Inside Inside and, purely because I had nothing to lose and my approach has always been to ask other people to be involved with my silly projects and see if they want to have fun (a surprising number of people are game), I sent an interview request to the publisher.

Amazingly, Lipton’s people said that he would be very keen to talk with me and that I’d get one hour with him.

I couldn’t believe it. I called some of my old buddies in California.

“Dude, James Lipton himself is going to be on The Bat Segundo Show!”

“No way!”

“That’s awesome!”

Sure, Lipton wasn’t the hugest name. He was some guy on the Bravo network. But he was known for being thoughtful — perhaps too thoughtful — towards the big names. He even had the decency to appreciate Will Ferrell’s impersonation of him on Saturday Night Live. And I suppose that free-wheeling, vaguely classy attitude was what made him someone who you couldn’t discount, even if you found him a little too serious at times. Inside the Actors Studio‘s atmosphere was generous with its time and it allowed you — to cite one of many examples — to see Robin Williams’s creative mind at work after taking a scarf from the audience and spending the next few minutes improvising with it. Lipton was often ridiculed for these efforts. But nobody, not even me, knew how much of a gent he was. But I’ll get to that in a bit.

I set up the interview in a restaurant. Lipton arrived, wearing vast swaths of makeup (he had just come off a television interview), and seemed a little uncomfortable with my microphone setup on the table. I started with some of my goofy questions. This was what I usually did to break the ice before I went into the serious stuff. But Lipton looked lost, caught in some internal sea of melancholy. I wondered if I had somehow said something to piss off James Lipton. This has been known to happen. I do have a tendency to shoot off my mouth, largely unknowingly. I ended up stopping the mic and asking, “Hey, man, are you okay?” He said he wasn’t feeling well and that he wanted to reschedule. He told me that I was a thoughtful young man and he offered deep apologies. I was baffled. Then he left the table and seemed to be deeply ashamed.

I sat there, bewildered, packing up my gear. There was little else I could do. Then I received a call from the publicist. The publicist told me — and the two of us both seemed to be worried about Lipton — that Lipton had received a brutal review of his book in a major newspaper that morning and that he felt embarrassed, leaving me like that. Could Lipton make it up to me? Could I meet Lipton that evening at his Upper East Side townhouse? I was stunned. Lipton really wanted to do the interview with me and do me a solid. “Yes,” I said calmly and professionally. I then quickly called my friends and said, “Holy shit! I’m meeting Lipton at his house! Should I dress up?”

I did dress up a little bit. And I arrived on time. I met Lipton’s wife, Kedekai, and I was firmly in Lipton Land. I was offered good scotch, which I politely declined. Kedekai came out with a large dish of snacks. And Lipton — still wearing television makeup — emerged and again offered profuse apologies for not being able to go through with the interview that afternoon. He showed me around his house. There was a room in which every wall was festooned with framed letters and photos of Lipton with his arm around big shot actors. “This collection is a little embarrassing,” said Lipton, who I suspected had said the same thing to everyone. But I actually thought his collection was somewhat endearing. Basically, Lipton was a huge geeky fan of actors. But for a man of Lipton’s generation, this was something you didn’t announce.

What impressed me more than this was how much of a gentleman Lipton had been. I was just some silly online guy who did interviews and here Lipton and his wife were treating me like royalty, lavishing me with such incredibly generous hospitality that I wondered if they had somehow mixed me up with someone else.

Lipton told me that I was someone who was different from the usual media people he talked with. Yes, I had read his 512 page memoir in full before talking with the man. I did this with every guest on my show. But this seemed to astonish Lipton. He clearly wasn’t used to this or anyone doing this kind of intense research. I got the sense that Lipton was a man who was secretly very shy and introverted and who really wanted to be taken seriously by people, but who usually wasn’t. I was apparently that rara avis interview where Lipton would be able to be Liptona at length.

We started rolling tape. You can listen to the interview here. And the two of us had a thoughtful, sometimes very funny, and gently revealing conversation of just how Lipton lived and operated in the way that he did. By simply allowing James Lipton to be himself, and being genuinely interested in him (as I was with all the people I interviewed), I was able to get an incredibly fascinating portrait of the man. Maybe Lipton needed the Lipton approach done with him. I don’t know. But when we finished the conversation, Lipton thanked me profusely and said that it was the best interview he had ever received. He asked for my mailing address. I gave it to him and, for many years, I received a Christmas card annually like clockwork.

