Look, it's not that it makes sense. It's that it wins games. I think, anyway. I've never really tracked it.

Writing: Thursday with the Queen

One of the great joys of this line of work has been the excuse to travel to new places. These strange and often surreal trips have contributed much to my understanding of myself, and my main regret is not writing more about them.

The below was written during my June trip to Charlotte, North Carolina, for Heroes Con. Because of the logistics involved in traveling to the eastern U.S. from California, I arrived very early in the morning a full day before the show, with nowhere to go and nothing to do. It’s in those moments that I have the most interesting experiences, wandering around with no agenda, waiting to see what happens around me.

My hotel was in the same building as the Wachovia Bank headquarters. Five months and one financial crisis later, I wonder how much remains of the bustling energy I waded through that Thursday morning.

I wrote this that Thursday afternoon.

###

You are in Charlotte, a place you have never been.

You spent a sleepless night flying over a dark country, your head resting sideways against the airplane window and gradually smearing the lights below into gauzy ghosts. Your checked bag was over the weight limit, its belly full of books, but you asked the ticketing agent for a bag, or a box, or anything, and you unloaded seventeen pounds from the suitcase and carried those lbs. in your arms. You saved fifty dollars, but you spent ten on an airport pizza — though, in retrospect, you might have gotten more nutrition from simply eating the ten-dollar bill.

You rode a bus through Charlotte in the post-dawn. You did not have change for the fare, thirty cents short — you were about to lose a whole five dollars to the fare-machine, for lack of any other option, until a woman fished through her purse and found thirty cents for you in dimes and nickels. You thanked her, and spent the next few minutes wondering how you could somehow give her fifty cents in repayment.

You forgot about the fare when the man slumped next to you, reeking of weed and ash and desperation. He tossed his briefcase (a torn plastic shopping bag containing, you think, shoes) onto the opposite seat and did not move for half an hour. You were sure you were going to be stabbed.

You survived, somehow.

Now, you wander through the city in great loops and clover-leafs, making the back-and-forth snail-trail that is only possible when you are alone and do not have to justify each double-back with words. You use the bag-check service at a hotel where you do not have a room. You ask questions of the concierge at another hotel where you paid nothing. You read free newspapers, and leave them where you finish them. You get free coffee from a place giving away free coffee, and you do not tip, because that would defeat the purpose. You pocket a banana from a conference room, table-set and catered for an event later in the day. You take advantage.

You wander through great mobs of morning workers, dressed each to a man in identical office costumes of black slacks and pastel oxford shirts. You see guys your age and younger who have not shaved in as long ago as you have not shaved, but the difference is that you do not care. This is the earliest o’clock that you have been out among society in quite some time, and you barely recognize its commercial shape from sitcoms and movies about people who go to work in offices in bank buildings. It is a world you do not know, and as you watch them file into elevators, you wonder if those sitcoms are true and they all have unrequited longings for one another, a million bank-employee libidos all shoveled clumsily into one seven-a.m. elevator.

You stroll through the library, and in exploring the various crannies you happen across a friendly librarian, who asks what he can help you find. You invent a need, and he, perplexed, tries to help you, and your request is misinterpreted in such a way that you end up sitting down with a book full of firsthand recollections of battle written by Confederate veterans of the Civil War, and it is fascinating.

You sit in a sunlit chair, reading about men who died before your grandfather was ever born, and you recognize them because they are human in a way you have never seen dramatized before in fiction or history. The place is soft, and warm, and comfortable, and ultimately you are gently reminded by the friendly but slightly embarrassed librarian that you are not allowed to sleep in the library.

You find the convention center where the event will be held tomorrow, and suddenly you have a Purpose — you can pick up a Badge and find your Table and look at the Program and Do Things. There are people here who are sweating — people who are unloading box after yellowed box of comic books, the entire storeroom of a comic store, working very hard. They will have to load all those boxes back onto their dollies in three days, lighter perhaps by a few books here and there, and you do not envy them in the slightest.

You find your pre-shipped books waiting calmly in a room, and you set them on your table, and that is all you have to do. You wander around the convention center, its high ceilings and expansive halls grandly empty in the manner of Things Yet to Come, and you use the bathroom because there is nobody around and you might as well. A man comes in and mops the floors while you are inside the stall, and he drops his mop and curses. He can do that with impunity, because this is still The Day Before, and things are still Being Prepared, and nobody is yet here.

