Austin Kleon

The Adventures of Johnny Broom

When I was reading Jan Swafford’s introduction to classical music, Language of the Spirit, I kept thinking about how some of the stories about Johannes Brahms would make perfect Kate Beaton comics (a la “Chopin and Liszt” or anything in Hark! A Vagrant or Step Aside, Pops). I doodled a few in my sketchbook:

I’m currently learning his Waltz in A Flat, which is just beautiful:

A fun fact: Brahms was Charles Schulz’s favorite composer, but he thought Beethoven was funnier for Schroeder’s obsession:

Next up: reading Swafford’s biography of Brahms…

Dark Days

Part of the problem with depression is that it’s somewhat beyond description, and almost impossible to fathom for those of us who haven’t experienced it. I’ve been bummed, sad, melancholy, etc., but never actually depressed or suicidal, and I never really began to understand depression until I read William Styron’s 80-page memoir, Darkness Visible:

Depression is a disorder of mood, so mysteriously painful and elusive in the way it becomes known to the self—to the mediating intellect—as to verge close to being beyond description… it has to be emphasized that if the pain were readily describable most of the countless sufferers from this ancient affliction would have been able to confidently depict for their friends and loved ones (even their physicians) some of the actual dimensions of their torment, and perhaps elicit a comprehension that has been generally lacking; such incomprehension has usually been due not to a failure of sympathy but to the basic inability of healthy people to imagine a form of torment so alien to everyday experience.

Styron does his best to describe it for the reader:

The pain is unrelenting, and what makes the condition intolerable is the foreknowledge that no remedy will come — not in a day, an hour, a month, or a minute. If there is mild relief, one knows that it is only temporary; more pain will follow. It is hopelessness even more than pain that crushes the soul. So the decision-making of daily life involves not, as in normal affairs, shifting from one annoying situation to another less annoying- or from discomfort to relative comfort, or from boredom to activity- but moving from pain to pain. One does not abandon, even briefly, one’s bed of nails, but is attached to it wherever one goes.

I might also recommend Allie Brosh’s comics, “Adventures in Depression” and “Depression Part Two,” collected in her book, Hyperbole and a Half:

Some people have a legitimate reason to feel depressed, but not me. I just woke up one day feeling sad and helpless for absolutely no reason.

(I have not read Andrew Solomon’s The Noonday Demon, but I loved his book Far From The Tree.)

A few of my friends have written about their experiences, including Mike Monteiro and Clayton Cubitt.

I wish y’all well. Hang in there.

Summer reading assignment

I indulge in silly little writer fantasies, like rehearsing my answers for the “By The Book” column in the NYTimes. (“If you could require the president to read one book, what would it be?” Lydia Millet had a good answer: “This president? Yes. One book.”)

On Twitter, Erika Hall asked, “If you could assign every American to read one book over the summer, what would it be?” She got good answers, many of which might be on my list: Amusing Ourselves To Death, A People’s History of the United States, The Fire Next Time, etc.

If I gave a summer reading assignment to every American, here’s what it would be:

  1. Visit your local library and apply for a library card. (Or pay your fines and renew.)
  2. Ask a librarian for a tour of the library building, the online catalog, and the digital holdings. Ask the librarian to show you how to put materials on hold, how to request materials for purchase, and how to use interlibrary loan.
  3. Check out at least one item. (So you have to return.)

That’s it.

Once through, cleanly

Frank Chimero’s description of how he designs a poster:

I’m a big proponent of ‘once through, cleanly’. You think about your idea, sketch, then put some glue in your chair and bang it out in one sitting. All of my best work happens this way: posters, collages, essays, outlines for talks, and so on. The work seems to be more cohesive and the energy more concentrated and palpable. If you sit down and what you make is bunk, you walk away, come back later and start over. You don’t keep any of what you’ve done before, you only retain the memory of what went wrong. It’s a silly method, but it works for me.

This is how my best work comes, too: Everything I’ve done that’s good has come really fast and furious after a (seemingly endless) period of messing around and aborted attempts.

For the book I’m working on, in between drafts, I didn’t do any cutting and pasting: I started with a clean document each time, and retyped anything I was keeping from a (printed out) previous draft. This forced me to re-read everything and fix things up as I went. Every draft was start-to-finish, and each draft had a kind of momentum to it. This doesn’t mean there wasn’t a shitty first draft, just that I started each draft with clean potential.

As always: Everybody’s different. Whatever works.

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