I think what people failed to understand about Lipton is that he both liked to please people but he did this because he wanted to be known and loved and respected. But he wasn’t the kind of man who wanted to advertise this need. Because the Inside the Actors Studio persona was one of gravitas and seriousness. Lipton laughed very loud at my jokes in the comfort of his home and when the mic wasn’t on, but he grew very serious when he knew we were recording.

What I do know is that, for about two hours of my life, I was able to give Lipton some unconditional love and respect. Perhaps because I wasn’t a journalistic vulture. I was more of a guy who greatly enjoyed talking with people and accepting them on their own terms. But I had learned some of these moves by watching Inside the Actors Studio.

by Edward Champion

Jack Welch is Dead: Goodbye and Good Riddance

Jack Welch was one of the greatest corporate villains who ever lived, standing against the American worker. His death deserves our celebration.

Jack Welch, a scurrilous American disease who was frequently misidentified as a human being, finally bit the bucket on Sunday. There are many business tycoons who will lionize this unapologetic ratfuck, but I, for one, am very glad that this unpardonable snollygoster, this vile enemy of the American worker, is dead. For Welch was an innovative corporate sociopath who prioritized profits over human life. He was known as “Neutron Jack” for a reason. It wasn’t just that he had the destructive force of a neutron bomb because of the callous way in which he destroyed the livelihoods of hard-working Americans for maximum gain. His very soulless demeanor resembled a weapon of mass destruction. If Fat Man and Little Boy could talk and carry on a board meeting, Jack Welch was the living embodiment of this murderous Faustian bargain. Jack tried to disguise his unrelenting evils with a phony smile and a bullshit avuncularism that was appealing to other white males who hoped to adopt and emulate his ruthless approach for their own ends. But make no mistake: for all of his candor, this scumbag was incapable of compassion and, as such, he deserves no respect.

Welch’s fawning and uncritical acolytes claimed that everything he touched turned to gold. But at what cost? Welch was one of the first CEOs to break the covenant between a profitable company and the American worker. He believed in grouping workers into clusters — the so-called “vitality curve” — and not giving those who didn’t fall within the top 20% a chance, paying little heed or heart to human factors in a worker’s life that might temporarily alter their performance. Under his tenure at GE, he reduced 411,000 employees in 1980 to 299,000 employees in 1985. The GE stock kept shooting up during that time, rising to two and a half times the value. There was more than enough wiggle room to keep workers employed. But not for Jack. He sold off businesses and laid off workers and Forbes named him “Manager of the Century.”

But what was the end result of decimating GE like this? A swift rise followed by a sputtering fall. Because you can’t sustain this kind of growth forever. Under Welch’s handpicked successor, Jeff Immelt, it became very easy for GE Capital to become more cartoonish and thus flounder. And that is because Welch set the template for profit at any cost. It lines your pockets for a number of years, but it never lasts. And if that’s the case, are the many hundred thousand workers truly worth the sacrifice?

Jack Welch never gave a damn about the American worker or preserving job security. He was a dirty slithering hagfish who only existed to pursue mad and Machiavellian ends. In seven years, Welch not only reduced the GE workforce, but he reduced its unionized share. Unionized employees fell from 70% to 35% of the total workforce. This left them without the leverage to negotiate and they became targets under the vicious profit-motivated evil of Jack Welch.

There’s simply no way that anyone with a moral conscience can revere this guy. If you hold Jack Welch in any kind of esteem, then I don’t know if I could ever invite you to dinner. Before Jack Welch came along, there was a line in the sand in which it was understood that workers shared the profits and benefits of a company’s success. But Welch changed all that and inspired other lunatics to adopt similarly heartless policies that are now the norm. Welch only innovated in the way that he inflicted barbarism against this covenant with blue-collar Americans. And for that, his demise requires me to pop open a bottle of champagne and pledge a renewed commitment to standing up for the health, security, and wellbeing of the American worker as Jack Welch rots in hell.

by Edward Champion

The End of Buttigieg is the Rise of Bernie

Pete Buttigieg’s sudden dropout has made this a two person presidential race, one that will be very good for Bernie if he plays his cards right.

