Saturday, December 15, 2007

Sunny Day --

" -- chasing the clouds a-way..."

Ramblings on this and that from the past couple of weeks:


James Sturm, hisself, in his new studio digs (no, I ain't telling) Valley News Photo: Nicholas Richer

* James Sturm is getting some local press for the recent Drawn & Quarterly release of his collected volume, James Sturm's America (2007). He's looking out at us from yesterday's 'Close-Up' section of the Valley News (December 14, 2007, pg. C1) --
  • -- here's the link, read it while you can (they don't keep online stories up for more than a week or so).

  • And here's an online preview and interactive website for James's and Rich Tommaso's new graphic novel Satchel Paige: Striking Out Jim Crow -- enjoy, and hey, it makes an ideal Christmas gift, folks.

  • * I loooooooove driving in snowstorms. I dunno why, I always have. Maybe it was the trials-by-snowball-in-blizzard-hell experiences driving in my youth, maybe not. In any case, we're having a real winter this December, unlike the last few years in Vermont, and though I know many have lost all anyone can (their lives) in the storms that have hammered the US this past week, and others have no doubt cursed the weather and suffered much, I've enjoyed the real snowfalls thus far.

    The first storm I hit early this month was a night drive home to Windsor from Burlington on I-89. Per usual, the Bolton Flats stretch was windblown and slow going, but the hardest stretch of I-89 up north is usually (heading south) after the Waterbury exit -- my old hometown exit, natch -- where an unusual cold patch of geography means that haul of the interstate usually has more snow/slush/ice than any other. Sure enough, the driving got buttery there -- but the worst stretch by far was the drag from Middlesex to Montpelier, and especially the uphill slog after the Montpelier exit -- up, up, up and easily two inches or more white stuff on the highway than anywhere else the entire drive home.

    Making the drive more interesting, per usual, were the tractor trailer trucks en route. Fed X had those damned double-trailer hauls going south, which are jackknife hazards but I always let them zip by me to give them all the distance I could, and there was another trucking firm whose name I forget now but they were omnipresent on I-89 that night -- like, no less than five of 'em passed me between Waterbury and Windsor. I just took it easy, doing 45 most of the way and avoiding passing except when essential (say, a car going 30 with no snow tires on fishtailing in front of me) since the passing lane had the heaviest snow sticking, churned to slippery butter by the faster traffic. So it went all the way to White River Junction and the shift over to I-91 for the final 15 miles home.

    Suddenly, the sky cleared -- I mean, like a faucet turning off, going from 16th-a-mile visibility at best to crystal clarity, stars twinkling in the eastern New Hampshire sky across the Connecticut River. I-91 was clean sailing the rest of the way home until I got off our Windsor exit, where light snow picked up and Route 5 was kissed with slush from off the exit to our driveway.

    The drive home from CCS this past Thursday was true snowstorm driving -- though we had no wind, the 1-inch-an-hour steady fall was relentless and folks were driving crazily in their rush to get to where ever they were going. With only 15 miles to get home, I took it easy all the way, happy to join the line on the main lane and only occasionally passing (again, to get past those sans snowtires threatening to slide off the tarmac any second).

    Tomorrow we're supposed to get hammered, so we'll just be staying home. Marge is getting our Christmas tree right now, I'll be bringing it in and setting it up this afternoon, and we'll spend part of Sunday setting the house up for the holiday. Merry Christmas season, folks, and drive careful (carefully) -- where ever you are!

    * Two (post) Chanukah reflections, compliments of my Jamaica VT amigo HomeyM:

    "The image of Chanukah that will haunt me for the rest of my life is of Poland in December 1995 at a commemoration Louise and I helped organize to mark the 50th anniversary of the liberation of Auschwitz. Our first evening there was also the last night of Chanukah and, on an impulse, we decided to take our chanukiah to the gates of the camp-- the site of the infamous sign, 'Arbeit Macht Frei.' Right there, juxtaposed against barbed wife, we lit our candles. It was a mesmerizing image, the light against the darkness. We could barely breathe. And then, suddenly, ten seconds of the lightest possible rain-- as a blessing from those we had come to remember." -- Jim Levinson, Shaliach Trzbur, Congregation Shir Heharim

    "It is now a few months after the shock and awe of Kol Nidre. Darkness is replacing light in our daily lives. The promises and pleas we have made in the bright light of Yom Kippur are at risk of being overtaken by time, by the busyness of life and habits, and by the darkness of winter. So we have Chanukah, considered by most to be a minor holiday, a holiday for kids, but perhaps it is much more. Perhaps it is a timely reminder of the promises we made just a few months ago." -- Paul Berch, President, Congregation Shir Heharim

