An (abandoned) graphic novel-in-progress:
WE ARE LADIES AND GENTLEMEN SERVING LADIES AND GENTLEMEN
This sketchbook page is what happens when you put me in customer service training for 4 1/2 hours.
The title of this post is the motto of the Ritz-Cartlon.
Here is my own definition of customer service: tricking people into thinking they’re #1.
Here is the secret to life: knowing that every person is the center of his or her own universe and using that knowledge to manipulate them.
Here’s a quote from Don Barthelme:
“The distinction between children and adults, while probably useful for some purposes, is at bottom a specious one, I feel. There are only individual egos, crazy for love.“
SHOWING PIGS, EATING PIGS, DRAWING PIGS
These are research sketches of pigs I did for a new comic called “Showmanship,” which is going to be about my experience raising 4-H hogs for the county fair. They were inspired by a lame-ass interview I saw of Jonathan Safran Foer describing why he’s a vegetarian that I came across while researching Everything Is Illuminated for our book discussion on Wednesday:
There’s no paradox when you’re a child between loving animals and eating animals because you don’t realize that they’re one and the same. Then when you do, people move in one of two directions, either finding ways to reconcile that in their lives, or saying, ‘I don’t have to reconcile it, I just won’t eat animals.’ And that’s what I did.
Foer became a vegetarian when he was nine, which was exactly the same age I was when I started showing hogs. Growing up in Southern Ohio the son of an ex-meatcutter and the grandson of a farmer, I don’t think I even MET a vegetarian until I got to college. And even then, I’ll admit that my reaction to vegetarians was pretty identical to Alex and his grandfather in Everything Is Illuminated :
“You should know…” “Yes?” “I am a… how to say this…” “What?” “I’m a…” “You are very hungry, yes?” “I’m a vegetarian.” “I do not understand.” “I don’t eat meat.” “Why not?” “I just don’t.” “How can you not eat meat?” “I just don’t” “He does not eat meat,” I told Grandfather. “Yes he does,” he informed me. “Yes you do,” I likewise informed the hero. “No. I don’t.” “Why not?” I inquired him again. “I just don’t. No meat.” “Pork?” “No.” “Meat?” “No meat.” “Steak?” “Nope.” “Chickens?” “No.” “Do you eat veal?” “Oh, God. Absolutely no veal.” “What about sausage?” “No sausage either.” I told Grandfather this, and he presented me a very bothered look. “What is wrong with him?” he asked. “Hamburger?” “No.” “Tongue?” “What did he say is wrong with him?” Grandfather asked. “It is just the way he is.” “Does he eat sausage?” “No.” “No sausage!” “No. He says he does not eat sausage.” “In truth?” “That is whht he says.” “But sausage…” “I know.” “In truth you do not eat any sausage?” “No sausage.” “No sausage,” I told Grandfather. He closed his eyes and tried to put his arms around his stomach, but there was not room because of the wheel. It appared like he was becoming sick because the hero would not eat sausage. “Well, let him deduce what he is going to eat. We will to go to the most proximal restaurant.” “You are a schmuck,” I informed the hero.
Of course, I really don’t care whether someone is a vegetarian or not. And I’m fully aware of all the ethical, moral, and health issues involved in meat consumption. I just don’t dig on self-righteousness.
What I do dig is the few authors who love to eat meat and have done some really good writing on the meat-eater’s dilemna.
The first is David Foster Wallace in his essay on the Maine Lobster Festival, “Consider The Lobster ,” where he poses the question “Is it all right to boil a sentient creature alive just for our gustatory pleasure?” and after trying his best to answer it (considering everything from a lobster’s neuroanatomy to the difference between pain and suffering) admits, “I like to eat certain kinds of animals and want to be able to keep doing it, and…I haven’t succeded in working out any sort of personal ethical system in which the belief is truly defensible instead of just selfishly convenient.”
The second is Michael Pollan in The Omnivore’s Dilemma, whose book is all about tracing the origins of our food, and whose solution to the problems of meat-eating is to find local, organic meat suppliers who feed their animals well and treat them humanely.
Who wants a cheeseburger?
IT SOUNDS GREAT WITH THE VOLUME DOWN
My friend Brandon (who keeps refusing to answer my e-mails now that he’s a fancypants graduate student — maybe he’ll read this and feel guilty) once told me that in the lazy afternoons, he’d been watching soap operas with sound off, writing his own dialogue for the characters on the screen. I thought that sounded like a fun writing exercise, but wasn’t sure what the equivalent would be for drawing.*
Then, a few weeks ago I came across a crappy-looking movie that was shot in the same whaling town one of my characters lived in. So I picked up the DVD, sat down with my sketchbook in front of the TV. But instead of watching it, I used the fast forward and pause buttons to freeze-frame scenes that I thought were pretty decent. Then I super-imposed my own characters over those scenes.
By the time I’d made it through the movie, I had several pages worth of comics panels (without dialogue — but you could certainly add dialogue), and it occured to me, you could do a whole comic like this, if you really wanted to.
* Though, come to think of it, Kenneth Koch used to give his poetry students comic books that they’d never read, and order them to white-out the speech balloons without reading the dialogue, and write their own….
DEAR DIARY
The most honest, funny, nitty-gritty, cutting-edge work happens in your sketchbook — you don’t have to worry about whether anything is good or bad, you just fart around. And when you’re just farting around, that’s when the good stuff happens.
For the past couple of months, I’d been so focused on what I thought was my “real” work that I wasn’t working in my sketchbook. And funny enough, even after working on several pages of “finished” comics, I still felt unfulfilled, like I didn’t get anything done: my sketchbook was blank, and that was failure. It seemed like my daily life, because it wasn’t chronicled, or at least eluded to, was lost.
So for the past week or so, I’ve been on a diary kick, filling something like five pages a night, right after Meg falls asleep, and before I do, too. There’s something about the twilight of consciousness — it’s kind of a magical time where you pull crazy things out of your ass. One of the things I’ve been doing is keeping my diary entries strictly comics-based: lots of pictures, speech bubbles, etc. Not like James Kochalka, I don’t try to make perfect comics from a moment that captures the day. Something more like Anders Nilsen (his whole book, Monologues for the Coming Plague, came straight out of sketchbooks), where I just try to empty the junk in my head onto the page — fast and dirty.
It’s been really wonderful.
Anyways, I had breakfast this morning with Dan (who also, it turns out, is a fan of Anders), and I wrote about it in my diary this afternoon using my new style. Here’s a couple pages from it:
For anybody who lives in Madison (this means you, Sean), check out Dan at the Wisconsin Book Festival next week, where Chris Ware and Marjane Satrapi will also be hanging out.
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