by Lee | Filed under Fiction
Here’s another short story. This one appeared in the visual arts magazine where I’m a contributing editor, Border Crossings, in 2011. It’s the story of two middle-aged siblings lost on their father’s ranch in Alberta.
Who do we mean to visit? they wondered on the approach. Really, our father? Or is he such a changed man we hardly count as his children? Siblings, yes, on a thread, they were still that. Jules was in the passenger seat of the rental sedan looking for bison behind the tall wire fences strung along the highway. And Shannon, the younger one by five years, driving the car as if it was one, a bison. (I changed their names to protect the family.) The Avis rental bison, Jules called her driving style, slow and skittish grazing along the highway. That’s enough, Shannon said. With her nose to the windshield, her chest pressed to the hump of the wheel, fingers gripped on the horns. He urged his sister to lean back and relax. I won’t till this trip’s over, she said.
Smacked in the face by wrinkles and grey hairs and ambivalence all at once in a single year, a swift decisive blow to what remained of her youth – thirty-one, that was a bleak year for Shannon. Possessions kept being divided up, month after month. Her fiancé put things on hiatus, then her mother moved to Invermere to be closer to the amethyst and radium, and to cap it off before Christmas her father retired early from his work on the Queen’s Bench, sold the family home in Calgary, and bought a bison ranch in the foothills of the Rockies.
Shannon felt a little torn apart ever since. Unwholesome for general consumption. But five years later and after one decent love affair, it was just this lingering sense in the back of Shannon’s mind of not being sure of anything. The sight of bison set her teeth on edge. The thought of eating bison made her belch airlessly. Even to see her brother, after nearly a year without contact, was a little off-putting.
Her older brother Jules was in a foul funk, too. He believed he saw right through their father’s bison ranch to what it really was. These hoary livestock were the defenses of a prep fleeing from some social crisis of dubious origin. Professional or private blow-out with society? Jules wondered. Or both. Or neither. Shame or fear or a woman, something, a bribe, blackmail, a secretary, something drove him off the Queen’s Bench, Jules guessed.
They saw fenceposts carrying the heavy handcrafted wood signs for his ranch. But no sight of an entry gate along the acres of fence running beside the highway. Shannon parked on the lip of the highway and the siblings scurried under the fence in a convenient spot and carried on by foot over through the scrub and tall grass.
Big Bison Tower Ranch, said Jules. Dad took me for lunch to some atrium pub in a bronze-glass skyscraper downtown where 2nd Street meets 2nd ave. I really thought he wanted to congratulate me in advance on becoming senior manager at Esso. Two guys sharing some memories, his of botched trials and me some HR bungles. His prosecutors and his juries and me saying how it’s like me swaying my staff. Tell a few droll off-the-record stories from divorce court, drug court, violent crime. He makes some Hearst jokes. Me make some Trump jokes. Nothing criminal. Old time whatever stuff between us we can say without raising a hackle. Everything goes well until he leans over very paternally and gives me a pat on the cheek that numbs me like a hockey slapshot. I can’t feel my face for it. I’m incredulous. I feel like I’ve got palsy. He pays for my steak and two cocktails. Then as we’re leaving he says it’s bison he wants to tell me about. Bison burger’s big money, he tells me, and more tax shelters than a pair of gloves. I said to him, Dad, buffalo, you’re a chief justice, what the hell are you talking about?
Meanwhile I haven’t seen a single bison or buffalo, said Shannon. Where are we?
West of Eckville.
After the siblings walked in silence for another ten minutes Shannon said, There’s a difference between bison and buffalo?
Jules spat to prove it.
Another hour hiking the foothills and no house in sight, not so much as a fence. They were in deep. The interior acres of their father’s ranch were carpeted in plenty of thriving grasses, silky waving wheatgrass and burly white-tipped fescue, and smattered with tiny wildflowers that coloured the sandy pools of bunchgrass. Black currants were caged in pointed violet-tinted thistle, hidden under tall nicotine yellow whiskers of fringed brome and oat grass, all a bit slippery underfoot, growing semi-wild.
Shewing apart a cloud of mosquitos with her many-buckled purse, Shannon said, He really trapped us this time. We walked right into his cage. Penned us in. Don’t be fooled, dear bison, wherever you are, he sure likes to let you think you roam freely, but then suddenly you find out he’s let you hang out to dry. Well, he knows I’m not happy. I told him on his voicemail, Did he expect me to drop everything and come live at a freakin ranch? Shannon skipped ahead over some sharp yarnballs of a red-veined plant. I mean, really, is sand pouring out his ears? Is he that out-of-touch with me? I am on the board of the Calgary Opera, that I love. I invested a lot to start up my career as a facilitator. And my friendships are important to me.
I know. I told Dad the same. I lied to him that I was too busy to uproot. I said I was studying finance because I took a foxy bank manager at HSBC on a date the day before, said Jules, rubbing his bald spot. Am I going to get sunburnt?
I didn’t lie to him, Shannon said. I am busy.
Rolling horizon, gentle climbs over and between brow-hills and lip-hills and chin-hills wrinkling off the frosted Rockies to the west. But still no sight of bison, or an eight-bedroom brick and marble bungalow with a saltwater pool the shape of a kidney inside an equatorial greenhouse, near a traditional red barn, and maybe a half dozen corrugated aluminum industrial farm buildings. This, according to the website.
And so they walked for another hour and twenty minutes. They walked until it was foolish to turn around. But also highly questionable to keep going.
Some debate was had between the siblings, got a little anxious, a little heated, a little like old childhood times, as to the question of what the fuck they should do. They were lost apparently, really badly. The argument was never over who was to blame. That was obvious, Dad and Mom were – it was whether they should follow the creek out or go to the top of the next caldera.
Or turn back for the car before sundow-ohohohwn, said Shannon bursting into a few tears at the end and said, I’m sorry, but the last three years have been so awful.
I know it, said Jules.
He punted a dusty cobble of dinosaur fossil off the toecap of his leather shoe, and the siblings watched with a sporting interest as it tumbled down the hill before him.
He said, Maybe one of us can get reception from the top of that hill and we can call him, we’re lost.
He can’t make me eat a bison, she said, kicking her own fossil to see whose would travel farther; …hers.
Jules kicked another prehistoric shard down the hill, a colourful little shell of opal ammolite, and this bauble went a shorter distance than the first two.
Jules yearned for the least pastoral thing he knew. The Western Club. Calgary’s oldest private club. The amenities, blingy and deluxe, the concierge immaculate, lockers, ballrooms, gymnasiums, climbing walls. The Western Club and the thawing conversation of its waitresses. The Western Club and its homemade chutney on the side of every plate. Specialties that offered such warmth to a middle-age bachelor lost in the snow. He took his Blackberry out of his jacket pocket and looked for messages. If he could get service, he could call someone, but who? Oh, to text a good old friend or a ripe new online dating connection to meet him for a rough game of squash followed by a light supper in the members-only restaurant. Members-only drinks in the lounge, members-only indoor mini golf, wifi, robes, condoms, steam rooms.
But this pasture was members-only, too, and more exclusive still, Jules realized. His father’s continental influence and wealth pushed Jules over the tall fence to the Western Club the same as it brought him here, to Big Bison Tower Ranch.
Shannon saw it all in her brother’s face and said, You should eat more whole grains. Listen to your breathing. We walk an hour and it sounds like you’re gargling Scope.
It’s been two hours plus according to my wrist. And you? I stopped seeing you for raquetball months ago. What do you do all day? Are you doing treadmill? Who do you talk to? Never me. Do you even call Mom any more?
Mom goes on about her crystal logic. I’m struggling to figure out who I am and Mom’s trying to nullify herself and vanish into the oneness. How can I phone the oneness? Unity is her thing, cosmic heart bleeding. Bugs me. But all Mom really wants is to eat yogurt, Shannon said, she picked up the ammonite shell her brother had kicked, looking at its colours, admiring the opal’s spiral of coppery reptilian scales.
Radium is not as cynical as this place, don’t you think? Jules said.
Eat vitamins. Do cleanses. Enemas. Week-long fasts. Mom’s idea is to fart without shame and rub crystals on her forehead, not hang out together or talk to us. She moved to Invermere to be closer to pools of radiation. That’s nuts. Look at her, she wants to purge. Retreat, mutate, purge, us, purge herself from humanity. She’ll only show up here if it can be in the form of a rainbow.
Who can blame? I feel for her, Jules said. Dad’s whole planetoid gravity sucked so many people to him. Did we ever have a family dinner without guests? He made her sick of humans. I sure inherited none of his talent for mingling. I once saw Dad drink from the lipstick rim on a woman’s wine glass as she watched, in front of spouses. And me there, too, Jules threw his hands in the air, I was just a child and I knew. He’s greedy. He made himself believe he was getting away with it, with everything. He was so generous, he was indestructible. He knew good people up and down the country. He loved to be asked for a gilded favour. This ranch is the result of too much gilt, I’m sure.
The siblings almost reached the sunny stream at the bottom of the valley when they realized something was seriously wrong. The creek was moving along quietly and idly, that was fine, but so was the bunchgrass and sandstones. Bison. From a distance the bison grazing were indistinguishable from rows of dark dry blades of fescue and thistle. Shannon saw out of the corner of her eye a giant shit-brown shag head raising up from the briar with its clean white horns pointed directly at her – blinked and growled with a huge long pale pink Kiss tongue shaking out, dripping saliva. Gaahh! The bison said and made an about-face and casually trotted away from them. Shannon felt the blood drain from her face and feet, and for a second she thought she might faint. It was too late for the siblings to turn back. The herd surrounded them, roaming the whole valley eating and curiously vocalizing, snorting and bleating about their small visitors.
Just act natural, said Jules.
Fear is natural, damnit. Any one of these things could kill us. Fuck, there must be hundreds.
I mean act cool.
Gaahh! from another unseen bison.
The two middle-aged children walked softly through the graceful ancients, each bison in its own iron mask, all that fur imprisoning the mind of a chilling, wise and cunning chief. So Shannon imagined. She saw a lot in common with her father in the wrinkled oval eyes of a bison, as if each bison was a heavy-smoking brown-bearded judge cursed to the lowest courts, seated on a giant bench of dreadlocks and muscle.
Seriously would trade all my gigabytes for a 12-gauge right about now, Jules said.
Oh, what an expression, said Shannon finding one bison blinking at her very soulfully. She was a wallowing cow bison seated on her rump in the dirt with her shaggy front hooves ready to push up her whole big powerful body at a moment’s notice. Her belly was spread out and her sour milky paps lay exposed, brightly greased by rough feedings. A ginger-haired calf tottered around her mother on frail cinammon sticks for legs. The calf whined and bleated and shivered its little body straight to the tail.
Shannon was not enough of a threat to her calf, the bison decided, to merit rearing up.
Hello, Shannon said. The creature studied Shannon carefully, heavily. What is it? Shannon said. What do you see? Tell me. What am I supposed to do, Mother bison? Tell me what to do.
The sight of her milk pearling at the teats made Shannon think of her pearl-white silk pijammas, logging on to monster.com every afternoon grazing for facilitator jobs with zero luck, not going outside her personal valley once the entire day, and never changing out of the pijammas. She looked into the bison’s clay face with its dark-skinned heavy-lashed eyelids and soft wet almond-round eyes pushed far back on the hairy face. A set of wide grey apelike nostrils steaming over a clownish mouth grinning huge square teeth. Cairn weighty head shawled in brown curls. Her bearded neck waddled on the muddy earth under her chin as she idly chewed the green thistle.
Then the bison turned her head to look at Shannon through the other eye for a second opinon. Curse of the supreme court judge, Shannon said in chills.
At the top of the next ridge a single bison kept watch beside a lodgepole pine. As the siblings climbed the hill the sentinel stamped his feet at their boldness. Big as a truck, he started honking open-mouthed epithets at them. Laborious tongue-lolling vocals trying to stall them, Gaahh! before gallopping off to scout from another closeby hill.
They saw the pine was planted at a high point with a clear view of the entire pasture over countless hills to far off in the west where Shannon parked the rental car.
Jules let out a Gah! of his own. The ranch house seemed to appear in front of them as suddenly as the bison did in the valley. At this elevation they were a few hundred yards to a fence, and beyond it, the brick and glass sprawling house of the website. They could even see a couple in front of the mansion standing beside a blue pickup. A man came from the driver’s seat of the truck, and a woman brought a steel tub from an outdoor kitchen centred around a stainless steel bbq grill. The siblings were starved.
Walking towards the scene, the siblings witnessed the man use a winch off the end of his pickup to hang a dead bison by its hindquarters. In a matter of seconds the pale pink balloon of the stomach, the size of a yoga ball, disgorged from a slit the man made down the animal’s belly, and after a few tugs and cuts, followed by all the blue and white and black smaller organs amid a great final gush of dark red blood. All of it was caught in the steel bucket and reeking, humid with skatole and bile and grass.
Hello? called Shannon meekly. Ha ha.
‘The fuck, you crazy, come through the pasture? the man said with a sneer into the sun, shielding his creased eyes with a bloodied rubber glove. Where’s your car? I’m Brent. He waved a butcher’s blade at her. As you can see I’m his ranch hand.
We got super lost.
I won’t shake your hand, Shannon. You’re just in time for burgers though. Hope you’re hungry.
The woman came up and surprised Jules while he considered the weird polite smile on his sister’s face, put her hand on his arm and squeezed, I’ll shake your hand. I’m Pasty. Pasteur. After the cow scientist? Surprise, I grew up near Willow Creek on a giant milk farm. My parents are industrial milk producers? What I love about working the bison industry is nobody wants to talk about milk.
I’m Jules, he said. But I grew up in Calgary around judges and civil servants not on a journey to the centre of the world. Or around bison.
Pasteur laughed politely. Cool. You’re lucky you didn’t get stamped to shit. I’ll see you for burgers, Jules. I gotta go throw this blood on our fertilizer before the stench makes me retch on your neck. A nice fatty cut, Brent.
Nothing but marble, said Brent.
Their father’s voice came from behind the truck: More marble than the floor of a courthouse, Brent.
Yes to that, said Brent, ripping off the bison’s fur coat with the short square blade and not a drop more blood lost.