    * With initial help from CCS alumni and fellow cartoonist Colleen Frakes, and thereafter considerable aid from Dartmouth Theater Department and recent Dartmouth Hair revival director Carol Dunne, I've been trying to pull together a February 'photo shoot' with three members of the Hair cast playing three of my characters (for a 'swamp monster' story I'm working on for a semi-secret project keeping me occupied in 2008). Though, like all artists, I've worked from reference, including photo reference, all my cartooning career, I've never worked from photos 'cast' and snapped for my own story reference, as P. Craig Russell, Alex Ross and others often do. Wanting to approach each of the stories I'm doing for this project a bit differently than I've ever worked before, I'm going to give this a go.

    So, earlier this week, an at-times spastic back-and-forth flurry of emails trying to cobble together either an initial intro meeting or short photo session before the Dartmouth trimester ended finally culminated in a cup of coffee with the lead performer. My first meeting with this actor/student willing to work on this odd project went well, and it's looking promising for a February photo session. Wish us luck!

    Better yet, moments after the young performer departed to get into his holiday break and I cleaned off our table in the coffee shop we met at, a fellow stood up betwixt me and the front door and said, "Steve?" Lo and behold, it was cartoonist Mark Bilokur and his partner Ania; I hadn't seen Mark in years and years, and this meeting was pure happenstance and a real pleasure. I last saw Mark at either Necon (that would have been 1998) or during my last-ever trip to University of Connecticut to speak in Tom Roberts's class and hang with my dear friends Gene Kannenberg and Kate Laity (hey, Gene and Kate!) before their big move to hell in Texas (since rescued by their recent move back east) -- turns out Mark is hoping to come to CCS, so I drove Mark and Ania over to the CCS complex and gave her the tour (Robyn Chapman had already given Mark the official CCS tour earlier in the week).

    More strange coincidences punctuated the day, but this completely dumb-luck corssing of paths was a highlight, and one of those happenstances that makes a week worth wading through.

    * Among the home stretch writing I'm working through on The Neil Gaiman Companion is arriving at a level-headed, non-biased short piece on the entire Gaiman/Todd McFarlane nightmare. As anyone who's kept tabs on my online blather over the past years knows, I simply don't see where Todd ever had a leg, legal or otherwise, to ethically stand on -- but I can't let that color my summary of this phase of Neil's career (a 'phase,' I know, he wishes simply hadn't happened, particularly as it did). Thankfully, cartoonist/inker/creator rights scholar Al Nickerson responded to my call for input, and
  • Al turned up this fascinating legal document online, which anyone interested in this clusterfuck should check out (PDFs you can download on your computer for scrutiny)...
  • More on this, and other creator matters, on Al's Creator Rights discussion board and site (forever linked in the menu on your right, folks) in January, where I'll be kicking up some dust after a too-long period of silencio on that board.

    Have a Sweet Saturday, one and all, and see ya here tomorrow...

    Labels: , , , , , , , , , , , , ,

    Sunday, November 25, 2007

    Sunday Spinnings

    Yesterday morning I finished reading my friend Mike Dobb's new book Escape! How Animation Went Mainstream in the 1990s -- this morning, I finished reading my friend Tim Lucas's truly massive, moving Mario Bava: All the Colors of the Dark. Today, I'll be continuing work on a book project as a writer, The Neil Gaiman Companion, which coauthors Chris Golden and Henry Wagner brought me into in the eleventh hour. Mike and Tim's books are an inspiration, to say the least, and I'll blog about both books later this week -- but today, I've got to keep the clock ticking on the Gaiman book.

    Lorraine a' Malena, again. Again.

    More of Lorraine a' Malena's music is spinning in my head this morning, and now on my player as I work on the book project. One tune in particular strangely fits the process Chris, Hank and I currently are steeped in -- reading, re-reading, and autopsying Neil's body of work:

    "I've been dissecting all the letters that you sent me,
    Slicing through them looking for the real you,
    Cutting through the fat and gristle
    Of each tortuous epistle
    Trying to work out what to do..."

    - from Postmortem on Our Love (lyrics by Neil Gaiman, music by Lorraine Garland)

    That said, though, it's a tune that I still associate with Van Morrison that I hit 'replay' on a couple few too many times:

    "I'll tell me ma
    When I get home,
    The boys won't leave
    The girls alone
    They pull my hair,
    They steal my comb,
    But that's all right,
    Till I get home..."