You return to your table, and learn from the program that you are on a panel on Sunday. This is news, but pleasant news.

A man comes around with a map of the show floor, using a marker to write numbers onto each tablecloth. You are sitting at your empty table, calling the comment line of a local newspaper to correct their spelling of a cartoonist’s name, when the man writes on your table. You are in the ‘island’, and so your table number starts with ‘i’. And so he writes it: ‘i622’.

Sitting behind that table in Charlotte, newspaper and telephone in hand, you read the table number upside-down. It looks like it ends with an exclamation point, and in that small moment, you smile.

True Stuff: The Inventor’s Wife

This “True Stuff from Old Books” entry is from Scientific American magazine, 1883. Sci-Am is pretty interesting to read back issues from, because as goofy as we sometimes think the 1800s were technology-wise (full of penny-farthing bicycles and steam locomotives), this was the height of the Industrial Revolution and the future literally seemed limitless for inventors. Any tinkerer with a few tools and a subscription to Sci-Am felt he could change the world with his creativity, and who’s to say he couldn’t.

Click the image for bigger; or, a complete transcription is below the jump.

Read more

Check out: Radiolab

I love podcasts. I listen to them on trips, while working, in my sleep and at all times while gallavanting. It’s tricky, though — I like my podcasts to update regularly, of course, but I’ve had to unsubscribe to more than one for having too much content. I find it’s easy to get outnumbered by a backlog of un-listened-to episodes, feeling overwhelmed and buried and hemmed into a corner frantically trying to absorb it all, every waking minute, afraid of missing out. I have come to terms with the fact that sometimes I cannot fit everything in, and so, sadly, The Two-Hours-Of-New-Stuff-Every-Goldurn-Day Show just has no place in my life.

Once a week for an hour or less seems to be a pretty good schedule for a podcast, as far as my own listening schedule goes. So I really like Radiolab, a WNYC public radio program about science, perception, and the underlying mysteries of everything. But instead of pointing you to the show and saying “There, go;” I’d like to share two particularly great episodes with you.

The first is their War of the Worlds episode, in which they tackle the 1938 Orson Welles hoax broadcast and explore why people believed it was real — and continued to believe it was real each time it was re-broadcast. Fascinating stuff, especially for folks like me who’ve never heard the original (despite the 4GB of old Mercury Theatre archives on my iPod. Like I said, it’s hard to get around to it all).

Another is a short, off-season episode called Tell Me a Story. It’s a recording of co-host Robert Krulwich delivering this year’s commencement address at Cal Tech, in which he exhorts the graduating nerds to evangelize the world with the wonder and beauty of science and exploration. (He does a much better job delivering it than I do explaining it.) Only 27 minutes long, and you can listen online or download the MP3. Do yourself the favor.

Season 5 of Radiolab starts next week. You can subscribe to the podcast at WNYC.org.

My interview with Nicholas Gurewitch

Recently I had the pleasure of speaking with Nicholas Gurewitch, the creator of The Perry Bible Fellowship, about all manner of things — creativity, pursuing one’s passion, his withdrawal of PBF from newspaper syndication, and Piet Mondrian, to name a few.

With Nick’s permission, I’m pleased to share an excerpt of the interview with you below. The entire piece (several times this length) will appear in the upcoming Dark Horse book The Perry Bible Fellowship Almanack.


David Malki !: Something that I’ve always been interested in getting people’s perspectives on is the idea of becoming a specialist at something — it seems like especially now, in the era of everyone being on the Internet, everyone generating different types of content, there are a lot of people that are trying to become the best at one really specific niche, or even inventing a niche for themselves that allows them to stand out from the crowd — which, I think that it could be argued that’s something that you’ve done with your work as well, and as you’ve found, that seems to come at the expense of developing more of a breadth of work or of experiences —

Nicholas Gurewitch: Or of your own spirit; what’s to say that you don’t have a heck of a lot of growing to do. It’s kind of like getting married far too young. Or setting the sights on your telescope to one certain galaxy, neglecting the rest of the universe.