Their father took Jules’s hand and pat him on the back to hug him, and greeted his daughter with the same customary hug, no one could avoid this tradition or improve upon it. They said a few words and eyed one another. Their father looked twenty years younger. His face was tanned and lean. He had lost much of the judge’s stomach and gained some width around the shoulders. It was cold and he was short-sleeved.
Oh, I just remembered. Shannon took the ammonite shell out of her purse. Jules found this in your pasture, she said. Do you know what it is?
He took it from her and looked at Jules incredulously, his eyes widened again when he looked at his daughter as she smiled to see the same face as the mother bison, his insolent, knowing, expectant, desirous, impressed gaze. It’s ammonite, her father said. It’s very rare.
It’s yours, Shannon said.
Thank you. I’ll show you inside once we’ve ate, their father drawled after he pocketed the gift from his children. Here now, he said, and Brent handed their father a rippling pink filet with a thick edge of shining fat and a membrane that enclosed the entire cut except for a single corner of exposed flesh. Let’s go grill, he said and while Brent finished the carcass, he walked his children to the quad bbq under heated parasols.
All flesh is grass, their father said. Twelve hundred acres of what traditional Blackfoot style pasture would look like, you could say. Their father started to explain his business while hefting the fatty bison filet back and forth from hand to hand as he walked and talked. Fences and horses is my big difference from the Blackfoot. Close to six hundred head, rotating five herds in pens. Hire a hundred fifty decent men once a month thereabouts to move them. One whole pterodactyl found, now in Tyrell Museum. Fresh air blowing straight off Mount Merchison every day. Year-round tan. Full moustache grown. Cowboy hat settling in. Their father was starting to joke now, but they weren’t familiar with this side of him, so he explained the latter half of his operation. I court chefs. This is my marble here, grass-fed sirloins. Sell Big Bison Tower burgers, sausages, and steaks to restaurants stretching from Seattle to Saskatoon. Plus a secret burger recipe, he said and waved his hand over to where Pasteur stood.
Jules watched Pasteur wiggling her butt as she mixed fresh seasonings for the bison in a bowl pressed against her belly. Then she found drinks while Brent ignited the propane on the grills and laid out cooking tools across a little metal surgical table. The five of them stood on the stone patio with alcohol to drink, overlooking the rolling fields. Shannon’s car was somewhere under the shadows of the Rockies. Deal with that tomorrow, Brent said. I’ll drive you. Missed your exit’s why. Shannon’s head was dizzy from the day and her appetite.
Jules combed his fingernails through his hair, eye on Pasteur. Now that he was no longer so lost and knew he’d eat a bison burger or two, his thoughts turned again to the loneliness of his days spent at the members-only Western Club. He wondered if Pasteur was his father’s lover or Brent’s or could she be waiting for him? Nervously, he distracted himself with the Blackberry.
Make yourself useful, said their father and set Jules to pushing the bison chop through the old cast iron black meatgrinder to make raw burger. Pasty, dear, he said in a funny sweet voice, have you got that bowl ready for meat? Giving ohis son the mixbowl and its eggy aromatic coagulate, Stir so the meat is all together with the secret recipe, Jules. Nothing worse than a clump of secret recipe in a burger patty. Mix that burger evenly as you can.
Ok, I will. Jules put some shoulder against the hand-grinder, and with a little push, threads of meat spooled out in broad lengths like hair, mottled red and white, into the bowl. A few minutes later he was stirring together ground bison and secret recipe to make enough Big Bison Tower burgers for five. It was late summer and the sky was a blue-green, stained a dragon purple. The evening shadows frosted grass. Shannon was eager to accept Brent’s offer to go find her a suitable parka from the house, and saw this as her chance to follow him inside for a peek at her father’s new home before dinner, thinking, Life seems to promise families that what they see in each other, others do not see, and can never see any of what others see in themselves.
Marsha Lederman wrote a profile of me and the book for the Globe & Mail. Click the picture to read the article.
Here’s a few screen captures of the websites of the four literary festivals where I’m so-far scheduled to appear at in the upcoming months October and November to read from my novel The Road Narrows As You Go. The Vancouver Writers Festival, the Ottawa Writers Festival, Toronto’s IFOA, and the Victoria Writers Festival. Click on the images to go to the actual sites for more details about these readings and the many other awesome writers.
by Lee | Filed under Fiction
I wrote this short story about a muzzled environmental scientist in 2012, first published over at Five Dials, and I thought I would reprint it here in celebration of the discovery of the old Franklin ship in the Northwest Passage.
The ice shelf I went to study was almost two thousand miles due north of a place like Manhattan, and roughly the same size. Don’t get the picture I requested such a remote assignment. I didn’t. With all I’ve got going on at the Alberta branch office for Northern Affairs, overseeing two dozen slatternly, distractable young career bureaucrats, plus the fact I’m an old man with an old man’s point-of-view and a growing family of inlaws and grandchildren, it never dawned on me that out of all the other younger more mobile, more ambitious staff available I would be singled out to survey the melting ice.
You know I’m more of an administrator these days, I explained to the committee chairman over the drinks he invited me to one evening. We were at a hotel bar in Edmonton and the wind across the parking lot outside was sending snow past the windows at a perfect horizontal. The year was 2011. I told him I hadn’t been on the ice in years, not since the Nineties.
But you were our unanimous choice, the committee chairman told me. As his hand squeezed my shoulder, he gave me a wink of regret that I’m sure I was supposed to interpret as congratulatory.
The committee chairman told me the deal: Spend the entire summer on the glacier, write a full report of my findings as to its general condition, its beaches, and its fragile terminus. That was all. Here was an even more unsacrificing environment that required my attention ahead of my petty, squabbling, vindictive, and ultimately elusive family. And, really, what did I care about my selfish problems at the office? All it took was a handshake in a Four Points Sheraton and I became completely removed from all those seemingly inextricable affairs that had made my life at work and home so uninhabitable over the past few decades.
I knew going in that I would be isolated on this forty-five hundred year-old frozen shelf. I knew that the ice shelf was no longer needed to support any human life. The Inuits who used to hunt there every winter for hundreds of generations now found safer ways to get food than on the shelf. But it never occurred to me or obviously to anyone on the committee that the ice shelf itself might detach from the continent that summer and be set adrift, and that I would be aboard this strange island.
Take us to the second steppe, I told the pilot.
I heard him respond in my headphones, Yep, just point to the spot you want me to drop this bird.
As the helicopter peaked over the landscape before beginning its sidelong descent, I could see the ice shelf for what it was, how it spilled out from the eastern side of Baffin Island and floated out into the Davis Strait in Arctic Ocean like a giant snow-covered popcicle, a twin popcicle, twice as long as its sticks. This most famous ice shelf formed south of the Iquarlirtuuq wildlife sanctuary and the Barnes ice cap, pushing snow and ice down between two Precambrian prongs of steep granite mountain, filling in the long fjords of these peninsulas with solid glacier edging year after year further and futher out into the frigid seawater with stunning confidence and total impassability. But it was nonetheless a long popsicle of snow and ice even with its own mountains and valleys and lakes and rivers, wild slushy terrain, home to fearsome acclimated creatures, polar bears, caribou, walrus. It was something to behold. And now the ice was falling apart.
Summer was steadily inching the temperature up to zero. All I wanted was to stake out a decent basecamp: protected from polar bears. My first day I dug out a small snow shelter called a quinzee from a deep mound of hardpacked snow and made do with that and sleeplessness for the time being. Then, a day or two later as I was walking, I marveled at a halo of blue atmospheric light in an area of the snow up a fair distance ahead, and I shoed my way towards it. I heard what I thought was laughter and watched a flock of snow geese pass overhead like men on their way to a formal ceremony. As I approached this lamplight under my feet, the sound of the snow crunching and squeaking with solidity as I walked calmed me. I came to the where the snow was tinged with this soft even light, a robin’s egg blue above what I took to be a good cave, and fell to my knees to listen. Recalling my young and tumble graduate school days, back then I would have put my shovel in right then and there. I was a safe enough distance back from the lip of the second steppe, which I noted during our landing in the helicopter was calving large blocks of snow regularly down a sheer cliff half a mile high. Here as well the terrain was becoming craggy but it appeared to be totally secure. With an axe I sought a nearby entrance to the cave, and within the hour had found my way down into it and learned of its true grandeur. I pegged my tent under a beautiful vaulted proscenium as high as a Broadway stage all made of packed firn snow and ice that was shallow enough at its ceiling to allow the nightless sky to fill the cavern with an incandescent blue as though my new residency was submerged in a heavenly water, while all around me curtains and pillars of icicles glittered in the shadows as the cave progressed narrowly down to unknown trickling depths. Fresh icewater drained idly from the south wall into a small bowl at one side of the cave which I even used like a faucet and sink to wash.
I recall it was the day after I had my camp all settled and I felt prepared to do some research and reportage when I heard a crack I thought was a gunshot. Nothing moved. The report was as loud as if someone was right outside the entrance to the cave firing a shotgun directly at me. A part of me wasn’t convinced that it was a gun even as I climbed to the surface to see who was there. Naturally nobody was. The snow was once again a sublime blanket of silent white that not even the shadow of a single goose displaced. After a time I allowed myself to dismiss the incident and carry on with my work as if nothing major had happened, even as the shelf began to drift away from the shore.
Maybe I was too familiar with all the sounds snow can make and I wasn’t enough disturbed. Nothing surprised me in this ambient landscape of sere white, a lifeless white without fault or promise, blinding as fire at its horizons and monochromatic in all directions. I grew up on the northern prairies. But I knew the glacier shelf was different than land after the glacial retreat. This was a land that was not a land. An unlandscape more like a mirror of the sky.
In the endless musical cycle of the seasons, the fermata of winter grows more brief every year over Earth’s northern composition, I wrote in my report. There is no rest for the ice today. Poetry? I can only say I was lonely. On a clear cloudless afternoon under the smoldering sun, I alone heard the old house of the ice shelf creak and groan and swell and gasp, pop and whine for hours like it was being battered around. The north of my youth, its barrenness and silence, was replaced by the agony of constant erosion, of deep underlying tensions and humiliating collisions. The crack was only the first of many grisly noises I heard, but it was the one signaling the separation.
The committee budgeted for a two-way radio to be my partner over the summer. It was some kind of miracle, after my stubborn colleagues and family, that I could charge my radio’s electricity simply by winding it up like a pocketwatch in order to listen to an hour of public broadcasts of classical music, or to call my man with the helicopter if I needed supplies or other assistance.
I said I would radio the pilot at the end of five days to give him a status update, and so not long after I heard the ice shelf break from the continent and I began, unwittingly, to sail out into the ocean, I reached my pilot, and, because I had no idea anything had changed, told him my basecamp was coming along fine. Weather was balmy. I didn’t keep him on the line very long. I knew besides the helicopter, the pilot also operated a bar and nightclub with live music out of a doublewide RV trailer he had plugged in at the nearby town of Pangnirtung. Pangnirtung, with its small population of Inuits whose ancestors lived in the area for over four thousand years, added to that a few government-sent carpetbagging Whites there for a season, all living in houses on piles.
Talk loud I can hardly hear ya. Everything going according to plan out there or what? the pilot shouted. In the background on his end of the line there was much laughter and conversation and music.
Lap of luxury, I radioed back.
What’s that you say?
I forgot Kit-Kats.
Kit-Kats, eh. That a favorite of yours?
Never mind, I said. I’ll radio when I need fresh supplies. Bring a carton then.
I considered writing my wife a letter to send back with the pilot when he next flew in: I was sent against my will to the summer ice, the letter might begin, but where would it go from there? You left me in the winter for a hot zone. I imagined her in her pashmina shawl and sandals, flanked by male escorts in penguin suits, standing in the middle a million protestors in Cairo, mobilizing the women.
I did report on all the noises I heard, meanwhile, including the false gunshot. I reported that there was seldom ice floe around the shelf, just clean clear ocean that was tempting to swim in. I reported on all the rivers and lakes on the surface of the ice shelf and of the flumes of livid bacterial water that I saw disappear into a labyrinth of crevasses. Great lakes of freshwater were said to exist under the surface. I reported on the warm water in the potholes where I did decide to swim. I reported on the occurrence of calving at the first and second steppes and the waterfalls that gushed down them. I do recall how the sun careened about the sky. I chalked it up to summer at the pole and how the strange seemed ordinary here. I hadn’t considered the shelf was turning. My compass was the landscape.
Day by day I was beginning to fall into a kind of easy bliss that made the hard work feel more like a vacation, hiking for hours amid cold nothingness as though in a trance, so absorbed in finding ways of articulating my impressions of this colossal, atavistic ice shelf that I forgot why I was alone. I put aside the miseries, treacherous and accidental, of home, family. I reported on whatever wildlife I saw, such as the birds, or when I took pictures and wrote a lengthy account of a solitary polar bear stranded on a nearby iceberg like an arctic Crusoe. And the look on his face as he raised his black nose to the wind was beyond pitiful, I wrote, as if the polar bear was not sure whether to swim off to safety or continue to ride the iceberg as it took him farther out to sea.
Rereading this entry months later and looking at my pictures, I realized the polar bear was the one on the mainland and I was the Crusoe. I was adrift. And the look on this polar bear’s face was of pity, but, and also confusion – his entire kingdom sailing by, and me on it.
By the time a month had passed I was too far out to sea to reach the pilot by radio. I tried but never with any luck. The weather was confusingly mild. The sky was a hot jellied azure without cloud. I got a tan. So I saw no reason why I couldn’t get a radio signal. My porridge and other camp meals were eaten.
More than the warmth of my family, or the climate of the office I middle managed, I found I craved a certain brand of chocolate candybar from the dispensing machines at the office of Northern Affairs that I didn’t think to pack any of. At the same time the helicopter with my box of Kit-Kats would have been at a loss for where to land his cargo, since his destination had vanished, this missing treat was all I could think about. This crispy candybar composed of its segmented wafers coated in chocolate and seperable into single finger-length sticks, which found no equivalent in my dwindled food rations, unfortunately, was what I missed the most about my life. To break off and eat the Kit-Kat sticks. Instead I was sucking on icicles and trying to slingshot to death a snowgoose.