  • Lorraine a' Malena's website is where you can purchase their new CD Mirror Mirror -- Gaiman fans, take note.
  • You need this CD.

    Thanks again, Lorraine, for gracing the week with the copy you gave me!

    Today and tomorrow I'll be working through Hank's weekend torrent of chapters, amid transcribing the five hours of interview tapes I came home with; we'll be at this till it's done in the next couple of weeks. Wish us luck!

    At last, a photo of the CCS/Bissette booth in the Antique Mall in Quechee, VT; photo by Mark & Kathy Masztal

    A few things I didn't get to this week, as yet:

    * My old cartooning amigo Mark Masztal and his wife Kathy were in the area this past weekend, and Marge and I managed to join them for breakfast on Tuesday morning at our favorite Windsor eatery Stub & Laura's.
  • Mark and Kathy were on their second honeymoon, and whilst in the area visited the CCS/Bissette booth at the Quechee Gorge Village Antique Mall -- here's Mark's account of their trip and his plunder.

  • * I'll use this opportunity to shamelessly plug once again The Center for Cartoon Studies/Bissette booth -- Dealer #653 -- in
  • said Quechee Gorge Village Antique Mall,
  • and note this is a perfect shopping spot for Christmas, folks.

    The booth is literally jam-packed with one-of-a-kind signed CCS and Bissette collectibles, including signed copies of Sarah Stewart Taylor's mystery novels (sold two more of them yesterday!), James Sturm's graphic novels, Peter Money's poetry tomes, Cayetano 'Cat' Garza original art, Bissette-illustrated ceramics (see Mark's blog, linked above, for a shot of him with his Bissette Quechee Coffee Zombee mug!), lots of CCS student comics/mini-comics/comics packs, and tons of outstanding and curious vintage comics, factory-sealed DVDs, outsider LPs, and much, much more.
  • Colleen Frakes's Xeric-Award-winning series Tragic Relief is there, complete -- including copies with Colleen's original art packaged with the comics! -- along with almost everything listed here from the CCS Class of 2007! If you can't shop in Quechee, though, click on this link and shop here --
  • --and here's the online venue for comics and minis from the class of 2008, almost all of which is in the Quechee booth, too, signed and waiting for you.

  • * While I don't play favorites at CCS, I do want to note among my readings this past week was a most enjoyable re-reading of the first two issues out thus far of Sean Ford's excellent Only Skin: New Tales of the Slow Apocalypse, which is likewise on sale at the booth.
  • But don't take my word for it -- here's one of the most expansive online reviews of Sean's first issue, check it out.
  • Then quit dawdling and buy both issues -- while you're at it, get two sets: it'll make a great Christmas gift for some unwary comics-loving soul.

  • Have a great Sunday...

    Labels: , , , , , , , , , , ,

    Saturday, November 03, 2007

    This, That, Paddywhack, Give That Cat a Bone

    Just wrapped up my part of a roundhouse discussion with Tim Lucas, Kim Newman and Shane Dallmann about Robert Rodriguez and Quentin Tarantino's Grindhouse for an upcoming issue of Video Watchdog, and more work on the Christopher Golden/Hank Wagner book on my amigo Neil Gaiman, which I'll be sharing some co-author credit on. Thanks to Chris's busy schedule, I'll be the one joining Hank in a couple of weeks for a weekend visit/interview session with Neil, too, which I'm greatly looking forward to. Haven't seen Neil face-to-face for quite a stretch, though we've stayed in touch over the years.

    That said, the Center for Cartoon Studies is keeping me busy, too, and oh, the folks I've met and get to work with, primary among them the incredible CCSers themselves -- man, I love seeing/reading their comics! Anyhoot, a lively week is ahead: CCS hosts Lynda Barry this week, who's coming in and giving a full two-day intensive workshop for the students. Whew! I'll be dining with Lynda and alumni Colleen Frakes Monday night, which should be big fun. Marge and I are having breakfast with Colleen and her partner and fellow alumni Jon-Mikel Gates this AM, just socializing; life is good.

    Fellow CCSer (and among the school's funding co-founders) Peter Money is making his own waves with his new tome, Che, and as a publisher with exiled Arab poet Sinan Antoon's The Baghdad Blues.
  • Peter's latest poetry/publishing venture landed a piece in Time Magazine -- kudos to Sinan and to Peter!

