Jeff Spock
Excerpt
The interview process was legalized torture. Wall Street was skydiving without a parachute, and there are few things less useful in a shrinking economy than a graduating class of MBA's--each and every one with dreams of riches. Like me. We all talked to everybody; any company that had an open sign-up list was white-collar-deep in applicants. This included companies that nobody had ever heard of, in industries too obscure to be the object of b-school case studies, who were sometimes so insignificant as to have no Internet presence. I remember the moment: A Wednesday with lots of rain. Fontainebleau looked gray and ill-used, and so did I. It was my eleventh interview and so far I had nothing to show other than a pile of those letters whose second paragraph starts with, "However,..." They were interviewing in one of the classrooms; no cozy rooms at the local auberge for the two Wyxter interviewers. One was slight, long, bald, and disdainful. The other was small, aggressive, intense, and confused. Dark suit, light shirt, dark tie, like I was interviewing with IBM in 1975. "Name?" "Potts. Julian Potts." "Nationality?" "British and American." The small guy pretended to nod and look at a paper, then stopped nodding and looked at another paper, and then another, and the pitch and rhythm of the paper shuffling started to increase to the point where I was afraid something spontaneous might combust. "Mister Potts." The voice was so distant and disinterested that I almost didn't feel like I had to respond. "Yes?" I liked that 'yes.' Confident, self-assured. "Do you feel that you have learned something over this year about cross-cultural interactions? Do you feel competent to pick up the ball and run, even if you don't know the rules of the game or the shape of the playing field?" "Huh?" Not so good. The 'yes' had been much better.
Like Wyxter Trade, who hired me.
Bio
Publications
"teh afterl1fe," in 2020 Visions, edited by Rick Novy (M-Brane Press, 2010)
"Of Love and Mermaids," in tumbarumba.org, a conceptual artwork in the form of a Firefox extension, edited by Benjamin Rosenbaum (2008)
"Everything that Matters," in Interzone (December 2008)
Writing Description
Due to the extreme influence of hard-boiled detective literature during my formative years, much of my writing could be stereotyped as that of a "white guy with a problem." I'm trying to move away from that. Being a member of Villa Diodati is helping enormously.
Writing Goals
One story, either written or edited, per week.