Pete Buttigieg left the presidential race because he didn’t want to be humiliated on Super Tuesday. He had been roundly thrashed last week by brave workers risking their livelihood after his hollow platitudes to those fighting for fifteen dollars an hour didn’t land and he was received by unremitting ridicule. Moreover, he didn’t have the money to win. He had $6.6 million at the beginning of February, just a half million less than Biden did. And then South Carolina happened. Tom Steyer, who took the state’s motto “While I Breath I Hope” quite literally by going all in, had bested Buttigieg by three percentage points. Then Steyer dropped out. And the polls showed Buttigieg not doing all that well. Behind the unpopular Bloomberg in Utah. Just 8% in a February 19th Washington Post/ABC News poll. Barely 10% in a CBS News/YouGov poll released on February 23rd. He had canceled his pivotal Florida trip, claiming a cold, much like Frank Sinatra. But he didn’t have Sinatra’s popularity or his power. He didn’t have young voters. He didn’t have African-Americans. He couldn’t win, even though he had declared victory in Iowa before the results were in and carried himself in the final weeks of his campaign much like Little Lord Fauntleroy walking the streets of New York City with an aristocratic air.

But now he’s out. And what this means is that the Democratic race has come down to Bernie Sanders vs. Joe Biden. This, however, is an election in which Sanders has the clear advantage, not Biden. Conventional wisdom might suggest that voters cleaving to Buttigieg would put their faith in a dependable mainstream moderate with brand name recognition like Biden. But the donations and the polling figures paint a different picture. Sanders raised $46.5 million in February alone, easily dwarfing the Biden war chest. A Morning Consult poll released on February 27, 2020 shows Bernie ahead as a second choice among Buttigieg voters by 21%. It’s admittedly a narrow lead over Biden and Warren, who did merit 19% each in this poll. But it nevertheless speaks to the significantly underestimated way in which Bernie has built a vast coalition.

It’s possible that the flailing campaigns of Amy Klobuchar and Elizabeth Warren may be able to take some of the wind out of Bernie’s sails. Klobuchar, who sustained a level of remarkably controlled rage against Pete in the last two debates, will no doubt be galvanized by this news. But it’s doubtful that she will crack much more than 6% in most of the Super Tuesday races. Warren has a slightly better chance, but her support has plummeted in the most recent primaries. 9.2% in New Hampshire. 9.7% in Nevada. If we look to Nevada as a litmus test, the 14.3% that Buttigieg won in that state would likely be split among Bernie, Biden, and Warren. And if that’s indicative of the national clime, that’s simply not enough of a share for her to roll past Biden, who will likely see stronger numbers in future races after his win in South Carolina.

Biden represents the likely second place candidate. But he’s going to need to mobilize a lot of people to donate money in the next few weeks. And he’s going to need to have a very strong showing in the fourteen states up for grabs just two days from now.

All this is very good news for Bernie. But his campaign should not grow complacent. As I argued last night, he’s going to need someone like Stacey Abrams in his corner. He’s going to need to demonstrate to black voters and older voters that he’s worked out the numbers and that he stands with a coalition that is inclusive of centrists and the South. His present strategy of pointing out that universal healthcare and free college tuition are not radical ideas is a start. But this is a place where Biden is likely to attack him on.

Buttigieg’s exit is definitely Bernie’s gain. But it’s not the end of this grueling race. Not by a long shot.

by Edward Champion

Why Bernie Needs Stacey Abrams as Vice President

Bernie is likely to be the Democratic frontrunner. But the recent South Carolina primary results have revealed why Stacey Abrams is his most ideal vice president.

Joe Biden won the South Carolina Democratic primary tonight. As I write this, with 67% of the precincts reporting, Biden leads by 48.68%, with Bernie Sanders in second place at 19.3%, Tom Steyer in third place at 11.4%, Pete Buttigieg in fourth place at 7.9%, and Elizabeth Warren in fifth place at 7%.