That second month on the ice shelf made me ecstatic with the sense of adventure. Cut off from radio contact with civilization was the kind of mild threat I can say, honestly, I almost looked forward to before leaving. The superabundance of wildlife this time of year and my rifle made a hunt something of a non-issue, more like shopping. The ice shelf felt like a big vacation from my responsibilities at work and at home. I hardly needed sleep. The twenty-four hour daylight on the ice shelf gave me a tireless mental endurance. After long hikes of discovery during the day I found time to read and write in the evenings. Evenings without night. Midnight would come around and I would sit happily for hours gulping back sealmeat and writing my thougths out while the sun hung like a golden pendant in a rose sky almost as cold as it was warm. To whomever, I wrote, A jewelled sun frozen for hours and hours at the horizon but never touching down on to the blue velvet ice before making its ascent once more and touring the skies all day. The arctic solitude of never-ending daylight had its thawing effects. As I watched the spring rivers clumped with frazil and rime pour into the haptic sea, I didn’t see it as anything more than the runoff of wild ideas passing through my mind, and the sound was just my sobs of relief. And the barnacled Mona Lisa faces of the grey whales as they breached in the ocean seemed to swim backwards and forwards simultaneously as thoughts tend to do, and the fat, teardrop-shaped walrus who squealed and farted and swam amok along the shores catching fish between their whiskers were all just my dirty thoughts during this brief fit of poetic madness in which I believed myself to be a kind of Shackleton of the mystical North.
So it was unbeknownst to me that I was aboard a giant iceberg, moving steadily out to sea with every uncounted minute. The metallic blue waves I photographed and reported on were not lapping at a stationary coastline as I assumed, but the sides of an enormous oceangoing vessel the seals were chasing after.
At the outset I knew there was no doubt the steppes were of importance to my report. There was no way for me to tell beforehand in what precise way the steppes would impact my report and so I spent much of my time obsessing over them, fearing them, even while my original assignment became irrelevant.
All I knew was that I needed to see the northern shores of the third steppe or the committee would find my report incomplete. Each steppe was itself the result of an immense quake along three fault lines that appeared in the last decade of the twentieth century, going straight across the shelf east to west. The quake created sheer cliffs that dropped nearly a mile and, after years of good sun, ran raggedly and serrated and with waterfalls like three chipped-tooth stairs for an ice giant, mountains forming and vanishing at an accelerated pace.
The third and last steppe I feared the most and avoided the longest as it was the closest to sealevel. Its drop into the ocean was less sheer and more sloped as its terminus collapsed into a thick slushy floe of sticky water called polynya, where thousands of puzzle pieces of runaway iceberg loitered. On the third steppe, temperatures in the winter plummeted to seventy degree celcius below zero. Nothing moves. The day I chose to make my first visit I wanted the weather to be below zero and not warmer. I did not want to encounter any sinkholes or avalanches.
Would have been years ago as a bachelor when I was doing field work in the North and I first witnessed the Northwest Passage when it was frozen over and millions of acres of ocean were joined with the last steppe of the ice shelf, no different than winter in the prairies where I was raised. Snowblanketed waves, frozen as they stand. Long flat slabs of ice like billiard’s tables broken into pieces of snow called firn. Firn like untouched children’s playgrounds. Firn like the walls of motels or prisons. Open holes in the firn near the floe edge where narwhal and orca came up to breathe. Then, early Spring and the first floating pancake ice, then slush, the polynya glueing together the icebergs. Some icebergs I saw grew to the height of skycrapers, as manifold in design as military citadels, and among their flotsam, thousands of smaller icicled snow gazebos emerge, hundreds and thousands of neighborhoods made of ice floating precariously on top of the sea. And for the imaginary man here to report on nothing and able to endure the lunar temperatures of winter, narrow pathways ferruling through snowdrift valleys mazelike in a forbidding white world. A world unknown even to itself, and every year anew. By summer this elaborate outer sheath of ice got dashed and broken apart and slushed away by the sun.
As the walrus and seals and whales and birds arrived, I watched as, like a vagabond ghetto, shattered parts of the ice floe set off in smaller and smaller groups with icebergs disappearing into the chopping waters until once again only the ice shelf remained. Locked to our continent since the Ice Age, its shape has remained relatively constant until recently. Now even the core was fading.
I used to still meet smiling families of Inuit who thrived off the preserves of the ice shelf, camping near the areas that melted early and exploiting the breaking floe. I always wondered how the Inuit stayed so much in love in such small dwellings under these harsh conditions and pitiless terrain, when my own family still found it so hard with all our good fortune to agree where in the world we should all meet.
At some hour during the continous stretch of day that was midJuly on the ice shelf I cut off my beard and washed my sweaters, and feeling determined to set out for the third steppe, I charged up my radio and for hours and hours all I did was listen to the waves of static or asked if anyone could hear me when I spoke into the microphone.
When the radio was turned off or uncharged I often sat and talked to the radio regardless. In time I saw more and more face in that radio and saw less and less radio. Two speakers like bug eyes on either end, in between them a channel dial that was a long mouth full of teeth, and a string of buttons under a knob you twisted that made a sort of perfect nose and moustache. I mused over my radio’s face for lack of a moon in the sky.
Isolation provides a person with a startlingly clear picture of their own inner landscape, I told the silent, uncharged radio, as we assayed the uniformly white surface of the ice shelf from the peak of basecamp.
I feel comfortable around you like I can tell you anything, the uncharged radio told me.
I never considered suicide, but I have dreamed of a place where I could not exist. Now look where I am. Nowhere and nothing, I said with a shiver.
People respect me, the uncharged radio confessed, but inside I feel like a total a fraud.
Am I better off alone here instead of taking care of business back in Edmonton?
I faint at the sight of rust so if you see any corrosion don’t say a word to me, ok? said the uncharged radio, just promise me if you can you’ll do something about it.
Man versus Environment, that’s what it all boils down to, doesn’t it? I said.
Radio versus Man, the radio said.
Is that how you feel? I asked.
Don’t listen to me, the radio said, I don’t know what the hell I’m talking about.
So I shut up, too, turned the radio on, and dialed around to various stations of white noise hoping to find anything, classic rock, Russian news, until both the radio and I fell asleep.
My style was nothing heroic – I roped off every fifty metres as I approached the cliffs of the third steppe, so that when I fell down an icy fissure hidden under a layer of snow as thin and crumbling as storebought biscuit soaked in tea, I dangled by my harness with a chance of surviving. Pulling myself up from the chasm took the better part of an afternoon and when I got to the top I wept and dry-heaved for what seemed to be the first beautiful minutes of darkness and stars since I had arrived.
By the time I reached the jagged, messy terminus of the third steppe I was snowblind and exhausted from panic and I thought I might find some shelter in one of the weather-formed quinzees. Who knows how long I was out. I awoke bleerily starved and pushed back out into the wind and sunlight to the shore to kill something. The ground here was sinewed by miles and miles of melt-ice lakes festooned by phytoplanktonin blooms as thick and green as pea soup. As a graduate student I came here to study these cyanobacterial mat communities, and my predictions for their influx sounded almost satirically dire then, but still what lay before me was more stark. Today these pools stretched across the ice like psychotic stab wounds that sank hundreds of feet under the surface. Strewn along the edges of these snaking ponds were the remains of thousands of broken shells of dead pteropods. After my first visit, I named them potato chips of the sea for how popular and abundant these tiny winged snails were as a basic food for so many oceangoing species.
I used to call this place Qigiktaaluk but now I just called it Baffin. I was standing up to my knees in a frosty cove of murky green waves and dead snails, all set up to shoot the prettiest little grey and white spotted sea lion for dinner when a hand came down on my shoulder that for all my wits I could have sworn was the hand of the Northern Affairs’ committee chairman’s, and froze me solid.
Don’t move, he said. He took my rifle from my shoulder and turned me around so that I could see who I was dealing with.
You can come with us, the man said. He wasn’t the committee chairman at all thank god, but nevertheless someone of his seniority. We just loaded up if you’re hungry, the man added.
He backed away a few feet and I got a look at his sun-reddened cheeks and nose, and his wild white eyebrows hung down over his wireframe glasses like icicles and his old watery blue eyes shimmered cloudily with grey and pink muscles like they were fisheyes. There was a dent in his chin so deep it looked as though he lost part of it to frostbite. He was dressed in what he obviously thought was a cool combination of black parka and animalskins for a jacket. He wore frayed acid-wash denim cutoff shorts and his pale pink knees had knuckles like worn-out fists and his feet were shoved bare in to black spiked workboots. Along with my rifle he carried his own storebought poleaxe. Fit, hale, unprepossessing, and standing right in front of me, he looked my age. He was a lot older. He had on a pair of self-shading bifocals that he pushed up the bridge of his nose as a matter of habit. Behind him I saw there were another five or six others, men and women of various ages, dressed in similar make-do wardrobes from the shambles of mountaineering and hunting expeditions updated with ragged skin and furs, bone and baleen. Carrying animals from a hunt. And all wearing glasses. I was wearing my own prescription self-shading lenses.
Let’s go, show you the way, he said.
I need to get my radio, I said with a thumb pointed to the second steppe.
Never mind your radio, the man said. That’s old news. You’re here now, might as well get a last look for yourself.
What you’re here to see, right? The terminus.
I fell in line with the others as the old man showed us all back up through the crag via ice switchbacks that led away from the shore singlefile out of the cavity of this hulking ruin of snow and ice and back to where I’d sheltered. Now the colours in the ice shelf ran from blue to bloodred as the sun skated sickeningly low against the lip of the horizon.
You’re not Inuits are you? I asked.
The old man eyed me. You expect to find us speaking extinct languages, talking about the sun as though he was our uncle. And here I go and tell you we are you – some of us are Aboriginal but we are all scientists. All called to report on the condition of the terminus on the third steppe of the ice shelf.
My name’s Doctor Gavin Stott, I said.
He said his name was Craig and he was from Minot, North Dakota. But some of us, he said, like Lucy Peltier and Oscar Weaver are more your locals.
I recognize the names Peltier and Weaver. Aren’t they glaciologists?
Craig said, Peltier came at glaciers via atmospheric physics I believe. And Weaver is a geodynamic modeler specializing in paleoclimatology. I am the plain old glaciologist around here. Don’t want to admit it, said Craig, but I still recall ’92 as the year of my lucky third wedding. What a sylph. Half my age with a doctorate in cryosphere-hydrosphere-lithosphere interactions, eh. Please imagine how happy I was. Thought I was dead in heaven. Then came nineteen-ninety-three and the triple quake on the ice shelf gets me sent here from Northern Affairs to scribble a few words. What a load of dung.
I told him I came to visit in the 1970s and uttered a few noncommittal words of my own about where I was the year of his report’s deadline.
We all got jobs in ‘93. Some better than others, the man said and started walking ahead of me, a good lead of ten steps with no apology. I had to follow trying not to look as if I intended to catch up with him.
On average I’d say you happen twice every year. I come across a professional trekker with her sunburnt nose pointed to the third steppe, drunkstepping snowblind and about to die. And did you see? We broke off from the mainland in June and are now drifting southeast.
I did not know that, I said and took a deep breath. But now that you mention it, that would explain some mysterious things.
Yes, starting with a great cracking sound like a canonblast in your backyard?
Yes, I said,…and that, too. That, too.
Many hours later I was staring into the spectacle of the little fire burning inside Craig’s shelter thinking about home. Our dinner had been around a large camptable inside a stretched igloo the group built for communal meals. I drank a boiling cup of fish soup or two and my fill of caribou. The conversation was all about the fact we were floating out to sea, and where possibly to. Some of the scientists imagined us docking at Ellis Island, or down the Rideau, or as far south as the Panama Canal. No one seemed to show any fear however that we were going to sink. After a dessert of candied arctic char, Craig invited me to come join him and some others to sit by the firepit in his beautifully done quinzee. These yurts, snow burrows, and firnmade geodomes they inhabited were all thrown together by a fierce winter I knew to have a recombinant power the likes of Liebeskind or Gehry. The third steppe was a panorama of a million panes of shattered firn ice, firn ice all covered in a thick coat of rimely snow, as if a mammoth snowmade tower had imploded here, and under this concrete-like debris was hidden a community of natural quinzees inhabited by a dozen or more people, each hovel appearing behind a different entryway.
Craig’s was a spacious eleven-hundred-square-foot cabin of slabs of firn with a loftspace designed with a king-sized bed, and a firepit in the centre of the living room on the main floor. I watched single particles of snow fall through the manmade vent in the ceiling above the fire as though the stars I could not see in the blue sky were dropping one by one from the heavens.
My children were spectres in the fire and my grandchildren the yellow and orange sparks tossed upwards to kiss the bluesnow ceiling of Craig’s shelter, and now and again I saw my wife in the embers. Here was my family, without a shared continent between us. A wife on the streets of Egypt leading the charge of a women’s rights foundation, followed everywhere by her male secretaries, her suffering lovers. Oldest child stationed by an NGO in Lima, another consulting on pollution in Tokyo and Yokohama and living in Seoul, a third teaching First Nations languages at Oxford. Could I say I was proud, even if none of us got along?
Is that your stomach? Are you still hungry? Craig asked me.
Opposite. Stuffed, I said and shifted my weight back on my haunches looking around the large enclosed space to compliment him on the layout, tools hanging from the walls. Ice tools, like my rifle, that I pictured hanging from the belts of the scientists, before they joined Craig.
How much time do you figure we have till the ice shelf melts? I asked.
Craig sat up straight on his bench and crossed his arms and said, All depends where we sail. We seem to be moving at a fair clip. Third steppe is the worst for wear. Comes to it, we relocate the group to the first steppe where the ice is thicker. The latest estimates say the ice runs more than a thousand metres deep, as in double the height of the World Trade Center. So, any predictions how long we last?
Not me, I said.
Craig thumbpicked his nostrils clean. We might get lucky, he said, and moor nearby off some other peninsula and live out the rest of our lives as if nothing ever happened.
That’s true, I said, and then thinking of something else to say, I added, Oh, I thought I might get my rifle back from you now.
Craig eyed me from under his glasses, not unfriendly-like. And with a voice full of a courteous sarcasm that I know us geoscientists save for dealing with bureaucrats, finally said, If I give you back your rifle, how can I be sure you won’t for some reason turn it against me, or any one of us?
