![]() LG I gave myself a deadline of one month, but I wasn’t really sure what the interview was going to look like. I kept thinking about what her job must’ve been like trying to create some sort of order.ĬS So given the magnitude of the archive, what was your process in coming to shape your posthumous interview with Butler? LG Yes, and as I say to people, I got to know Natalie as well as Octavia as I moved through the archive. We should mention here the incredible work of Huntington Library Curator Natalie Russell who meticulously indexed the entirety of Butler’s papers. ![]() ĬS Yes, actually thousands of pieces and something like 345 boxes. So I came here to the archive and found over three hundred boxes of material. Because I am a journalist, she thought it would be interesting if I did a posthumous interview. Lynell GeorgeThe director of Clockshop, Julia Meltzer, invited me to do a piece about Butler. A recently published catalogue of the writings and art produced for Radio Imagination, including “Free and Clear,” is available through Clockshop’s website.Ĭonnie Samaras How did the idea for “Free and Clear” come about? Both George and myself were commissioned by Clockshop (Los Angeles) to produce new works for the exhibition and year-long (2016–17) programming Radio Imagination: Artists and Writers in the Archive of Octavia E. George crafted her piece from extensive research of Butler’s voluminous archive at the Huntington Library, San Marino, California. I interviewed journalist Lynell George about “Free and Clear,” her posthumous interview with African American science fiction writer Octavia E.
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