  • As for last Saturday's White River Junction Halloween Parade, in which CCS figured mightily, Main Street Museum's David Fairbanks Ford just shared these links with us all hereabouts, sporting photos from the parade shot and posted by Matt Bucy and Dennis Grady,
  • here and
  • here. Enjoy!


  • And, for your Saturday AM amusement, CCS freshman Jeff Mumm shared this link with us all, and you might dig it, too: a venue for reworked Garfield strips, sans Garfield's dialogue.

  • As Jeff put it, "There's a fun strip called "Arbuckle" in which cartoonists send in comics based on Garfield strips, removing the dialogue by Garfield (to see the world through Jon's eyes, considering that it's canon that he doesn't understand what Garfield says) and rendering it in whatever style they deem appropriate. I did one a couple years ago and thought it might be fun if people wanted to do a strip for it or even just to read through it a bit, because it's a pretty funny concept. Because really, who doesn't like making fun of Garfield?"

    Check it out; click backwards from the lead page strip using the little arrows beneath it, and read the source Garfield strip for each via the link. Consider it a morning laxative, folks, if nothing else...

    Have a great Saturday, one and all...

    Labels: , , , , , , , , , , , , , ,

    Wednesday, October 17, 2007

    Congrats to Colleen Frakes!

    Colleen, center, beaming at the CCS table at SPX this weekend. Photo (and the one below) by Joe Lambert.

    CCS graduate Colleen Frakes has won a Xeric Award!!! Well deserved, Colleen, and big-time congratulations all around! More info later this week, along with links, etc. Congrats, Colleen!


    Joe Lambert, cartoonist extraordinaire/CCS senior/Sundays co-founder & co-editor/One Percenter and oh so much more, has posted
  • this great photojournal of his SPX weekend, including the beard-o video!


  • And yes, I had a great time last night at the Main St. Museum, listening to Mooneye. My son Dan sang two of his songs to wrap up the set, and then I gave Dan, Sam and Ruth a tour of CCS. Much of the CCS community turned out -- you'll have to ask them what they thought of the evening, though, as I'm prejudiced on this one. Though the microphone didn't service the band's lyrics well, it was a grand evening and this poppa's heart soared. Bought a copy of everyone's CDs and will be drawing to their music all this and next week and beyond.

    They're now on the road -- as you read this! -- and I'll post their schedule later today.

    I'm sorry, though, that I've missed 2+ years of CCSer music at the Main St. Museum. It's a marvelous space, and I know Sam Gaskin, Gabby aka Ken Dahl, Cat aka Cayetano Garza and many others played there many times over the past two years, when I still lived 90 minutes away (three hour round trip) and just couldn't attend. Damn! Well, I'll be able to make it now...

    Labels: , , , , , ,

    Saturday, June 09, 2007

    Josie's Show and Doc's Chalk Talk, Chapter the First

    (A Saturday Morning Entertainment, in Two Parts)

    Last night, I bopped on down to David Fairbanks Ford's White River Junction landmark and happening place the Main Street Museum for the 7pm opening of CCS graduate Josie Whitmore's new arts, crafts, and jackalopes gallery show.

    A fine time was had by all, and it was also great to catch up with Antoinette Jacobson, sister of filmmaker Nora Jacobson, and the woman who worked on the construction and orchestration of the amazing fire organ (centerpiece of sister Nora's excellent feature film Nothing Like Dreaming). Broke artists all, it's my goal now to arrange a creative-economy means for Antoinette to land a couple of banjo lessons from Gabby, if the logistics can be arranged at no cost to either of 'em.

    There was indeed lots of fellow CCSers and WRJ community folks, good food (vegan and otherwise), wine, lemonade, live banjo music provided by Gabby 'Ken Dahl' Schulz (playing from a huge glass case, like a live museum exhibit) and more.

    Josie curated the show (those are Josie's exquisite jackalope wash drawings featured on the announcement and spot illos, here), featuring watercolors, jewelry, photography, paintings and crafts by Josie, Judith Howland, Sigrid Lium, Marion Settle, and fellow CCS graduates Elizabeth Chasalow and Colleen Frakes. Elizabeth's photos and 'dead pet' cloth creations are showcased handsomely, and Colleen Frakes -- who you met via her interview here on this blog this past week -- has several books and paintings on display, including three huge female superhero paintings ($300 for the set). I tell you, snag these now, while Colleen's work is affordable! She's going places in this world, as is every artist at this show.

