Another from Circulating Drafts
Well, Andrea pointed out to me that my “About” section and links had disappeared. So… they’re back. And here is the revised version of “Gulf” from the new, printed book.
Well, Andrea pointed out to me that my “About” section and links had disappeared. So… they’re back. And here is the revised version of “Gulf” from the new, printed book.
It’s now been a week since MoCCA Festival 2011, and I finally feel somewhat back to normal. As in previous years, the weekend went by in a flash—or maybe more accurately in some sort of demented fever dream, fueled by a week of little-or-no sleep, InDesign-cursing, and severe onset of Stapler’s Wrist. That said, this year felt a lot less stressful at the Tapir Tooth table, which I think speaks to how far we’ve all come since we started doing this.
I was selling my new mini/chapbook, Circulating Drafts, which is available through Etsy (note the new link in the sidebar). I’ll post more material from it soon, but some will remain exclusive to the print edition.
I walked away from the weekend with a light wallet and a small treasure trove of comics. There were way too many great finds to list everything, but here are some highlights.
First and foremost, there were exciting new offerings from my Tapir Tooth compatriots—a gorgeous set of postcards from Andrea Tsurumi, a preview of a Reconstruction-era western by Peter Quach, a collection of Centaur-a-Day postings by Miriam Gibson, and a Pokemon-based collaboration between Miriam and Blūjay.
We were lucky to have two sets of talented and friendly neighbors: Meredith Leich and Liana Finck on the one side, the folks at Nerd Comics on the other. (That’s a detail from Leich here. I was struck by how lyrical her work was, and I’m excited to check out more.) A few tables down was Kenan Rubenstein, our neighbor from last year. All awesome cartoonists and well worth checking out.
I was kind of blown away by Anthony Cudahy’s brushwork (here’s a partial detail, which does not do justice to the work), and totally delighted by Caitlin McGurk’s flash cards to sort out members of the Wu Tang clan—including, of course, our generation’s William Blake, one Ol’ Dirty Bastard.
I splurged on this giant, pink, weird anthology of Finnish comics, which I’m still working my way through. Neat stuff.
There was new work (mostly minis) from a number of my friends and mentors, including Tom Hart, Tom Motley, Jason Little, Jon Lewis, Karen Sneider, Josh Bayer, and C. Che Salazar. I finally caught a panel, featuring young New Yorker cartoonists that included my old schoolmate Zach Kanin.
I’m mooching off Andrea’s copy of Kate Beaton’s new book. The NBM table fed my addiction to Dungeon, the satirical French fantasy series.
And reaching a crescendo, if I had to pick two clear highlights from the convention, they’d be Joseph Lambert’s I Will Bite You and Galit & Gilad Seliktar’s Farm 54. The former is kind of indescribable, and you should go pick it up right now. (I’ll just say that “TURTLE, KEEP IT STEADY!” has immediately entered our daily usage.) The latter (cover pictured here) is a fictionalized memoir of growing up in Israel, told in dreamy, exquisitely rendered vignettes.
Whew! That’s it for now. Keep an eye out for more revisions, and perhaps an eventual move away from the blog format, toward something a little more focused on finalized content.
This Saturday and Sunday, I’ll be tabling at the annual Museum of Comics and Cartoon Art’s annual festival, along with the other members of the Tapir Tooth collective. It’s being held at the 69th Regiment Armory, on Lexington Ave. between 25th and 26th Streets in NYC.
Come visit us at table I-11—and if you feel so disposed, pick up a copy of my first print collection, Circulating Drafts. As a teaser, here is the revised version of a poem that was posted here earlier, now titled “Magnolias: What Spring Has.”
Here are 2 versions of a panel from the last poem I finished, “Gulf”:
The first is the original. The second benefits from my first few lessons in perspective (courtesy of Sal Amendola at SVA), as well as some reference photography. I’m pretty happy with the difference.
I haven’t been updating much lately, and I’m afraid it will stay that way for a while. Ever since deciding to buckle down and dedicate myself to this project, I’ve struggled particularly with two challenges. The first, which I think all artists deal with, is the gap between what’s in my head and what makes it onto the page. For that, I’m so grateful that I have the opportunity to take classes. And I also take comfort thinking of Elizabeth Bishop, who made revision after revision to her poems, sometimes over the course of many years.
The second is formatting. My general preference has been to keep things electronic—I like gadgets, I’d like to murder fewer trees, and my brief time in the publishing world did not leave a good impression of the paper book world. That said, I get why people like physical books; I do too. With MOCCA coming up, I’m focusing on producing some chapbook-type minicomics.
So: the next few months will be all about revision and paper, with smaller snippets online. I’m also trying to work up some chops as a web developer, so look forward to an overhaul of this site, most likely incorporating ComicPress and other doodaddery.
In this season of evergreens and lights, and in the midst of these dark times, may we all be decked with Boston Charlie. Happy Holidays to each and every one!