First off, Biden’s win doesn’t negate Bernie’s present momentum as Democratic primary frontrunner. And it doesn’t discount Bernie’s ability to build broad and inclusive coalitions. Even in South Carolina, Bernie did very well among younger black voters in the exit polls. What he needs to do now is to appeal to older voters and, of course, more African-American voters. He has a strong partnership with Nina Turner and, nationally speaking, his numbers are up among blacks — with 20% describing themselves as “enthusiastic” about Bernie.

Warren’s campaign is nearly finished. Barely 10% in both Nevada and New Hampshire. Just 7% tonight in South Carolina. We’ll know more on Super Tuesday, but, despite an increasingly stronger profile at the debates, she’s just not getting through to voters. My prediction is that she will drop out of the race before Buttigieg and that this support will likely go to Bernie. Buttigieg has proven to be incredibly tenacious, but his track record prevents him from winning the broad support of black voters. On that front, Biden definitely has more of a shot nationally than Buttigieg ever will.

The likely reality is that the three top Democratic candidates will be Bernie Sanders, Joe Biden, and Pete Buttigieg. Of this trio, Bernie stands out as the most progressive candidate. And he has the support of Representatives Alexandria Ocasio-Cortez, Ilhan Omar, Pramila Jayapal, and Rashida Tlaib. But to clinch the national race, Bernie needs someone who is (a) African-American, (b) a woman, (c) from the South, and (d) who can unite moderate liberals and progressives.

That person is Stacey Abrams.

If Bernie is the frontrunner, Abrams is the only logical choice for vice president. She’s been the deputy city attorney of Atlanta and an incredible figure in the Georgia General Assembly, single-handedly stopping Georgia Republicans from implementing a cable tax that would shift the burden to working people. She’s shown that she can reduce prison expenses without the crime rates going up. So she’s good with the numbers. Abrams’s powerful response to this year’s State of the Union address demonstrated that she was authentic, personable, and pragmatic, and showed that she genuinely cared about working people. In talking about her father hitchhiking home without a coat (he had given the coat to a homeless man), Abrams proved that she was better than Warren in talking about her working-class roots and tying this personal experience into the need for kindness and sacrifice.

What’s greatly appealing about Abrams is that she’s formidable — especially in her 2018 gubernatorial battle against Brian Kemp — but has always come across as a voice of empathy and reason. She is a natural born leader and she has said repeatedly that she wants to be President one day. So she’d definitely bring her A game as veep. Among moderates, she could be perceived as the gentler voice to Bernie’s bellowing. Plus, she’d clean Mike Pence’s clock in the vice presidential debate.

But aside from these terrific credentials, we’d also have the historic precedent of the first African-American woman running for vice president. Not only would this carry on Obama’s legacy (she earned his endorsement while running for Georgia governor), but this would also add a vital new context to Bernie’s proposed plans for Medicare for All, tuition free education, and guaranteed housing. Progress shouldn’t just be about adopting vital and significant policy changes. It also needs to ensure that the people in power reflect the people of America. This would also lay down the flagstones for Abrams becoming President — whether in a subsequent election or in the terrible event that Bernie, who is 78 years old, dies while serving as President.

It’s not enough to want Trump out of office. If the Democrats want to win, they need people who will be inspired enough to show up to vote. And in order to do that, the 2020 Democratic ticket needs the same hope that fueled Obama’s campaign in 2008. Bernie is close to this, but it’s clear that he cannot build a coalition on his own. He needs Stacey Abrams to be there with him.

by Edward Champion

The Overwritten Sentences of Garth Greenwell

Garth Greenwell’s mediocrity sets me off like a bull running loose in the streets of Pampolona. This “sentence master” is a fraud. Here are several reasons why.

There are awful writers out there who you can ignore or forgive. Because you can at least detect a whiff of growth with each new volume. And honestly who wants to be the guy stifling an artist’s evolution?

