lookingland: (rabbit)
( Jan. 1st, 2009 08:53 am)
i hope everyone has celebrated a safe new year's eve and is starting their new year with cheer and optimism. be gentle with your resolutions if you are prone to make them: you don't want to trap yourself with obligations you can't or don't want to fulfill and find yourself grumpy and disappointed before the first quarter is even over!

for me, i've written my list of the year's goals. last year i didn't get as much done as i would have liked, but i feel more focused this year (or at least have been more recently). so i am hopeful.

in reading: last night i considered challenging myself to finish reading Quicksilver (i had said i would), but instead i read Enid Blyton's The Enchanted Wood (or at least the beginning of it). Blyton's style is rather simplistic (it's a children's book after all, and definitely a product of its time), but i am reminded of how prolific she was. she was a natural storyteller, i guess. that's something i have never been. i can weave a charming anecdote, but writing has always leaned more to the technical side for me.

i will finish Quicksilver this year at some point, but at the moment i have so many more exciting things on my night stand. you will be hearing about them along the way, no doubt.

in writing: in 2009 Reconstruction will celebrate 20 years (officially in August). i guess i ought to polish off the writing of the old thing, shouldn't i? i mean, the sequential version will keep just fine running as it is (and it is!), but the narrative text it scattered over so many places right now. this will be a year of gathering it up and trying to put it into some sort of order.

anyway, i am celebrating this milestone (and semi-resolution) with a bottle of absinthe today (because what could be more appropos?).


in writing (cont.): the last thing i wrote in 2008 was the annual Christmas story. clocking in at a little over 30 pages, it turned out rather amusing, though has a lot of rough edges and a couple of dropped threads that need to be basted back in. but i managed to write it without any pressure whatsoever of feeling like it had to be the least bit good or feeling like i had to defend it. i honestly don't think i have enjoyed something so much for a long, long time. i am hoping that this bit of liberation will free me up to be more productive in the coming year.

i haven't given up on In Pursuance of Said Conspiracy either, by the way. i am trying to figure out how to fit it into my schedule (it's going to be a tight race if i want to get it going by april). i just need to clear some other unfinished business off of my desk.

finally, The Orchard debuts today and will be posting weekly on thursdays. yay!

okay, enough potpourri from me: tell me one thing you want to try this year that you've never done before ~ and one thing you really want to focus on accomplishing!

: D
[livejournal.com profile] nextian sent me a meme and i am passing it along. the gig is: i answer thirty questions with one (or none or several, apparently) name(s) each, and you only find out the questions if you comment and promise to do it yourself.

meme! )

~ * ~

meanwhile, it's been an up/down weekend and lj is making the option of skipping over the permanent account sale very easy. they even moved the selling window to december ~ guess they're trying to fix the hideous profile page before sale (too late: they've lost my money).

it's 26 degrees right now, which is about just right for an indoor temp in the ballpark of 58-60. i'm wearing fleecy jammies, muffy socks, and a light nightgown (and hell no, i didn't get dressed all weekend, which was my plan ~ weeeeee!)

okay, but on to business.

the challenges of the challenge: spent the earlier part of saturday morning painting the first three strips. i'm not unhappy with how they came out, though there are things about them i could criticize (aren't there always?). the real problem is that between the drawing, inking, painting, and lettering, i have to do four passes with each strip and by the third pass, i'm feeling kvetchy about the whole project. this is me being overly fussy and lazy and undisciplined, but it's a serious problem because right now i wish i'd never drawn a single panel and i'm ruminating on the simplicity of just writing pert little bon-bon novellas and not bothering with all this falutin' "art" nonsense.

you have no idea.

: o p

i think i keep going in this circle because i don't want to be defeated, because i have in mind this concept and the concept includes pictures, but i can never quite get a handle on what it looks like in a physical form.

right now, sam ita's Moby Dick (is that ironic or what?) and 20,000 Leagues under the Sea come closest in spirit, but without the pop-ups. i keep looking at book designs and illustrations and there are dozens out there that i would love to emulate and dozens i've thought were "right" for this untenable creature but which proved too stiff (the victorian periodical was in the win for a long long time, but there was something inorganic about it that bothered me: the lack of color and the density of the text, mostly). and i have poured over william morris, whose designs were as close to a modern-day illuminated manuscript in the 19th century, but morris was a genius and ultimately i want something softer than the print block. i want something somewhat luscious, but also gritty ~ like pie. pie is vibrant, crisp, warm, melty.

anyone on my flist know of a book that mimics the experience of pie?

well, all sunday i toiled and moiled and despite several highly experiment stabs, came up with something pretty traditional and that's where it stands (still). i don't hate it (you can see it here). i used a lot of layers to get the color just right (hope everyone likes yellow, because that's what it is!). i guess i can only see how it goes from here.

nice frost on the ground this morning ~ still wish it would snow.