I looked at the old man and said, Because that would be murder, Craig. I’m not a murderer. I’m a climatologist.
Craig nodded and sucked his bottom lip. The firelight and shadowplay across the features of his face made him look ancient and guru. I’m glad to hear you feel that way, I am. But I still won’t give you back your rifle, I’m sorry. It’s just too valuable for the community to risk losing.
But it’s my rifle. Where am I going to go now?
The man who sat down beside me in Craig’s quinzee might have been forty at the outside but he was so big and weatherbeaten he looked my age. His head was tanned beyond expression, bald up top until hair started growing again behind his ears styled in a dark grey beaver-tail dreadknot that flapped against his back and smelled strongly of road tar. He was tall and slope-shouldered, the shape of an atom bomb, and wore a Rolling Stones t-shirt. His bare arms were that prickly gooseflesh of someone who can tolerate the chill because of obesity. Moreover, he was knackered, with purple bags under his eyes. I asked if he was my guard and he told me I wasn’t a prisoner any more than he was. I asked if he had a Kit-Kat then. He told me he wished. I have one cigarette left, he said and showed me. So we went outside to smoke it and watch the sun break out from behind a foreshortened thundercloud.
Told me he was a radiocarbon dater and when he accepted the assignment to come here he was acting Chair of his department at a prestigious university in the city of Waterloo. At the time of his departure, he said his oldest child was a car thief and his wife just left him for someone she met going to AA.
I nodded my head, Ok. Go on, I said. Now I get you.
The radiocarbon dater told me how he was assigned by Northern Affairs to come to the ice shelf and report on what he discovered, but when he got here he found the same thing I did, Craig.
In college we never learned about 1978, when the first glaciologist, Dr. Baruch Craig was sent to the shelf, he told me.
I’m Gavin Stott, I said and put out my hand. I’m a good old climatologist.
The radiocarbon dater shook my hand and said, Stott. Oh, ok, I’ve heard of you. I’m Keeling. Vincent Keeling.
Keeling. The name rings bells. I looked at his face more closely for the imprint of familiarity, something that might anesthetize me to the sight of that asphalt blob of dread dangling off the back of his sweat-ringed neck proposing to be his hair.
Here comes Peltier, I’ll introduce you, Keeling said. She was my thesis advisor when I studied in Helsinki.
But just as Keeling began to open up a discussion, Peltier ran right past us, shouting, Airplanes.
Now I saw other residents of the third steppe ducking into the nearest quinzees for cover. I heard the screams of two jets incoming and the upset climatologists around me only made me want to smile. I wondered if my helicopter pilot was among the search party flying above us. Keeling took one last haul and gave me the roach end of his cigarette. Before running off he put a hand on my shoulder, and with a wink, I took to be commiserating, said, Finish it off.
I hid under the ice.
Hope to see you there, buddies!
You can find out more about the book if you check out the Hamish Hamilton site or Amazon or wherever.
After the reading at Lucky’s, we’re going to go across the street to the A&N Legion for book signing and hanging out.
This Fall, Penguin Canada’s Hamish Hamilton will publish a novel The Road Narrows As You Go, based on these pages. Pictured are six years worth of sketches, early drafts, total failures, revisions, rewrites, and research notes. Not pictured is a final draft, completed about a week ago. I’m about to start copy-editing and I’m curious what changes I’ll make with the Penguin team in the final-final edit. Phewf! Already my head feels a little lighter on my shoulders and aches a little less knowing this is the home-stretch.
Decadence Comics is a Euro / London, UK – based independent comic publisher that’s been going for about ten years now, specializing in a style of science-fiction comic that reminds me of the twists and turns in the short stories of France’s master, Moebius, and Japan’s Akira creator, Otomo Katsuhiro, and in a way, these comics also remind me of Canada’s Martin Vaughn-James‘s early-Seventies graphic novel The Cage, a surreal post-apocalypse published by Coach House Press in 1975 and never reprinted. A fluke connection, as I learn. There’s two main artists publishing with Decadence, Stathis Tsemberlidis and Lando. The comics are all printed / Xeroxed on quality paper and handbound with painter’s tape or spine-stapled. Worth a look. Affordable in bundles and fast delivery — shipping from overseas these days is faster than domestic, I find. Very unexpected stories, too, coolly detached POV, cruel twists, and funny ideas, with a wild intense concept of what science-fiction can portray for us. Future classics about the future. Out of curiosity, I asked them about the movie Prometheus, which seems to divide artists and sci-fi fans.
You can tell a Stathis comic by its controlled use of texture dots all over everything, skin, cement, every surface on every panel is meticulously textured with flakes of pollution, toxicity. His comics conflate outer space exploration with the inner life of the unconscious, alternate dimensions of consciousness, and so good, like grime music turned into comics.
Lando’s style is a sweet combination of gestural drawing and connect-the-dots style computer line drawings, and his stories revolve around lonely rebellious broken androids and vivid documentary-style narratives about lost-in-space military platoons — Lando’s stories flicker between images of another galaxy, and direct references to the Western invasion of Iraq and Afghanistan and military alienation.
Both Lando and Stathis take direct aim at the matrix veil covering the Western world’s eyes, blind to our complete immersion in the lie of late-capitalism.
There is a brilliant Stathis comic called Upheaval where he conflates the rioter with the riot police in a psychic science-fiction narrative that makes a portal of the third eye. Stathis is also hellishly prolific for an artist whose every panel requires so much textural noise pollution and mottling — his stories trip between organic imagery, human forms, spacemen, vast landscapes and crystalline shapes acting as maps, portals, and vehicles for extra-planetary inner exploration. Mind lizards, devolution, acid baths are all signatures of Stathis’s comics.
Lando’s Untranslated series is a graffiti-style war between soldiers and aliens that look like emaciated anteaters. Lando’s comic series Island 3 looks prepped to become an epic graphic novel — it has all the existential dread one hopes to read from the best in literature and storytelling. Here is a fast-as-hell Q&A I did with Stathis and Lando via e-mail. The pictures are all care of the Decadence website.
What’s it like where you live?
S- I live between Copenhagen and Athens. Both are very interesting cities.
L- I currently live in the town where I grew up for the moment. Its a commuter town outside of London, mostly built in the last 30 to 40 years. There is a generic style of architecture on my housing estate and some of the surrounding ones which gives it a kinda failed utopia vibe which I still find inspiring.
How many comic artists would you say are working in your Decadence Comics scene?
L- Between 5-10 artists contribute to the anthology. Its just me and Stathis publishing our solo books.
When did you start Decadence and what inspired you to launch Decadence Comics?
S- It started in 2003 when Dave and me were studying animation. It was all these long conversations we had about politics and our common interest for sci-fi films and novels that inspired us to start putting out Decadence.
What’s your drawing studio look like and what’s your favorite tools to work with creating a
S- It a big messy desk with loads of objects lying around. I work with pencils and pens.
L- I sleep, draw, print, make comics, and sometimes make music all in one room so its a mess and in a constant state of flux. I draw on a large lightbox that I built, on cheap photocopy paper with Rotring pens.
Almost all of the comics you publish for Decadence are really coherent and consistent in style and voice and presentation. How long did it take for you drawing comics and coming up with ideas before you found this combination of goods that made you want to start publishing them?
L- My story in decadence #1 was pretty bad…I had always drawn comics but they had been long so I never managed to finish them beyond super rough story boards, or just producing a few pages to begin the story. The Decadence anthologies forced me to figure out much more simpler manageable ideas. There was the challenge of trying to do something in five or six pages. I also started to work in a cleaner line in issue two which I think made my work a lot more readable. I think it was the same for Stathis too as his drawing style was a lot more rough in the early issues, but he gradually started to formulate his clean but ‘noisy’ style.
When I look through the comics you’ve published, a recurring theme throughout them is a kind of science fiction awakening of the pineal gland, whether it is in the distant future, outer space, some other universe, or on top a balding man’s head — the third eye and the lizard brain seem to have a lot of significance to the story lines. Would you say that’s true, that the experience of your comics is partially a study of the deepest brainstem’s desires and identities? Why?
S- Consciousness and matter are entities that form the Cosmos. Brain is the product of billion of years of random transformations of the matter. The universe is finally conscious of its self. The study of the brain is a doorway for a better understanding of human beings and animals. If the lizard brain is the primitive centre that controls the basic survival instincts the opening of the third eye is a metaphor of enlightenment through the use of the frontal lobes which are the more recent revolutionized part of the brain. The balance between the duality of these manifestations might be the key to the survival of humanity. This is a very challenging realm that we both are investigating with our artwork.
A few questions about inspirations, do you listen to music when you draw?
S- Sometimes I listen to music while drawing
L- Yes quite often. Sometimes it can play an important part in the creative process and mindset.
Favorite foods and drinks to have by your side while making comics?
S- I don’t drink or eat while making comics
L- Usually have a coffee in the studio once a day with a muffin or whatever I can find.
Best comic books ever?
S- The Nikopol trilogy, Incal, Akira, Metabarons, Lone Sloane
L- Akira, Memories Otomo collection, Airtight Garage, Grey, Arzak, Memories of outter space.
Most impressive living artist?
S- David lynch, Alexadro Jodorowsky
Won’t miss an issue of what ongoing comic book?
S- Nothing in mind
L-The pulp anthology that serialised Akira in the 90’s but that shits over…
Favorite comic book argument with friends?
S- Never had one.
L- No, The Angouleme festival hates us so we never went other wise we would have definitely tried to see the guru.
Of all the storytellers, the way the comics Moebius made leap from idea to idea with such imagination, and the great twists he can pull off in the final panels, he seems to be a great precursor to what you’re doing. Would you agree?
S- Yes. Moebius and many other European comic artists from that time period expressed a far more complex way of storytelling.
L- It is truly amazing and inspiring what he did with comics. Metal Hurlant was a great format for artists to experiment with ideas in science fiction. But also a lot of the great Sci-fi writers came up writing short stories in pulp digests which also provided this sandbox outlet for ideas but in a different medium.
S- A cheap western propaganda about the fear of the unknown and the alien. The cross as a symbol of Christian faith overpowering the vanity of immortality, physical and mechanical. The monstrous other that carry’s weapons of mass destruction ready to destroy our beloved planet. Hollywood continues to reinforce with multi million dollar films the mirror that creates only reflections.
L- I didn’t bother going to see it
Curious if you ever heard of a graphic novel called The Cage by Martin Vaughn-James? It feels like some kind of strange precursor to your style, very obscure and almost forty years ago…? (below images are by Stathis, not Vaughn-James)
L- Same here. It looks way before its time.
What are some of your touchstone stories, favourite science fiction comics, best art you can’t forget or keep going back to learn from?
S- Starmaker by Olaf Stapledon, Ubik by Philip K.Dick, Brave New World by Aldous Huxley, The Star Diaries by Stanislaw Lem.
L- The Drought, and The Crystal world, as well as the Terminal beach short story collection by J G Ballard. Tarkovsky films Solaris and Stalker and Kubricks 2001 space oddessy
Do you script your comics and do thumbnail sketches and careful planning before you start a new story, or do you just begin by pencilling the panels and take it from there? Like, how much do you plan?
S- I don’t really plan much. I tend to be spontaneous with blending together sketches and drawings into some sort of a storyboard. I am pencilling the panels and finalizing the drawings by tracing them with a pen.
L- I doodle a lot of ideas…never in sketch pads but on large sheets of paper paper usually. Characters or a setting usually emerge and then some key moments. I will then usually try to thumbnail the first 2 or 3 pages, rarely any more then that before I start penciling and inking. I never write anything and it can be a chaotic and uncertain way of working, but this way the story and characters are more alive and real, Often I don’t know how the story is going to end till the last few pages.
Some of your comics, like Upheaval and Olympic Games seem to pull imagery from current events, like the riots and the 2012 games, and use these dramas to take readers in the realms of the unreal, questioning the authority and the dissenter — there’s style to these that would look good on a brick wall — do you wheat paste or look at your city’s graffiti or draw from photojournalism or personal experience?
S- I let my senses open to the world. I like to construct new ideas within my brain by using all this raw material that is out there. The city is a pool of inspiration, I try to keep this flow running without judgements or restrictions. My intuition does most of the job.
L- Real politics and news plays a very important part in my work, as well as my own reality and environment. I am not interested in creating and escapism, but rather try to make work that reflects the present times while looking towards a future or alternate reality.
Do you suspect NASA is about to find evidence of life on Mars?
S- I believe that life is everywhere within the cosmos. I am positive with the idea that there is some sort of microbe organisms living on Mars.
S- Never heard of it.
How would you describe the UK comic scene I mean, is there stuff coming out that you like and stuff you wish didn’t exist?
L- The UK has a very strong community and scene for comics that has evolved a lot in the last few years. Due to the lack of publishers for comics until recently the only option has been to self publish, so there is a very diverse range of comics. We have always been a bit oddball among UK scene and sometimes have found a more receptive audience in the zine and alternative press community.
Do you show your art in galleries or sell your pages?
S- Yes, we are occasionally having exhibitions in galleries and sell original artwork.
Some of your comic titles reference classic conspiracy theories, MK ULTRA, and HAARP, for example. I read the titles almost like fresh science-fiction tropes you’re creating for the Decadence universe, that pineal gland combination of mindfuck, thought control, and violence. What is the most convincing conspiracy theory you’ve come across so far in your research?
S- Rhetorical politics and Capitalist democracy is the most convincing conspiracy theory. The very few elites are managing to control the far more in numbers masses within a total unequal system of power distribution. The masses are accepting this condition for hundreds of years, makes the perfect conspiracy for me.
You’re making an animation based on one of your comics?
S- Actually my latest short sci-fi film called MOA192B is based on a comic story called Protoconscious. Here is the site of the film where u can find all the information about this project.
L- I have an unfinished 20 minute 2D animation that fits in with my Untranslated comics setting that I hope to one day make public.
S- At the moment I am working on a project called Human Body Transmutation and Fauna and I am planning to release all the drawings in a book. We are both collaborating on some ideas and storyboards for a future full length film.
L- We will be putting together the 10th Decadence issue soon, it will be 10 years since issue 1 next year. Im currently working on a story about space exploration and evolution to be in a new anthology being published in Sweden.
click the pic to read the rest of the short story over at Rusty Toque.