DM: It seems like there’s always going to be some sort of compromise; either you’re going to miss out on the breadth of other experiences, or you’re going to miss out on the depth of the one. Maybe that’s not the case with the comic, since you’ve explored that in such a rich fashion, but as we know there’s Charles Schulz who did comics for fifty years.

NG: Right.

DM: Coming away from something you’ve done for a long time in favor of starting something new, whatever that’ll be, do you think it’ll be hard having to start lower on the ladder and work through all the growing pains and everything again?

NG: I would love to start low on the ladder. There’s a part of me that wants to endure something a little bit more difficult. I’ve always wanted to be a waiter. I just need a new experience. And I think I definitely am excited about climbing down from the ladder, and approaching an audience — maybe even anonymously — but approaching an audience from a fresh angle.

DM: It seems like that’s something you might have the luxury to do, if sales of the book and of the strips and so forth can help support you economically. As opposed to someone who gets into a lifestyle to which they become accustomed, and then they’re trapped in a certain rut that they can’t escape because they can’t afford to, they can’t afford to take a job that doesn’t pay them.

NG: Well, you always have time at the end of the day. I’m never certain how I feel about people who complain about not having time after their day job. If you really want to do something you’ll do it at night. You know, Bruce Wayne had a day job. He was Batman at night. If you really want to get something done you’ll just do it.

I don’t want to step on anyone’s toes, but I just know if you’ve really got something to say, you’ll find a way to say it, eventually.

NG: You know, you’ve got a lot of people out there who need money, and time, and encouragement, and women to do things — you should be able to put all that away and just go do your thing because you have to do it. It’s more valuable than gold, to have something that you really want to do, that you would do in your sleep if you could. It really doesn’t matter if it shows up to others.

Preserving that gold is probably the most important thing that you can do. I guess I’m just trying to keep an eye out and make sure that I’m not pushing that golden ambition into a corner.

DM: What would you say to people who feel like they want to be creative, or feel like they want to share something, but they’re still searching for that burning wellspring within them that’s going to take over everything else? How would you advise someone who wants to try and find what that passion might be?

NG: I would recommend they push their life into a direction where they have to create. And I don’t mean that in the obligatory sense, I mean that they should probably put themselves in a position where they’re forced to express themselves. Make the act of making work an act of relief, rather than an act of work. If there’s nothing to express, then they should always be open to the fact that they probably shouldn’t be expressing themselves creatively.

But the human psyche can only undergo so many challenges before it starts to do something really interesting that other people can enjoy. I think I’m a firm believer that if you go through enough agony, you’ll be able to provide enough ecstasy. I love it when people challenge themselves, and reflect on that, and then make art from that. There’s no shortage of brilliance to be had from reflecting upon life experience, and there’s no shortage of life experience to be had from failing. It’s a win-win situation, really. If you need more life experience, just hop in! Get miserable. Explore life more. I think a lot of people want to write a novel without having any life experience, and the easy solution to that is to have more experience.


The Perry Bible Fellowship Almanack will be released in February 2009.

True Stuff: Voting cartoons from 1911

In my new irregular series “True Stuff from Old Books”, I present unaltered excerpts from some of the books I’ve collected to use as Wondermark source material. In particular, I thought the cartoons below were apropos to the election season.

All three are from the 1911 collection Caricature: The Wit and Humor of a Nation in Picture, Song and Story, an anthology of sorts that’s a really wonderful peek into the psyche of the nation nearly a hundred years ago.

Click the images to enlarge!

Caption:
THE ART OF LYING IN MOOSE MEADOW.
STRANGER — “Is this an intelligent community?”
NATIVE — “Wa-al, lawyers say so when addressin’ a jury, an’ politicians when drummin’ up votes ; but I calc’late they are mostly lyin’ fer to win their p’int.”

Caption:
A PRETTY FIX.
Lady — “I give it up. I cannot fix on which of those two hats I like the better.”
Attendant — “Ah, then how is madam ever going to vote?”

(The above takes on an especially rueful tone when you consider it was written at the height of the suffragette movement, and the [male] cartoonist was probably not sympathetic to that movement’s aims. Likewise, see below.)

Caption:
ANIMAL NATURE SAME THE WORLD OVER.
“Ha, ha, ha! What do you think of the old suffragette trying to crow!”


Recent blog posts