But every so often, you have the misfortune of reading the other type of awful writer. The awful writer whose rhythm is so off and whose observational approach is so obtuse and obvious and condescending that his work just fills you with rage. This type of awful writer is often anointed with undeserved literary royalty when the work itself offers little more than platitudes. He becomes so puffed up with vanity and certainty because today’s literary outlets are little more than fawning promotional hubs rather than thoughtful and genuinely useful venues for critical discussion. The awful writer believes his own press. And he gives the public more of the same. And the public, easily manipulated by savvy publicists and locked in the Ouroboros of social media groupthink, comes to believe that there’s something to the mediocrity.

Garth Greenwell is a writer I despise with the same venom that I apply to anyone who stands in the way of universal healthcare and solving income inequality. He is the Pete Buttigieg of literature: a smug huckster who seems so certain that he knows the world when he really doesn’t know much at all and will never be honest about his ignorance, a younger man inexplicably adopting the windbag cadences of a calcified septuagenarian. Like Buttigieg, Greenwell is a pretentious and out-of-touch bore who flexes his alleged erudition not from a place of genuine passion and curiosity and interest in people, but much like a Bernese Mountain Dog performing a spinning trick before a paying crowd. Step right up! Look at the man’s sentences! Pay no attention to that ungainly clause between the commas! Greenwell has been given a free ride by the literary establishment, largely because there is presently a vacuum for the type of culture-fueled gay literature that has been long practiced by the likes of Edmund White. Certainly we need more of this type of writing. But it needs to be good writing. And Greenwell ain’t it. He isn’t an Ed White. He’s certainly not a James Baldwin or a Christopher Isherwood or a Shyam Selvadurai. And he sure as hell isn’t a genius like Alan Hollinghurst. (Honestly, if you’re considering reading Greenwell, you’re better off reading everything Hollinghurst has written. That man is a true master of the sentence, not Greenwell.)

Greenwell’s overwritten and often unintentionally hilarious prose has been mistakenly heralded as top of the line. You have to give the people at FSG this much. They really know how to manipulate today’s literary bobbleheads. I’m likely feeling far more indignation about this than I should. But bad writing sets me off like a hopped up bull running loose in the streets of Pampalona.

Anyway, last week, I had the considerable displeasure of reading Garthwell’s latest volume, Cleanness. I found myself in a state of unceasing disappointment and a book-throwing fury I couldn’t seem to shake over how such literary bullshit got a pass from today’s overworked editors. Here are some examples of Garth Greenwell’s overwritten offenses:

“…as if he were deciding whether or not to pronounce a judgment he was on the point of making.”

If G. is already deciding, there is no need to tell us that he is “on the point of making” a judgment. This would be akin to maybe eating a bagel that I am on the point of chewing.

“I came to the center every morning I could, walking the streets as the city woke up…”

Pick a lane, Greenwell. If you’re walking the streets as the city wakes up, then we already know that it is morning.

“The room was lit by a row of small windows near the top of one wall, their panes clouded and stained with smoke, so that the light was strangely muted, as if steeped in tea.”

Who in the hell edits Greenwell? This is a lot of pretentious huffing and flexing just to impart that smoke-stained windows muted the light in the room. The superfluously precise detail of the “row of small windows near the top of one wall” gets in the way of the tea-steeped light. (I’ll give him some credit for the tea imagery!) William Gibson is better at hyper-specific description because it’s a vital part of his atmosphere. Greenwell, by contrast, reads like some dude tormented by descriptive desperation.

“G. laid his cigarettes on the table and rested the tips of his fingers on the pack, tapping it lightly.”

In an attempt to be clever and “literary,” Greenwell uses G.’s fingers as a metaphorical parallel to the cigarettes. But this sentence is a failure for its length and risibility. The image of a smoker tapping a pack of cigarettes with his fingers for five minutes like the late Neil Peart doing a drum solo is an unintentionally hilarious one.

“My satisfaction only deepened when G. continued, after our coffee arrived and we took a moment to add sugar and milk.”

I looked into his eyes, after I patted my left jeans pocket, my hand placed perpendicularly to my thigh, and felt around for my keys, which were shiny and jangling and nestled like a pig in a blanket. Come on. You obviously don’t care about my keys. You care about me looking into my lover’s eyes. But then this is the Greenwell formula: imply “literary” import by stretching a sentence beyond its natural limits. Honestly, who gives a toss about the sugar and milk? How is this important to the story? We’ve already established the rituals in this restaurant. This badly written bullshit gets me fuming.