Austin English is an avant-garde comic book artist living in Brooklyn, NY, with his wife, Clara Bessijelle, also an avant-garde comic book artist. They both make epic and important comics as well as operate a small publishing house called Domino dedicated to releasing more avant-garde styles as well as their own inimitable work. They print everything from minicomics out of a photocopier to glossy books with spines and Austin English’s beautiful lithographs. Austin English started publishing comics with the hugely influential comics publisher and comic book artist Dylan Williams, whose tragic death last year was a horrible shock to the independent comics community. English’s first book for Sparkplug was Christina and Charles, and this comic and the work he contributed to the Windy Corner anthologies were tricky little art experiments that gained him a lot of attention in the comic book world, largely because of the strangely childish coloured pencil style. Now comes the Basquiat-like expressiveness of his latest works like The Disgusting Room — in which a maturity and depth is matched to the glee and wonderment found in those early works. Click this sentence for a preview of The Disgusting Room, which is reproduced on newsprint like a paper and is very affordable. I find that after reading Austin English’s comics, my eyeballs are on the floor and I need to reel them back into my head. I sent Austin a whole bunch of questions over e-mail.
What kind of room and on what kind of surface did you first learn to draw?
When I was in 3rd grade, all my friends were doing some sort of drawing. We were all really into comic books or cartoons and there was something in the water for kids that age and in that era (I think this was 1993) about creating your own universe of characters. I remember coming home one night and wanting to draw more then I’d ever wanted to before—not to doodle or copy a picture from a Tintin album, but to draw a story. I started drawing a bunch of characters that night in our living room. My mom was talking on the phone and I was sitting in a chair. I think the surface was probably just a stack of paper on my lap.
After drawing a bunch of little characters I went into my room and tried to put these characters I had drawn into a story, which I had the most frustrating struggle with. I have basically been having that struggle with comics ever since! But it was that desire to tell a story with characters that felt like the beginning of actual drawing for me, because I felt so wrapped up in it. Before that I would just doodle or try to draw comic book characters from memory and eventually I would loose interest. But from that night on I don’t think I ever stopped trying to make comic stories in one way or another.
How soon after you started drawing did you start using paint and collage and other materials to make pictures?
With those drawings from 3rd grade, I drew in #2 pencil. I have sort of come full circle now, because I am working on a comic right now that is all in graphite. But not with a #2…I use this pencil I really like called a ‘Technalo’ made by a Swiss company called Caran d’Ache. I use a 3B most of the time.
In high school, when I wanted to make zines I realized I had to draw in ink so that I could photocopy it. I had seen the movie CRUMB so many times so I naturally thought a Rapidograph was the way to go. But after a while, as I started to get more and more serious about comics, I think my love for painting and experimental art in general became to strong to ignore. If comics were what I was going to devote myself to, I had to put all my different image making ambitions into them.
I was lucky enough to be pretty young and impressionable when Kramers Ergot #4 came out, so incorporating non traditional cartooning tools into comics seemed really natural to me. I started drawing most of my comics in colored pencil because I really liked the line weight you could get and it seemed like a natural way to add color to your work. I think in the years since Kramers #4 there has been a backing away from non-traditional approaches in comics, with people much younger than me working in really tight, non-painting styles. But as I fall deeper and deeper into loving to tell a story with images, I find myself wanting to add as many different approaches as possible—I used acrylic paint in Disgusting Room because it changed the way I drew figures—and if drawing a figure is like writing a sentence, I’m always trying to find new ways to vary the hardness of my sentences. There was a time when I wanted to make my characters act as incredibly blunt sentences and that’s when I began doing stone lithography.
Every now and then I force myself to sit down and write a story that will just be prose. I partly do this because I think it would be a good exercise, but mainly because my first lvoe is literature. But as I get deeper into writing anything, if I find it good and worthwhile, I can’t let it not be a comic. And I guess that is what happens with every art apart from comics—if I like what I’m doing, I can’t stop myself from cannibalizing it into comics storytelling. When I’m sitting down working on anew story, I feel all of my brain and hearty engaged into moving a character around the page, and putting them into landscapes and situations and complicating those landscapes/situations. The only art form I felt as engaged in was stone lithography, where I did some non-story related imagery. With that, I think the intensive, detail oriented process of producing the lithographs was enough complication that it felt like a story in and of itself-smoothing the stone, applying the ink, etc.
How have the homes and the cities and towns where you’ve lived informed or inspired your work?
I keep telling people that living in New York for 8 years wound me up with a lot of desire to make art work as strongly and wildly as I could manage. Then, moving to Sweden for two years allowed me to really follow through on that desire. When I moved to Sweden, I didn’t know many people, I feel like I made a lot of huge steps in my work people, I didn’t have a job right away and it was very cold. In my first 6 months there, I feel like I made so many advances in my art that I had been dying to make in New York. Now that I’m back in New York, I feel like there’s no turning back—those two years were invaluable because they changed my work habits so much.
But New York is responsible for the tone of my work. If there’s one thing I missed in Sweden, it’s the intensely aggressive and rude nature of New York. People live their private lives right in front of you here and that they do it very loudly and unapologetically. I don’t really agree with that way of living—I happen to think the way people live in Sweden is much healthier and more beautiful. Maybe as a more mature artist I can make work about that more sedate of living. But my stories are kind of like aggressive thrillers and New York does feed your imagination for that. The griminess of The New York Post and that flippant nature of almost everyone you deal with here is infectious. If you choose to not hate it you can have a good conversation with it, in your mind.
Were there people along the road who you believe helped you to make comics?
It’s impossible for me to overstate the importance of Dylan Williams in my life. Dylan passed away in September and I don’t think any of us who loved him can really beleive it. For months, almost every day I’ll think about something Dylan said to me, or something will happen that i want to tell Dylan about. It’s becoming more real to me that he’s gone but the amount of things I wish I could share with him on a daily basis keep piling up. He was that kind of friend—the one you could call anytime about anything and talk for hours with. Sometimes things—movies, friendships, a page of newly drawn comics that I felt good about—didn’t feel real until I told Dylan about them. My friend (and fellow cartoonist) Nate Doyle both keep grasping for words when we talk about Dylan—he was just too good a friend and mentor to lose. It’s impossible to communicate just how much he meant, because he did more for people he cared about and was more present and open in conversation and friendship than virtually any other person I know.
And so many people feel this way about Dylan. He was THERE in the fullest meaning of the word for all of us and I hope he knew how much it meant to us.
I met Dylan when I was around 16, at Al’s Comics in San Francisco. A couple months before we met, I had walked into Al’s and bought REPORTER #1, and loved it. There was a note written on the inside cover from Dylan to his readers, with a little drawing of an fashioned comics artist at a drawing table.
Immediately that drawing said so much about Dylan. Just this true love for comics that he always let you in on in small ways. That was a small, insert drawing but it had this real love for comics in it. I guess that is poetry, right? Something that communicates a feeling so strong that you can’t miss it. Dylan’s whole life towards comics was a bit like that.
So this time I walked into Al’s, and Al said ‘hey Austin, let me introduce you to the guy that draws Reporter.’ There was Dylan browsing through comics. It’s so fitting that the first memory of Dylan I have is him in a comic store. Dylan LOVED comics in the most beautiful way I’ve ever seen someone love something. He used to say, when I complained about working at Forbidden Planet sometimes (apologies to my great boss Jeff Ayers for admitting I ever had a moment of doubt about the job—it happened from time to time), that ‘selling comics is God’s work.’ There was an ample bit of humor in that but also a lot of real belief in the idea.
I had just started drawing comics when I met Dylan, and when we met in Al’s, Al handed Dylan a copy of one of my first mini comics (it was a comics biography of Thelonious Monk). Dylan , within a short amount of time, wrote me a warm letter about the comic–we’d talked for just a few minutes, but I think for Dylan, a teenager like myself making weird mini comics (if you aren’t keen on my crude drawing now, just imagine it at 16) was something that was, without question, to be encouraged.
I have always always just wanted to make art, but for most of my life, I thought I would do it pretty privately…sending out zines to friends and artists I admire, but never give into it as much as I wanted because I was too embarrassed of the oddness of my work to try to fully stand behind it. When Dylan wrote to me, out of the blue, to publish a book of my work (whatever work I wanted to make into a book was fine), I really never turned back. That commitment to my own work is really 100% from Dylan. And the thing is, Dylan had that effect of SO MANY people. I mean–today, I love drawing so so so much more than I did when I started because I’ve committed to it so much and forced myself to push my art as hard as I can. And that is a thrill, every day and it fills me (corny as it sounds but Dylan would appreciate the honesty here) with satisfaction. But I never would have been able to make it to this point without Dylan’s CONSTANT belief and encouragement. Dylan’s support was always unwavering and for long stretches of time he was the ONLY PERSON who seemed to have any remote interest in my work. And Dylan believed in treating people this way, respecting them in this way. He knew it was the right thing to do. I tried to tell him over and over again how much it meant to me, and I hope when he shrugged me off and said ‘yeah sure, ok’ that he really did hear what I was saying.
What sort of comics are out there today do you feel an affinity with but haven’t got much or any connection to?
One of my weaknesses is that if I see a comic I have affinity with, I can’t stop myself from at least writing to the person so that i DO have a connection with it. I’m trying to do that less and less, so that I can just enjoy some comics without relentlessly involving myself in some way. I have always admired everything German cartoonist Anke Feuchtenberger does, and I feel connected to her artistically—she embodies almost everything I aspire to in my work. Her comics are in one way purely comics—characters move through the page, leading us through a story. But in a more important way, her comics have something that so much of cartooning lacks: they are unashamedly serious and speak to our deeper emotions, which a lot of comics can never reconcile themselves to. Feuchtenberger also has this incredible drive to grow in her drawing…recent albums look radically different from other ones. I think, to a lot of cartoonists, ‘growing with your drawing’ means ‘refining your style.’ Frederic Coche, who I also feel an affinity towards but have no connection to, released this amazing new book that is minimal and painterly—a stark contrast from his earlier, meticulous etching comics. I found that incredibly inspiring and I know that it felt like a step forward in image making for him. So I really feel an affinity for cartoonists who with each book are pushing their image making into a direction that is away from what they’ve already settled into.
That affinity may simply be there because it’s a rare quality in cartooning. I also have a deep affinity for someone like Kim Deitch who has pushed what he does well so far and with so much passion that it becomes undeniably beautiful and technical in the most breathtaking way.
Have you exhibited your work in any kinds of galleries? Do you have friends more in that world than comics?
I support myself (although in a modest way since my rent and cost of living is incredibly low) in part by selling original art—pages from my comics. I have never shown in galleries, and the people that buy my work are art world people who stumble upon the books or see work online and contact me directly. Almost all of them express that they’d like my work more if I did non-comic imagery…i.e, static, non narrative work. These people seem to take appreciate my drawing more than the comics world so I always feel this flirtation to focus more on that world—the comics world often says some harsh things about he way I raw and at times it feels like a broken record of ‘is this even comics?’ But I love comics too much and when people buy my art and express their preference for me doing painting over comics, I tend to find that more distasteful than the comics world dismissing me.
A story is what generates alive and potent imagery for me. You can’t worry much about passing trends or desires in comics or the art world and you just have to work as hard as possible to put as much of yourself in your work as you can and hope that in the long term people will come to respect that. I like selling art and wish a gallery would take a chance on me but I think the way to do that is to just keep making art.
I wonder if you’ve ever encountered anyone or anything in your life you feel is opposed to your creative goals? How do you counter the prevailing nonsense of the world that doesn’t look to support creative goals?
Well, every day I’ll read something that drives me crazy, either from fellow artists or from bloggers or whatever. I think comics has a very weird relationship with growing up as a art form directly tied to commerce, due to being in the newspaper. I think with underground comics and stuff like Raw there has been this constant attrition against that but there is still this very real undercurrent of hostility towards people not following the ‘conventional standard.’ There seems to be this belief that comics need to make a strong body of ‘solid’ works, just skillful works before we get into any other nonsense.
But I think comics need to look beyond that. I see artists, when they’re just starting out, backing away from the conventional standard. Probably because they are blissfully unaware of a conventional standard. I wish that they were allowed to stay unaware. Unfortunately, what seems to happen a lot is after that initial burst of unique, eccentric creation, I see the standard being subtly imposed on these artists. I can’t count how many distinctive cartoonists I’ve seen ending up doing straightforward comics.
And there’s nothing wrong with that. I believe that if you admire an artist, you give them the benefit of the doubt and follow them where they want to go. But it still feels odd–after Kramers Ergot #4 there seemed to be this moment where the tried and true ways of making comics wouldn’t be held so dearly anymore. Now, especially in avant-garde circles, they seem to be in a place of high regard again. I love genre comics, I like some corporate comics. But I don’t think they’re models that need to be followed. In film, the Cahiers du Cinema crowd loved George Cukor… but they didn’t make movies like him. They admired Cukor for his originality, for making personal films. That’s what they took away–not his commitment to the studio system or some such ideal. I think that Harlan Ellison quote is apt in a way: “Comics people choose the wrong heroes.” I’d change it to say “comics people tend to take away dubious lessons from their heroes.”
What I tried to do with Windy Corner, as an editor–and what I’m now trying to do on a different scale with Domino Books–is find artists that I felt were making powerful art and who didn’t fit into the normal idea of what art comics are. Every single artist I work with–my secret hope is that they go further and further in their distinctive direction, pushing their aesthetic as hard as they can. I think, without this kind of advocacy, the pressures (external or internal) to make comics the ‘normal way’ can be strong. I know Dylan Williams’ [of Sparkplug] early support for my work has been indescribably important to me. I think without that support, I’d have made very different choices with my art. I’m thankful that, due largely to his and others faith in what I was doing, that I’m making what I’m making. I think I’m obligated to pay that support back to artists I feel strongly about.
Part of this is that, if I want comics to be a place where I can be free as an artist and make the kind fo comics that are important to me, maybe I can help create that place with DOMINO—by publishing work that I find challenging, thus making the terrain of comics more adaptable to challenging works. With each book from DOMINO, maybe someone who sees comics with the same open feeling that I have for them will do their own thing, and works like mine will start to feel more conventional.
How important is your family in your creative life?