: o p


from sam ita's Moby Dick: not a very
good picture, but it might give you an impression
of the complexity of the book
[livejournal.com profile] cathellisen reminded me a couple of days ago, about an age-old ever-burning desire to write the "hybrid" form of story that somehow combines a narrative with sequential art in a way that would be part-book, part-graphic novel.

i think the last time i actually tried to work on what that would look like was back when i first started Razi-el's Dream (which has been more years than i would like to admit).

this idea was very Eddie Campbell in its layout,
which i think ended up being too rigid

i more recently flirted with the idea when conceptualizing Eleison, but there was never time enough to develop the look and feel of the thing and too much static on the collaborating end (not my brother, but other factors). i tried pushing for it with issue No. 4, "Harvest", but we were really pinched under deadline, so it didn't work out. i loved the text of the issue, but it was built to work with more dialogue and very little of the dialogue ended up in the book because we went with straight illustrations instead.


we had three weeks to put this book together
and i was still writing up to the last minute
to fix some wonginess

while i feel that the book is a bit of a mutt and didn't quite work, i still really like it and think the story was pretty fabulous (and it was fun to write something from the point of view of the father of one of my favorite characters ~ that's the only time that's happened so far!).

anyway, the point of all this is that maybe now's a good time, given the improvements in my ability to draw and my firmer confidence in the arc of the material, to try fusing that elusive hybrid together again. there are moments when i know that this form, whatever it might actually look like, is what i am truly meant to do. i'm too impatient for straight sequentials over the long haul (and i miss the narrative), and the narrative is always wanting images. i have said this before and keep coming back to it, so clearly there is something here.

i'm still working on the three stories i have going at the moment and those deadlines are firm, but i'm thinking of digging up a disembodied vignette from somewhere and just playing with the melding of visuals and text ~ to see what i can come up with. hopefully the hardest part will be deciding which text to use.

p.s. i am almost finished with my paper doll. except for the west point thing. i might post him later.

off to slay dragons ~ happy sunday all!

: D
lookingland: (stamp)
( Nov. 20th, 2007 08:12 am)
i keep writing entries and then abandoning them. a long ramble about john jakes, more quibbling about neal stephenson, and a lengthy review of the tv series Firefly. but it was all so critical, i have decided to write about something i really like instead.

i really loved the X-Files because the basic, driving story is not really about aliens and conspiracies. it's a story about the conflict between Mulder's belief (in those aliens and conspiracies), and Scully's faith (her middling Catholicism). during the course of the show, Scully does grow in her faith as she develops a belief in Mulder's craziness. Mulder's journey, too, is toward faith, ultimately, when he comes to realize that just finding the truth and believing it doesn't mean there are answers or solutions. he realizes that he has to have something more.

if you've never seen the show or have any desire to watch it, you may want to skip the quote below; these are the lines that close the final season of the X-files. Mulder and Scully sit on a motel bed (bringing us pretty much full circle to where their [wonderfully platonic] relationship began). they are on the run and the world is doomed. Scully tells Mulder that he found the truth and it didn't bring back his sister or save the world. So now what?

Mulder: I want to believe that the dead are not lost to us. That they speak to us as part of something greater than us, greater than any alien force. And if you and I are powerless now, I want to believe that if we listen to it speak it can give us the power to save ourselves.

Scully: Then we believe the same thing.

Mulder: Maybe there's hope.
There is an emphatic gesture here between the lines in which Mulder touches the small cross around Scully's neck before she speaks. out of context, it maybe feels like a goofy, ham-fisted moment (maybe even in context). but it really did end the show perfectly. nine seasons of sometimes ridiculous plot turns and "back-from-the-dead" scenarios and unkillable super-soldiers, yes. but there was always something more and that was what drew me to it. X-files could be cheap and manipulative like any tv show, but i always felt like it had a bigger heart under all the flash, that it wanted to do something more than just chase little green men.

its Moby Dick leitmotif was always very apt (and probably underappreciated). we are, all of us, chasing our own great white whales.

maybe its the failure to recognize this (or strive for it) that i find lacking in so many other creative works.



p.s. a long-awaited movie sequel is allegedly in the works. i am not holding my breath, but if it is being filmed, i hope they do right by it.
friday's are always somber as the grave around here, so i'm just going to blither incoherently (not much sound or fury, but plenty of typing nevertheless).

in sarah vowell's book, there's a discursive paragraph in the garfield assassination chapter about herman melville and how he worked at the custom house all his life for 4 dollars a day, six days a week, and never in 24 years got a raise. sometimes i think melville haunts me a little (and not because of the job-thing). melville wrote the first really "great" American novel and yet died poor in obscurity. instead of writing, he dedicated his life to keeping the custom house honest (no small task in that era). vowell lauds his altruism, but laments the loss to literature. it's something to think about: the choices we make with our lives.

anyway, i'm not a "fan" per se of Moby Dick, though used it a great deal in my teaching. and i seem to run into it often in random places. this, coupled with my terror of the ocean all make for an interesting gooey hilosophical conglomerate.