“He didn’t look at me as he said this, looking instead at his hands, both of which were on the table in front of him and in one of which a cigarette had shrunk almost to a nub between two fingers.”

This is a lot of hot air just to get to the cigarette nub. We don’t need to know that the table is in front of him. Where the fuck else would the table be? Behind him? I mean, if Greenwell wants to chronicle an unusual Bulgarian practice of sitting in restaurants and reaching behind one’s back to eat your meal, then, dammit, I’m all ears. In fact, a goofy story along those lines would be far more interesting than anything Greenwell has ever written.

“I put both of my hands around the cup in front of me, taking a deep breath as I pressed my palms against what warmth was left, and then, when I could speak more calmly, What is the life you want, I asked.”

I must confess that this sentence made me laugh out loud. It reveals what a humorless dolt Greenwell is. It shows us how a badly written sentence — and, let’s face it, there isn’t a page in Cleanness that isn’t littered with these runts — can completely botch your efforts to establish atmosphere. The belabored attempt at sensual intimacy, followed by the superficial question, is unsuccessful because of the preposterous behavioral explanation. Greenwell might have had me if he had stuck with the hands around the cup. But he’s such a literary control freak that he has to tell us why the narrator does this. And when he does, we have to take a deep breath and say to ourselves, “Oh, Greenwell, you hopeless Harvard gasbag. You really don’t know people as well as you think you do.”

“He hunched his shoulders a little, as if to say I don’t know or maybe what does it matter, and then he started talking about something else, or what seemed like something else, making me feel again that I was on the wrong tack, that I had failed to sense or say what I should.”

More overwritten malarkey! Greenwell asphyxiates his readers with these superficial explanations of what behavior — in this case, G. hunching his shoulders — may mean as opposed to suggesting what it can mean and how these two characters perceive it. Good fiction requires ambiguity and speculation about characters. And we’re clearly not getting that here. Greenwell also commits the cardinal sin of explicitly telling us how the narrator feels rather than permitting his gestures to suggest feeling. For all of his syntactic engineering, Greenwell fails to understand that a good sentence needs to advance the story and our knowledge of the characters. The rhythm here is off, complete with the “something else” jumble that is completely superfluous and appears to exist here to pad out the page count. (Cleanness is 240 pages and the text has been typeset so that you get about thirty lines per page with notably larger page margins.)

“It was a tender gesture, and his voice was tender too as he said Kuchko, addressing me as if solicitously and tilting my head so that we gazed at each other face to face; his fingers flexed against my cheek, almost in a caress.”

Greenwell has been celebrated for his frank portrayals of intimacy. And while I’m happy to see more LGBTQ and BDSM relationships in mainstream literature, I cannot accept bullshit sentences. If you have tilted your lover’s head and you are gazing at each other, you are face to face. What other position would you be in? This takes us back to the eccentric table ritual in Bulgarian restaurants, which has captured my imagination so much that I may very well have to write a story about this myself. Also, why do we need the “as if solicitously” and “almost in a caress”? The adverb stands out like a sore thumb and the imagery here is pulled from the bodice-ripper cliche playbook. Greenwell is near incapable of writing a story without all this unnecessary commentary on what a gesture may mean. I suppose, it’s that privilege and Harvard background that makes this asshat assume that his readers are too impaired to imagine anything.

“I could feel his cock thicken against my cheek, then lengthen and lift: there had been no change in it during my long recitation, that catalog of desires I had named, but now at our first real touch he grew hard.”

If this sentence isn’t a finalist for the Bad Sex in Fiction Award, I’ll be very surprised. This reads more like a description of Puppetry of the Penis than a love scene. And Greenwell’s verbosity, his compulsion to insert needless clauses, his catalog of desires (nay! his catalog of desires that he has written!), really destroys his good faith efforts to describe intimacy. But he certainly has a strong future ahead with these unpardonably flatulent sentences!

[CORRECTION: A previous version of this essay mistakenly referred to a “Burnese Mountain Dog” as a “Burmese Mountain Dog.” Reluctant Habits is grateful to reader George Jansen for pointing out this error.]