My mom and dad are very supportive—my main has been an artist all her life, and when I was young she supported herself in part by selling paintings at cafe shows and through doing paintings for community gardens and stuff like that. She lives and breathes art and literature and so when i was young, books and paintings seemed like natural things to emulate. So everything I do, she’s very happy about—she raised children her entire life and always worked so I think she’s happy that one of her children followed in her footsteps to make a real stab at making art.
My dad is very different. When I was young he was highly involved in The United Farmworkers organization in California, working on union rights for migrant works. There is a strong undertone of anger about basic injustice in my work that seems apparent to me but maybe not so apparent to other people. But that is largely from my dad and I’m very grateful for that.
Clara Bessijelle, my wife, is responsible for a lot of the steps forward I’ve made in my work lately. We often draw together and seeing Clara works motivates me to work. Recently, I was working on this current story and I really wanted to abandon it, because it felt like a rehash of the drawing style I used for ‘Here I Am.’ Clara looked at the pages and forced me to look at them sie by side with ‘here I Am’…and of course they were completley different. Her faith in my work pulls me through a lot of moments where I’m about to abandon a piece i should really stick with.
Can you tell me a little about how you meet Clara and perhaps describe how your working process is similar and different? Do you guys have good eating habits? Is Brooklyn both affordable and healthy for a young artist couple?
I met Clara here in Brooklyn at a party at our house. She was visiting the USA for 9 days, as a guest of Buenaventura Press for a comics festival, and then going back. I’d never been to Europe before, never set foot out of the USA.
Clara’s process is very different. She spends months doing research, looking at photography books and making small notes—during this time she draws a lot of texture and faces that she may or may not end up using later. Once she has a very clear idea of what the story she’s working on is, she starts drawing pretty non stop and the story (which has been coming out very slowly up tot his point) takes shape very fast. Once she knows what she’s drawing, she draws for about 5 or 6 hours a day, knocking out pages with lots of detail at a really fast clip. But it’s the stage before that that is very painstakingly slow. But all the work she does in that period adds up to the whole—which is very different from me. I sit down and draw the story and whatever comes up during that time gets thrown in right away.
I think you can eat healthy in both places, but you have to plan it out way better in New York. You can rely on produce to be fresh all over Sweden, and fried food isn’t being shoved at you the minute you walk out the door. But Brooklyn is what you make of it, health wise.Sweden is a much nicer place than Brooklyn. As a diabetic, I don’t have health insurance here, but I got it in Sweden right away. Insulin is free there—it is $150 dollars a bottle here. Much calmer and fairer. No one every did anything wildly inconsiderate or erratic to me while I was over there, which I guess I expect at this point from fellow Americans. People are also very close to their families there, which I really appreciated. And in the summer you can stay in the countryside and grow vegetables. It is a kind, sensible society which I find increasingly admirable given how things are here. But….the USA has this X-factor about art. No one ever said very encouraging things to Clara about her art in Stockholm—even well wishers were tight lipped. Here, people that are enthusiastic about her work say it to her, and the overall energy about making work and pushing your art is impossible to miss. I think they are good extremes to go back and forth between.
We pay $200 a month in rent. I can’t imagine living here if we didn’t have that situation (it’s a big reason as to why I’m able to do DOMINO). I’m lucky because I have enough friends here that I was able to get that cheap room when it came up.
How important is music, movies, books, other media to your creative life?
Well, books are very important. When I was in Sweden, and finding English language books was hit or miss (I read a lot of Raymond Chandler while I was there because English versions of his work were just around), it was a bit of a crisis. Books are, to me, these tomes that people have poured their best qualities into (even if their best qualities are highly negative) and they’re waiting for you whenever you’re ready to converse with them. I like talking with friends and going to parties but I feel that books are a better space to express your more acute, sensitive, aggressive and real thoughts. As an artist I’m content with dipping into this world at my own speed and responding to it as best I can in my own work.
I feel the same about films when I go see them in the theater. In Sweden (or anywhere outside of New York I guess), watching a Bela Tarr movie at home was great but not as precious as my greatest moments with art tend to be. Recently in New York, Lincoln Center did a retrospective of Tarr’s movies, and seeing that work as it was meant to be seen—on a good screen where the rich black and white tones were overflowing—felt like a real exchange, like I was really feeling the work. Like anything, it’s always worth the effort to experience art int he right way if it means something to you.
Dylan Williams had this great quote: ‘Art isn’t bullshit and love isn’t bullshit.’ I struggle to add more than that.
So after seeing all of Bela Tarr’s work on the big screen, which of his films ended up being your favourite? For some reason I’m really hung up on The Man From London even though critics seem to dismiss it.
It’s hard to beat Satantango. I usually appreciate works that are tighter (i.e, novellas, pamphlet comics). But that film has no filler within it’s 8 hours. The stuff with the girl and her cat, that says so much about people that I struggle to say in my own work. And the dancing in the bar, the man repeating that story endlessly.
His work does this thing that so few other people can even approach: Damnation is about infidelity, almost high level melodrama. And then there’s that scene with the dancing in the bar, the whole village dancing together. So it has this conviction towards serious emotions but also undercuts it with beautiful casualness, with crude sloppy displays. The emotions of that guy in the lead in Damnation—you get to believe in them (they’re real) but also see them for how overblown they are. That is something I rarely see in art—deep emotion and its opposite, all valid and all reproachable at the same time. It’s how I see things too, but the skill to present it so well is a thrill to behold.
Would you be interested in further defining what it is about a publication like VICE that you feel does not click with the philosophy behind DOMINO?
Well, VICE, like anything, isn’t all bad. They can be funny and enjoyable—and they have hired some great cartoonists to do work that I enjoy. But they are essentially this lazy negative publication, with emphasis on the lazy bit (I enjoy creative negativity very much). Their attitudes on women and fashion are gross because of the boring fake edginess of it all and I do think those kind of attitudes are deading if you expose yourself to it too much.
I think art is important and should be beyond mediocrity like VICE. So many people in art communities are always like ‘fuck VICE’ but then very excited or work for them. I think there are always better ways to make a buck, and in the long term, rejecting a rag like VICE (which won’t love you over the years) is important for the health of your art. Small bits of promotion from something that you essentially do not respect and has the opposite goals of your idealistic art is good short term/bad long term. It weakens you and then forgets about you. There are better avenues to associate yourself with—something like Mothers News is pure and if you need to be into something hip, it’s hip.
VICE is one example, and an easy one. I think even something like The New York Times, even if they’re writing about you—they don’t really give a fuck. Why get excited over their tepid embrace? Making art should be beyond that—beyond superficial validation from aging media outlets. There are hungry, smarter, more passionate places that we should think of as more worthy sources of validation if validation means so much. Really, abandoning validation at all would be a good start! But that is much easier said then done, obviously. I think we have to start wanting writers to have a conversation with our work rather then being excited over a flashy soundbite. Because do you make art to sell 5 copies of your zine because of that soundbite? Will that even help you make the rent? Some people seem to be putting so much effort into getting that little indifferent pat on the head that youd think a lot was riding on it.
Where do you live and work now? Is there a comics community in your area that you participate in beyond publishing?
I live and work in this place called 282 Broadway which is actually a large living/studio space where lots of cartoonists live—over the years Lizz Hickey, Keith Jones, Jesse McManus, Victor Cayro, Becca Kacada, Jon Vermileya, Jeff Ladouceur, Clara Bessijelle and other artists have all lived here. There is a large downstairs area where I make my won art and run DOMINO from. If you look out the window, the JMZ subway line runs right outside our window and there are Brooklyn bodegas and donut shops all along our block. It’s a dream come true…
When I was in high school, the first real powerful experience I had with music was with Thelonious Monk records. I was never very happy in high school, and Monk’s music was really important to me. I listened to those records over and over again, because the emotion in them was palpable but also obscure enough that you could make it your own, if you needed it. I had just really discovered zines at this time—another source of comfort—and making a zine about Thelonious Monk seemed like some kind of answer to all my troubles. Working on those zines was instantly empowering—-I knew from then on, no matter what, I’d keep making these things in some form or another, because it felt very very right.
How would you describe the changes that have occurred in your comics since you started publishing?
Over the years, the characters I draw have grown in mass. The more I draw characters, the more I want them to feel strongly and firmly planted on the ground. I try to think of my figure drawing as statue making, my characters as solid pillars as your eye moves along the page of the story.
The characters weight, and the style I draw in, is very personal to me. My comic stories are often sparsely written in terms of text, with the true ‘writing’ being the construction of the figure. For me, the feeling of drawing governs the direction of the writing. The thicker a character appears on a page, the thicker—and more aggressive—the emotion they give off in the story. My storytelling mind begins to boil through the process of image making.
I recently completed a year of studying lithography at Kungliga Konsthögskolan (MEJAN) in Stockholm, Sweden. I applied to the program because I wanted to study lithography as a means to broaden my storytelling through learning a new process of image making. In my comics, I have used all types of materials: pens, pencils, inks, oil pants, acrylics, water colors, and even fabric all in a search for different ways to build up the ‘sculpture’ of my characters and drive the direction of my stories into new areas of emotion. Lithography held a very strong appeal to me for the weight it gave to the image. As I pushed harder and harder in my drawing to add mass and permanence to my characters, my art seemed to be crying out for lithography, where an image is so thick and strong that it is printed directly into a piece of heavy paper. Nibs and brushes couldn’t offer the hardness of a lithograph, and the stories I wanted to tell where ones with heavy characters driving the action.
I usually draw at night and, because I live with a lot of other artists, we often end up around the dinner table together at around 11pm, drawing. I have a hard time drawing in the morning—there are always things to do and get done and drawing usually happens when everything else is squared away. I used to work 4pm until midnight, come home at 1am and draw until 7am. I really miss that time, because that drawing felt like so much fun fun—drawing while the rest of New York was asleep and nothing could possibly happen to change the feeling of the night.
What kinds of pens and pencils and paper and materials do you like to use? Do you have any techniques you rely upon to create your images?
I go to New York Central Art Supply to buy this great paper called Stonehenge. it’s wonderful because its great for just drawing in graphite but it is also very strong paper, so you can add gobs of acrylic, oil pants, tons of ink and it’ll hold all of it very well. I use G Nibs, also form New York Central, for work in ink—for years people had told me to use a Hunt 102 nib, but I like G nibs because you can bear down on them really hard. Using a G feels closer to drawing then simply applying ink.
Do you make a lot of sketches before you start your finished pages?
I draw a lot of sketches but directly onto the page that will become the finished art. That way sometimes I can use the initial sketch—I go through a lot of erasing and rearranging of shapes and oftentimes an erased shape will form the basis for a pattern or texture.
I work a lot in a sketchbook but hardly ever to ‘work out ideas’ for stories. I don’t mind seeing the though process behind the drawing, even if it gets in the way of the strong illusion created by the storytelling. I’m sure a lot of people would disagree with that though.
So, here’s where I’ll post some of the sketchbook and script pages that you’ve been kind enough to share. This is some of the work you did on My Friend Perry. And what I’m curious to know is what is important for you to learn and discover at the early stages?
I’m not sure what you mean exactly. I know starting the story is the hardest thing. I start each story off by writing a loose outline about the story and the relationships of the characters. To me, the essential part of any story is characters interacting. So I figure out what kind of people I want to throw together.
But starting the first page is a struggle because I gain so much confidence as I go on because there’s a stack of finished pages next to me—I pile each page I’ve finished next to the age I’m working on. When there’s no finished page next to me when I do page 1, its hard to imagine that I have it in me to do it and hard to cast about for what kind of tone the story will have. It feels like a massive undertaking to commit to a certain tone. But one there are five pages laying about, I can feel myself falling into things.
Your sketches are pretty advanced, the pictures seem pretty much finished. What happens between sketch and final image? Is a story building in your mind as you draw the pencil sketches?
Well, I know how I want a finished image to make me feel. I know an image I love is one where I surprise myself or feel something outside of me within the drawing—something I don’t recognize from previous drawings. Sp if I have that in a sketch, which is rare, I want to leave that in. But my stories are precious to me while my sketchbooks are not. I want the best work in the stories, because that is like a continuing diary of my work. So i will labor endlessly to get something into each drawing in the stories that I know I’m proud of.
What kinds of pencils do you prefer on what kind of paper?
As i said above, I use Stonehenge paper most of the time for ink with pencil and color—but for work that’s just in graphite like I’m working on now, I use Fabriano sketchbook paper and this great pencil that I mentioned above, the Technalo from Caran d’Ache, 3B.
What do you need to know in the script and sketch stage of the process in order to feel you’re ready? How much of a script must you complete in order to feel like you can start to sketch? And how much sketch do you need to do for each frame before you set down a finished page?
I have to know at least what is happening on the page. I have to have some form of notes—sometimes that is notes written out in a sketchbook and sometimes that is just loose notes written down on the piece of paper I’m working on. But I need to have the story mapped out at least 2 or 3 pages in advance, the general idea of what each character will say. Sometimes even the way they are posed is important although most of the time I want the pose to be improvised.
I have done comics many different ways, but the process I worked out on The Disgusting Room, where I write out the outline and general relationships, and then write about 3 pages of very loose script as if I was giving actors in a play fresh lines without them knowing the end of the story exactly—that has really stuck. When I try to write the story as I’m drawing—come up with a story element entirely from improvised drawing—that has always been a disaster. I do believe in that though—I’d call that the ideal of cartooning. Maybe someday I’ll get there.
The style you’ve developed has a deceptively loose and wild look to it, which doesn’t look all that easy to achieve. What sort of vision guides your intentions when developing sketches towards finished pages?
Well I want the finished pages to have something of me in them, to reflect me pushing myself towards new image making as much as possible. I think of the story ages as permanent, my ‘flagship’ art and I want the best of what I have within me to be on those pages. For me a strong image is one I didnt know I had within me so that’s what I want to see on those pages.
This new story I was working on, I really felt like it was a bad rehash of previous styles. When Clara convinced me it looked really different, that really excited me and drove my ambition for it.
Is the script usually changing while you create the finished work? And are you sketching before as well as during the process of creating finished pages?