today, for example, i did a silly book meme and got Moby Dick as my "great book".

like all memes, it's chockful of "insightful" personality analysis based on characteristic traits drawn from the text. but i thought i would eviscerate this one in particular because it poked me into an interesting place.

all about me meme )


just call me moby in the moooorning, baby
i've been complaining forever about not having a unifiying über-title for my work. something that would take the three distinct periods (antebellum america, the war of northern aggression, and the reconstruciton era) and encapsulate them (though technically the reconstruction era ends in 1877 and then the gilded age sorta took over ~ which sorta puts a crimp in my bustle, but we can work out the details later, i mean, technically only One Perfect Summer falls into the strictly antebellum era, so i could shift everything from bellum to reconstruction to gildedness and no one would be the wiser). boy, i sure can natter.

anyway, assuming we're working in the magical land of threes: try this one for size (now seemingly the most obviously appropriate title in the world):
An American Triptych
on top of which i love this almost completely unrelated painting:



from hunter studio (how apropos)


p.s. while i realize that this does not make allowances for Raziel's Dream, i'm okay with that book being a seperate critter (especially since it takes place almost entirely in france and not in america at all).
lookingland: (tree)
( Apr. 13th, 2006 03:12 pm)
my whole victorian titling thing isn't working out. not only am i bad at titling, but the titles (necessarily editorial or expository in nature) are proving intrusive and are interrupting the flow from one section to another in a way that the quotes weren't.

i'm out of brilliant ideas on this one. though i considered the whole faulkner thing (with the names as "headers"), i think that only worked for him because As I Lay Dying is a relatively short book. i think in a longer work (and this is gonna be a lulu), i think it would get very irritating after a while.

so i'm back to quotes and i'm just going to let it stand as that for the time being.

which means i need a set of quotes or a text to quote from for James. it can't be military and it can't be musical. so i came up with three options:
1. something literary ~ what would make the most sense would be something obscene, but i don't know that obscene works are all that easily recognizable at a glance (i was initially considering Fanny Hill). i'm hesitent about this because i think James is perveted enough without emphasizing that particular trait (it could work against other things I'm trying to do witht he story if we have cause at all to speculate about the extremity of his predilictions). i also considered other literature, specifically Moby Dick, but i don't really feel like pawing through Moby Dick for quotes and i think it would be sort of red-herring in its juxtaposition. The Iliad or such classic ilk would be suitable except it's too erudite. Even Shakespeare would be too erudite. i think James is far too lazy to care about the classics even if he is versed in them. if he were alive today he'd read popular fiction; john le carré, for example.

2. game rules ~ metaphorically this is very apropos. i was considering particularly baseball, cards, checkers, and/or billiards. problem is i don't have any texts for these things (not pre-1862). it would take some digging.

3. almanac ~ good ol' faithful. i've no doubt James reads the almanac regularly, especially if it's sensational and prurient (like the one i have from 1838). the little snippets of bizarre information on hypnotizing chickens, recipes for contraceptives, and accounts of space aliens would be hilarious. but perhaps too eccentric. it works for the Leverettsville Gazette because we're operating from an off-base base to begin with. for the purposes of this project we're just meeting James for the first time and i think it's really during the war that he especially cultivates his weirdness. i don't want to present him as crazy (because he's not). i want to present him as a machiavelli (but no, no The Prince).

given all this, i think the game thing is the way to go. now i have to find a text (or texts) to quote from. drat. i was trying to avoid that.

if anyone knows of any 19th century rule books online, point me to 'em. later i'll do some googling myself.
"Quagmire" ~ 3.22

SCULLY: It's funny, I just realized something.

MULDER: [Queequeg is a] bizarre name for a dog?

SCULLY: No, how much you're like Ahab. You're so consumed by your personal vengeance against life, whether it be its inherent cruelties or mysteries, everything takes on a warped significance to fit your megalomaniacal cosmology.

MULDER: Scully, are you coming on to me?

SCULLY: It's the truth or a white whale. What difference does it make? I mean, both obsessions are impossible to capture, and trying to do so will only leave you dead along with everyone else you bring with you. You know Mulder, you are Ahab.

MULDER: You know, its interesting you should say that, because I've always wanted a peg leg. It's a boyhood thing I never grew out of. I'm not being flippant, I've given this a lot of thought. I mean. if you have a peg leg or hooks for hands then maybe its enough to simply keep on living. You know, braving facing life with your disability. But without these things you're actually meant to make something of your life, achieve something earn a raise, wear a necktie. So if anything I'm actually the antithesis of Ahab, because if I did have a peg leg I'd quite possibly be more happy and more content not to be chasing after these creatures of the unknown.

~ * ~

ah, for those halcyon days when that show was something to be reckoned with. X-files may well be the last bit of mainstream pop-culture i was ever actually plugged into.

sad, that.

: D
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