While the general idea of what’s happening in the page is reflected in the script, the exact dialogue is hardly ever in there. I sue to actually cut out word balloons at the very end and make up all the dialogue when the book was completed. I want to stop doing that because I think pasting that in really hurts the drawing. So now I’m trying to plan out spaces to place the dialogue. But the exact phrase, I rarely decide on that until the very end.
I often edit out entire sequences—but because I only write a few pages in advance, I rarely edit the story much before drawing it. If something doesnt work once its drawn, I take it out—but before drawing, the script is usually just a few hours old and I don’t hate it enough yet to axe it.
How important is improvisation in story development?
It’s important in the drawing because I’m trying to create drawings that feel fresh and that dictates the tone of the story, as I’ve explained above. But in terms of the writing I shy away from true improvisation. I guess part of me feels that the writing is something I know I want to refine more and it would feel like cheating to throw something unplanned out in the writing. The drawing I feel much more sure of and improvising with it is part of the kick–improvising to push myself further. The writing I feel like I have different goals for. There are more stark, blunt things I want to say in the writing that I want to articulate as clearly as possible, for now.
Can you recall any examples of how you decided the way to end your stories?
I want the stories to be like thrillers to some degree and to stop on a dime. I try to come down, as a statement, with no endorsement of the horrible things that the characters are doing/having done to them. I feel for the characters and some of them are good people. I want them to be in a place of danger at the end and have the reader know they might have the strength to fight their way out but who knows given the circumstance? And who knows whether the people trying to destroy them aren’t also good in a higher, more purely negative way? I want it to be exciting and maybe a little frightening on the last page.
I actually start out first thinking whether I want to do a long story or a short story. After a longer story, like The Disgusting Room, I wanted to do a shorter piece. I always have little scenarios shuffling around in my head, and its a question of knowing when I have the time and energy to do one of them justice—or if I want to work in a medium where I can carry it off. So actually the genesis of working on a story has to do with the format and length of what I want to do next, not vice versa.
One of the exciting things about your artwork, is the abstract characterization. The frames look like ab-ex paintings. And within it tour figures are unconventional, painterly, expressive, remind me of Basquiat, and living artists like Jason McLean, and Dana Schutz. In The Disgusting Room you have a set of three characters who are strange yet also easy to distinguish. Do you create character sheets to develop the look of each of your figures before you start to work?
No, not at all, which I often think is a failing of my work. At least for now, I pay little attention to how the character looks from panel to panel, offering only little consistencies like their hair style or shirt texture. I guess this is maddening for some readers—I remember reading Gary Panter comics and feeling like it was already ok to do this. To me it means more freedom in drawing…sometimes a character ive drawn 20 times can be an odd shape then in the next panel a more fleshed out body.
In some ways I guess this goes against the cardinal rules of comics. In a sense, cartooning should be pushing a consistently drawn character—or actor—through the story. I love this style of cartooning but I also like inventive drawing. I’m trying my best to tell stories clearly but also draw as inventively as I can and want.
What goes into your process of deciding what kind of material and subject matter you want to make comics about? Is a certain kind of poetic realism in your comics, and I wonder if you have any strong opinions on what is important as subject matter?
I’d narrow down what I’m interested in as being about how characters live alongside each other, how they share rooms or apartments. Every time I sit down to write a story, it often ends up being about that… I’ll try to write something broader in mind and it usually devolves into a story about people living side by side in close quarters.
I think most art that I have affection for is grounded in how characters treat each other. I’m a big admirer of Mervyn Peake, for instance. Now, for all the lush, imaginative writing as there is in Gormenghast–isn’t everyones favorite part how Fuschia interacts with Steerpike? Or Prunequallor and his sister? Gormenghast is grounded in these rich human exchanges–which I think augments the stranger elements to beautiful effect.
Something like El Topo is the same. These violent, absurd images coupled with all that wonderful stuff at the end–El Topo’s relationship to his son and the cave people. That end part is beautiful… who isn’t thrilled when they watch those bits? I think, combined with the absurd elements, works like that achieve this powerful authority.
There’s this bit at the end of Last Picture Show where Ruth Popper goes from shrill anger to really graceful compassion. I think that’s a valuable thing to express in art…comics never seem to show that gradation. I’ve always been moved by that in art and in people and I guess I’m always trying to do justice to it in my own art, through my own ham fisted methods.
Can you tell me a bit more about the comics you’ve published with Domino and how Domino works, and how you’ve learned to make it work?
I run DOMINO here in my drawing space at home. From Dylan, I learned a lot, especially to not look for validation from institutions that I think are hateful—so, I won’t send anything to VICE (to name one) because I don’t want to seek out publicity from something I’d rather wouldn’t exist. I want DOMINO to be an extension of my feelings and beliefs on art, so I try to treat it very carefully, approaching local businesses for services like mailers, stamps, shipping services, etc. I started DOMINO the minute I could—someone had bought a large amount of original art from me and instead of holding on to that money I immediately put it into DOMINO. I knew if I didnt start it then I never would. And that investment…I’m careful to never want it back. In the face of losing money on many small transactions that go into running DOMINO, I have to think of it as part and parcel of caring for these books and believing in them, and believing that they are worth double the time, effort and money I put into them. the comics world is low, low stakes economically and I think that is really good. That means people who put their all into it are doing it for very pure artistic reasons. Dylan said once that ‘selling comics is god’s work,’ in a joking but serious tone. I agree with hat more then I can say. Comics are privileged for their low economic status right now because the only reason to be doing this stuff is for the art. But you have to remind yourself of that as often as possible.
What are the main responsibilities that go into running Domino?
With DOMINO, I communicate with the printer, setting up PDFS and InDesign Files. I pick up the copies and then sell them from home. I contact stores myself, cold calling some of them. I process the orders myself from the website. I try to distribute the zines of people that contact me because i think that’s a first step for some artists thats important to encourage. And I seek out artists I admire who are self publishing to distribute their work too.
My favorite thing is to go to the post office with books from DOMINO, zines from Sweden, comics from Latvia, and from small corners of America and send them all out to people. That is something that brings me so much pleasure.
Our first book was DARK TOMATO with Sakura Maku. Sakura is about the same age as me and we’ve been making work at about the same speed and consistency over the years. Everything Sakura has done usually has a huge influence on my work—and so, when I started DOMINO I just felt this huge responsibility to support her art as if it was my own. I admire Sakuras work for its strong execution and the strange, intellectually potent world exists within that exacting execution. I think of Sakura primarily as a writer but one who uses everything comics has to offer to further her writing. There is this visual assault that accompanies Sakuras work when you first see it, but the more I look at it, the more it all feels in service of the writing, which is a tricky thing to do. Her text will be rendered on one page in this bouncy inviting way, and then shift to a fuzzy, almost hidden text that complicates the narrative. Sakura’s visual gestalt is such that this never feels like a put on. It feels like an elaborate game that’s rules are always shifting but that remain logical.
SPIDER MONEY by Jesse McManus is sort of a tribute to all kinds of comics—it has elements of childrens comics, horror manga, magic and adventure stories. I wrote a loose script of it for McManus to see what would hapen with his over the top style in a more reigned in mode. It has something about it that I really love: a seemingly simple narrative conceit that, once it sucks you in, pulls you through a very bumpy visual road. It looks pretty harmless page to page but within the panels there is tough terrain. I love how Jesse draws so much that I get a lot of pleasure just glancing at the cover.
What is upcoming on Domino?
Domino has a lot of books planned for the next 6 months. We will have FACE MAN by Clara Bessijelle and DIFFICULT LOVES by Molly Colleen O’Connell in March. Im starting work on an anthology that will feature Caroline Bren, Joanna Hellgren, Warren Craghead and EB Bethea. There is this artist called Jonathan Petersen that I love who will be doing a comic called Space Baskets that we will have in the summer. I also have a book of my own, The Life Problem, that I hope to put out very soon but I need to get the money in place.
Who are the cool printing press people to work with these days to achieve the right combination of affordability and good quality reproduction?
For DARK TOMATO, I used an Estonian printer called AS INGRI. They print this fantastic Finnish anthology called Kuti Kuti. They were great and if what you are doing is printing a black and white comic with a color cover, the costs are realtively low. I see kickstarter campaigns for similar projects and i feel like, if you ahev the desire to make something modest, you can moonlight a couple of nights a week and make a very beautiful book with the extra money you make.
I like prininting 24 pages comics beccause i feel like that is a perfect form for expression. it is like the novella of the comics world—just enough room to make a potent stement, and too few pages for any padding.
I’m now using a great printer in Long Island City (two subway stops away from my house) called LINCO. They print great stuff like Showpaper and Smoke Signals and tons of other independent comics that pop up on the east coast. They mostly print chinese restaurant menus and their press is always running. You go there to pick up your copies by subway and you’re in this abandoned wasteland of decaying industrial buildings with a lone, ultra bright blade runner esque video ad hanging above all of it. It’s a pleasure and a thrill to have stuff printed with Linco.
Do you attend the small press conferences and the artist publishers events like the big one that happened in Brooklyn or the events that happen at Motto in Berlin? Do you try to stay connected to the world of your comics or are you more focused on creating work?
As I’ve said a billion times now, I love comics. but I’m also very dissatisfied with them. DOMINO is an effort to pave the way for complicated work within comics, to make comics a more habitable place for the kind of work I care for. I do stay in a great deal of connection with everything that hapens in comics but I also feel a yearning to bring this work to other worlds of art, maybe ones that have fought the battles for experimental expression already that comics seem endlessly engaged in. I feel inklings of that battle beginning over in comics, like at the first Brooklyn Comics and Graphics Fest. But then at this recent one, I felt the creepings of love for artfully rendered genre at the doorstep (or really, in the living room already). I love artful genre but I wish it wasnt so all encompassing.
But no matter what, comics has so much energy right now and so much enthusiasm for making work that I never feel in any other arena of the arts. No mtter what, we are in phase where beautiful things are being created each year and I cant help but feel very carried away by that and wanting to contribute my two cents to all of it as hard and as seriously as I can.
Thank you, Austin!
Annie Koyama is the founder and publisher of Koyama Press, a Canadian print house specializing in fine art books, creatively autonomous comics, as well as limited run minicomics and ‘zines. All her books are surprisingly affordable, and each is printed with such care and attention, that the whole Koyama project seems truly generous and creative for the artists and the readership. A look through the backlist of Koyama titles shows us just where the state-of-the art is at — the whole spectrum of radical approaches to sequential art is presented. Here are some of the great voices and visions of our time, and both Koyama and her artists have consistently won prizes for the quality of their work. Artists like Keith Jones and Michael DeForge offer radical figuration and atomized apocalypses of the schizocapitalist variety. Cinematic visionaries like Tin Can Forest create shadowy, elegant paper landscapes to present timeless fables. I interviewed Annie Koyama over e-mail.
Was it an artist or an idea that inspired you to start Koyama Press?
After a life changing illness, I decided to try something different than what I’d done before (film). I found a few artists whose work I loved and funded a few small projects. That lead to the making of TRIO MAGNUS: Equally Superior, the first book. TRIO MAGNUS is Clayton Hanmer, Aaron Leighton and Steve Wilson.
How did you know how to start a small publishing house devoted to extraordinarily artistic comic books?
I had no idea but learned as I went along. I have a film background, not publishing.
What were some of the earliest titles you published?
Chris Hutsul’s comic A VERY KRAFTWERK SUMMER, Jon Vermilyea’s PRINCES OF TIME, Michael Comeau’s PARADE OF HUMANITY, Team Macho’s PRECIOUS GEMS were amongst the first books/zines published.
What size are you doing, how many copies will you make of a new comic in its first printing?
It depends on the artist and the book. The initial run could be anywhere from 500 to 2500.
What is your relationship to the manufacturing, do you oversee every aspect of the creation of a Koyama book?
I rely on the artist and sometimes get some production and design advice. I’d like the final book to be as close to what the artist envisions with as few constraints as possible.
How do you connect with an artist you want to publish?
I look at a lot of work online and most of the contact is online.
Ideally I’d like to have met the artist in person before the process begins but that’s not always the case. For example, right now I’m working with an artist who lives in Japan.
In 2011 I learned about Baba Yaga, the character from European fables, and have since found out about the comic you published about this fable. Can you tell me something about this book?
I also learned of Baba Yaga when I talked to Tin Can Forest aka Pat Shewchuk and Marek Colek about their book idea. They are filmmakers and their complimentary artwork styles are beautiful. They are working on their next book WAX CROSS which will debut in the spring.
You also publish Keith Jones and Michael DeForge. How would you describe this generation of comic artists and their interests in abstraction and anti-narrative sequential art?
I’m fascinated by the variety of art styles I’m seeing now. I see artists widely influenced by other cartoonists and pop culture but I think that in Keith and Michael’s cases the influences are not as readily evident to me. Because I like the so-called art comics I’m always interested in how artists mix it up. I still think you need a little narrative to make the work cohesive.
Generally files are emailed.
What are some of the most successful titles you’ve published?
In terms of sales, Michael DeForge’s LOSE series and SPOTTING DEER, BABA YAGA & THE WOLF, CAT RACKHAM LOSES IT by Steve Wolfhard, SPIRIT CITY TORONTO by Aaron Leighton.
Does it concern you a great deal when a comic doesn’t sell, or is that part of the risk?
Not really, I have such a diverse set of titles serving different interests that I don’t expect them to sell equally.
Does your website list all your titles or are there little zines and other small one-time comix that Koyama has done for conventions and art fairs and that kind of thing?
My site was recently redesigned by the talented folks at Squidface & The Meddler. All of the books and comics are up there with the exception of the zines I’ve published.
How connected is Koyama with the rest of the independent art book publishing world? Do you stay plugged in to the conventions and art fairs etc?
I try to keep up with the art book world but since there are fewer venues now to sell art books, I’ve shifted the balance to publishing more comics recently.
I still love art books and have just published Jeremy Kai’s photography book RIVERS FORGOTTEN about his underground explorations. I follow a lot of local artists and would like to get out to more gallery shows and fairs again.
Koyama Press exhibits at several book fairs and indie comics shows in Canada and internationally.
What are some of the best storefronts to find small press comics like Koyama?
This is only a partial list as I’m sure I’m omitting some good stores:
In Canada and the U.S.: The Beguiling, Strange Adventures, Librarie Drawn & Quarterly, Lucky’s, The Dragon, Quimby’s, Atomic Books, Meltdown Comics, Secret Headquarters, Bergen Street Comics, Desert Island, Big Brain Comics, Jim Hanley’s Universe, Dr. Comics & Mr. Games, DOMY, Copacetic Comics, Floating World, and Nucleus.
Internationally: Nobrow, Fatbottom Books, Neurotitan.
Where can you buy small press comix like Koyama online?
Some of the books are available directly from the artists on their sites, you can order from some retail stores like the Beguiling in Toronto, The Dragon in Guelph as well as from AdHouse Books http://www.adhousebooks.com/distro/distro.html and John Porcellino’s Spit and a Half http://spitandahalf.blogspot.com/.
Retailers can order from Tony Shenton http://shenton4sales.tumblr.com/,
Do you draw comics yourself?
In your daydreams, what artist would you love to have publish a comic with Koyama?
There are too many amazing artists to list whose work I’d like to publish and I often have to turn down work I’d love to take on if I had more time and funds. By publishing an anthology from time to time, I can include some of those on my wish list.
by Lee | Filed under Audio
It’s not like I go to the disco every night but for whatever reason I’m always on the lookout for good drum patterns, laced with skullface basslines
This year I published a short story available in issue 118 of Border Crossings .
by Lee | Filed under Audio
new by-donation album by one half of the rap duo that made the biggest impression in ’11
One of the most awesome graphic novels of the year was Anders Nilsen’s Big Questions.
by Lee | Filed under Audio
Heads have been all over the place praising Objekt’s complex drum patterns, humping basslines, and epic white label dub style
by Lee | Filed under Audio
beat junk producer of the year, Blawan. Blawan’s style is a lot of stomping brontosaurus noises, long-throated Jackie Treehorn sexfunk, meant to be listened to while naked on a trampoline on a beach next to a phosphorescent ocean. Blawan’s not on my top ten for 2011. Blawan was 2011!
Here’s my personal Top Ten list for 2011
1. University of Victoria’s Writing Department.
2. Prince live at Montreal’s Metropolis and then in Victoria at the Save-On Foods
2. tied with the rap duo Main Attrakionz
3. Co La’s song “Egyptian Peaches”
4. Soulja Boy’s mixtape “The Last Crown”
5. Roberto Bolano’s book of essays “Between Parentheses”
6. Kevin Chong’s novel “Beauty Plus Pity”
7.Anders Nilsen’s graphic novel “Big Questions”
10. Tree of Life. I didn’t see enough movies this year to know what’s good and what isn’t. I saw Drive. Drive was decent. But how could any movie turn out better than Tree of Life?
by Lee | Filed under Uncategorized
It’s been a while since I’ve posted an update!
Anyone familiar with the Alabama rap scene has heard Henny, he’s the stylish rhymeflipper next to Yelawolf and Pill on “I’m A Freek,” he’s worked alongside Jackie Chain, Bentley, G Mane, and with Slow Motion Soundz. On his own, Henny has created a trio called I.B.I. with his cohorts Ziploc Moe and Icey Mike Shawty. I think these must be three of the best rap names out there. And these guys are stoked rappers. Henny’s got some amazing mixtapes, including Black Superman and I Make Alabama Look Good. Kind of the best thing going, I.B.I. has released an independent record titled S.D.M. (Sex. Drugs. Money.) that’s a loud pack of great tunes, including ‘Passport’ and the single ‘Bandz.’ I really listen to these tracks a lot. Enough to write and ask if I could ask them some questions, as a fan. I really don’t know how to interview rappers. I am still am not sure how exactly what questions to ask, but I conducted this one over email, which was easier than when I interviewed Bun B over the phone. I think what happened is I sent the questions and Henny read them aloud in the studio and transcribed the answers. First, here’s their video:
Henny, you’ve been rapping with Yelawolf and Pill and other MCs for a
few years now — how did you click together with I.B.I.?
H: I.B.I was always a label I wanted to start while I was a member of the rap group Greedy Money. When the group split due to legal troubles and moving me and the remaining members decided to start up the group again but wit a new attitude and new approach and Icy Mike
Henny, how do you describe your group’s approach to lyricism and flow?
H: we just get in the studio and vibe…we’ver known each other for a while so the chemistry is there. All we need is some exotic weed and a hot beat
Icey Mike Shawty, when did you start rapping and when did you acquire
such a hype alias?
I.M.: I started rapping the day I was born. And I came up wit my alias to describe my persona. I’m icy cause I’m cold I’m mike cause that’s what’s on my government and I’m shawty cause that’s how I hustle
IMS, how did you know you wanted to make music as part of I.B.I.?
I.M.S.: Just the energy every time we be in a session together the chemistry was perfect
Ziploc Moe, with the unbelievable rap name and the nasty rasp — when did you start writing rhymes?
Z: Shit around the beginning of 2009
Ziploc aka Maury Gator, you have a serious, funny and unstoppable style. Describe for readers how you came to rock it so fucking hard:
Z: Aww man you know I just put my heart in everything I writeand I try not to be a one dimensional rapper. I got many styles wait til ya meet Mauri Gator
How does a track like “Bandz” get made — do you go to the studio
together with lyrics prepared or do you sit down and work it out while
the beat is getting made?
I.M.S.: I don’t even remember I rolled up and wrote my verse
Z: Klassik produced a funky track and God sent it to us
H: I don’t really remember but we just went in and did what the beat said do
Do tracks start from a chorus or hook and work out from there or off
the first 16 bars?
H: it don’t really matter to me
Z: sometimes we do the hook first or sometimes we do the verses
You just put out a really tight mixtape — did those tracks come out
of a big recording session, or do publish your tracks almost as fast
as you can make them?
Are there other members of I.B.I. behind-the-scenes besides the three
I.M.S.: Yeah ibi is a nation. We the faces
Z: We the faces. But we got members we aint even found yet
H: and don’t forget the in house production team. Klassik Keys, Joe Air, and Tech beats
Who are some of your favorite producers to work with?
Z: myself, Klassik Keys, Grade A
I.M.S.: Klassik Keys, Beat Champ, Joe Air, Lbo Keys, Dr Fangaz, Mellow Rich, & JB
H: Block Beataz, Grade A, JPlymp, Lbo keys, Klassik Keys, man I got a lot of em
What do you like to hear in the recipe of the sounds on the drumkit,
the speed, the samples, for I.B.I. to want to jump on a beat?
Z: I like a nice drum track. The synths gotta be there
I.M.S.: Tracks that speak to ya. Tracls that already got direction
H: just make a hot & timeless track and we on it.
I’ve been listening to Alabama rap for five or six years now, I guess,
especially the guys in Paper Route, Slow Motion, and Small Tyme Ballaz
— are you affiliated closely with any producers or labels in Alabama?
H: I’m affiliated wit a couple people from the Slo like Mali Boy, Kristmas, & Codie G. I got BGM fam shout out Eldorado Red. And my selma fam DBD
I.M.S.: yeah BSB, King South
What’s your take on the Alabama music scene? What was it like to grow
up there? Did you grow up going to shows by Last Mr Bigg when he was
just diamond-eye Bigg? Is Alabama on the map now in a way it wasn’t
when you were a kid?
H: Nah Bigg from Mobile we never grew up on him like that
IMS: but yeah we on in a major way now. Wit artist like Yela
Is there a place you go in town to drop a new track and see it play
out in the club?
IMS: the whole city. We plugged in wit the djs in the city. when we drop something the whole city know
Do you go to a lot of rap shows? Who have you seen live that you
thought put on a great show?
IMS: not being bias but Yelawolf. Even tho he reached new barriers he still displays that “still trying to get on” in each of his performances
H: yea Yela. Cyhi, Gside, & Malachi from the Dungeon Family his live show is remarkable
There’s something innovative in the countrified rhythm of the Alabama
scene, with all the different rappers and producers something connects
the sound, makes it homegrown. I don’t know if you can describe how
you like to represent your home in your sound or if that’s even
important to you?
IMS: its definetly important cuz our sound is a sound that aint been displayed yet. and its Alabama soul
Z: its very important wit us being from Alabama cause we the underdog
H: I like to rep my hometown just by telling true southern stories and if I do that right I know I did my job
Are there some local legends in the scene who inspired you growing up
to strike out on your own and become an artist and part of the music
Z: Rick rock, the commodores
IMS: Big Pimp, King South, Henny, & Leon Carmichael
H: PeeWeeDee, Icy, Killa Kat, man its too many to name for real. My city been packed wit talent for over 10 years now
Ziploc, I get the impression you have a thing for women’s shoes — do
you guys hope to grow I.B.I. into an accessories and apparel business?
Are there fashion items that you are each really focused on, lyrically
IMS: first off I been said fuck rap let’s sell clothes. Women buy more clothes than music
Z: yeah I love making women beautiful cause they the ones doin g all the shopping. But yeah in thf future we wanna do that we already selling shirts and hats
H: Big Krit, 9th Wonder, Sha Money
Z: Scott Storch & Dr. Dre
Who is a really under-rated rapper you feel deserves more attention?
H: Slimm Calhoun, Sean Paul (young bloods), my whole team
What is your favorite rap lyric — is there a lyric you listen to and
it reminds you to make your style loose and original?
H: I got too many to name
Z:I aint got no favorite I’m a chameleon to all genres
Can you quote a few lyrics from I.B.I. you want to make sure people
take a moment to listen carefully to?
H: all the verses from every song for real…but “Heaven Help Us” hook is a good one
& maybe you could explain why you chose those lyrics?
H: I say “Heaven Help Us” cause it just sums up the whole cd…Sex Drugs Money
Your lyrics make a lot of wordplay around money and earning good pay
— but there’s also this sense of independence and uncompromising
attitude in what you write…can you talk about what are some of the
dangerous pitfalls you hope to avoid in the business side of things,
and the creative side?
IBI: we don’t wanna not be consistent. Longevity is the key. And just staying out of the everyday troubles of the world like our previous legal problems
Speaking of: The crime life has always been a great source for
metaphor in rap, and all I.B.I. lyrics keep it very real, very fresh,
funny, hard as hell, and you drop tons of common 2011 slang as well as
plenty of your own personal touches to your lines — and what I want
to ask about is the music industry. Have you observed, and is true,
that the music industry is truly full of criminals?
IBI: most definitely. They say the rap game remind em of the crack game.
Alabama seems like a more peaceful place, at least there aren’t any
tragic stories in the news like what’s going on around Lil Boosie and
what’s always playing out with rappers elsewhere getting shit on by
police, and what seems like a very complicated thing Alabama seems
like it’s not a part of?
IBI: well we don’t have hip hop police but a lot of rappers from Bama have legal issues. More so because most if not all are from the streets
You guys all plan on releasing solo albums and then another group
album? When can we start hearing tracks from the solo albums?
H: well ICY’s got his solo coming first its called “Plug Luv” so you should start hearing songs from that soon. I’ve got 2 cds I’m working on now and I’ve got 2 online “Black Superman” & “I Make Alabama Look Good”. And Zip’s got “Liquor & Loud” coming soon. So be on the look out
Will we see you guys working with. other rappers on features for these
albums andleading up to the solo albums?
I.B.I: well we already got the song wit Yung Ralph “Demonstr8″ bubbling but future features will include Kristmas, Bentley, King South, Attitude and a lot of other people from Alabama too many to name
What the hell happened to D4L that you can be sure to avoid? Damn,
what a tragedy. That whole show fell apart. Maybe it was just internal
struggles. You guys have a harder, more of a RUN/DMC vibe in that I
imagine your live shows are almost like rock shows. It’s a very
different vibe what you’re doing, even if a lot of the sex themes are
there in both.
H: well we got a homie that’s signed to D4L that’s from Montgomery Alabama named Jurrari. But D4L is still kickin they just got a deal wit G-Unit too I think…but yeah as with any family you gonna have disputes and setbacks you just gotta keep it moving Ànd stay prayed up ya know
Describe a day in the life of I.B.I.
H: just studio all day really
IMS: Loud…music loud weed loud
What’s your favorite music to listen to outside of rap? Do you listen
to any of that UK stuff or kwaito from South Africa or kuduro from
Angola or whatever?
IBI: we all listen to a lot of other genres from R&B to Reggae to Blues and even Jazz and Rock
Outside Juice and Scarface, what’s your favorite rap-related movie?
Z: Belly or Shottas
Who is the most famous rap video starlet today?
Z: Lola Luv
IMS: Amber Rose
Aren’t you making a video for every track? You guys look like
billionaire beasts on film.
H: yeah were trying to finish the year out by shooting a video to the whole cd as well as solo project vids
You see the Lil B Youtube grind and he’s blown up in a silly way — do
you think the video style is working for him? Would you keep up that
ridiculous tempo? I think people could handle it if you guys were
dropping tons of Youtubes but some of those 500 B tracks cause
migraines. I like his stuff.
H:yeah I think the consumers of today are more about visuals than anything so we do feel obligated to give them that “look” but we prolly won’t do it to the annoying level of Lil B but there will be a lot more videos and video blogs
What do you spend most of your money on besides your home and food?
Was there a time in your life when you were crazy like me and a lot of
your money went to buying music?
H: yeah most def bought a lot of music at one pooint wÉ all have really but now I just spend it on sneakers
Z: I take a lot of trips
IMS: Loud…you know Keshia Cole?
If you could put someone’s face on a new American dollar bill
currency, who would it be?
Have you guys ever thought of doing a track sampling Betty Davis
(Miles Davis’s hot as funk wife)?
H: bro we’d sample you if it sound good lol
by Lee | Filed under Audio
Main Attrakionz, Bay Area’s best rap duo — the world’s best rap duo. Part of Green Ova Underground. Part of the freshest crew of rappers and producers working in America today, and after Alabama’s scene’s success, these are the new saviors of rap, no doubt. There’s a lot of classic tunes already laid out by zoned out MondreM.A.N. and Squadda B and so a person could check out Blackberry Kush or Best Duo Ever or Chandelier or their solo tapes. Or check out Datpiff.com and search for some of their earlier stuff. There’s at least three hundred tracks already easily available to download and most of their shit is better than most mainstream rap. Check out this vid they put out last month, it’s simple, funky, teenage, stylish, sk8 park zoned out, and musically amazing.