    Here's the official announcement:
    ____________


    ARTS, CRAFTS, AND JACKALOPES!

    Area craftswomen exhibit top-notch wares at the Main Street Museum,
    White River Junction, VT. June, 2007.

    The Main Street Museum is proud to announce "Arts, Crafts, and Jackalopes," a month-long exhibition celebrating the handiwork of some of the Upper Valley's most talented women artists. The show will feature: photography, paintings, apparel, accessories, jewelry, log cabin quilts, comics, and soft sculpture. A wine and cheese reception will be held on the the exhibit's opening night at 7pm on June 8, 2007.

    Featured Artists: Elizabeth Chasalow, Colleen Frakes, Judith Howland, Sigrid Lium, Marion Settle, and Josie Whitmore

    Arts, Crafts, and Jackalopes will open on June 8, 2007 at 7pm at the Main Street Museum in White River Junction.
    _______________

    The show runs until July 8 and items can be purchased during regular museum hours. If you're in town, be sure to drop in, savor the show, and drop some dollars for whatever catches your eye (and don't forget the Quechee Gorge Mall is just 5 miles away, on Route 4 West, where lots more CCS goodies await you in the Antique dealer venue, Booth 653).

  • Here's Josie's site, brimming with goodies, which is well worth a visit this morning, and
  • more of Josie's art for the event (along with CCS and life pix, paintings and pointers) are here -- and it's likely Josie will be posting photos from last night here at some point, too.

  • Thanks, Josie!
    _________________________


    Now, on to Part One (of many) of the promised interview with my ol' compadre Tim Viereck, aka Doc Ersatz.

    A little background, though the interview will provide ample backstory: Doc and I met and became fast friends when we were both at Johnson State College in upstate Johnson, Vermont back in 1974-76, and we've stayed in touch over the years. Doc is a man of the world and an incredibly creative fellow; his life and times have embraced expansive travel, sailing, hiking the Canadian tundra, music, theater, cinema (he worked on Blue Velvet!), state-of-the-art simulated realities (he worked on the miniatures for the famous Back to the Future ride at Universal City Studios) and oh so much more. Meet the man who once knew Cindy Lauper, who co-founded the Council of Edacious Souls, who picked up a shard of Dennis Hopper's shattered skull off a North Carolina floor and who bankrolled the launch of my comics career.

    Meet -- Doctor Ersatz!
    __________________________


    SB: Now, where did the moniker Doc Ersatz come from? You're about the least ersatz fellow I've ever met.

    TIM VIERECK aka DOC: Ah, the old Franklin Nigel Q Ersatz, DAM.

    This can be traced back to a Firesign Theater routine, an advertisement for "Ersatz Brothers' Coffee - It's got zest-appeal!" My best friend growing up, who shall remain nameless (hey, he's in a government job) and I collaborated on an art project after our freshmen year of college. He'd taken a silversmithing class at UVM [University of Vermont]; I had gotten hold of some slabs of black soapstone from an old soapstone sink, which I was carving into pipes (hey, it was 1972!). We made a sculpted stone pipe in the image of a snarling, eye-patched pirate, which came out pretty damn nice. His head-scarf was carved in the stone, but his eye-patch and the cord for it was inlaid in silver. His remaining eye was bone with an ebony pupil, and he had bone, ebony and silver teeth. We put it on consignment at a shop in Bennington, but first we needed a case for it. I found some kind of nice tin box with a hinged lid, but it needed a label. Ersatz Bros. was a natural for us, and though I ended up with that tin as my stash-box for many years (yes, you saw it many times Bissette, don't lie now), the pipe was shop-lifted. This quelled what little enthusiasm I might have had for capitalism and free enterprise right there, mate. But I have attached the working drawings of old Cap'n Crunch, can you believe? Just went out to the shop, pulled the sketch-books off the shelf, and there it was. Sometimes I amaze myself. Sometimes not.

    State's Evidence, Fig. 1: The original Cap'n Crunch drawings, circa 1972

    Oh, what was the question? Right, Dr. Ersatz... I made a linoleum block business card for Ersatz Bros., with our motto "De Gustibus Non Est Disputandum", which I stuck on my dorm room door upon my return to academia. Martinetti Hall, Johnson State College, January, 1974. I wrote my real name on it, but Dr. Ersatz is what took. One guy actually called me "Zatz", but everybody else, and I mean even my professors, called me "Doc" or Doctor Ersatz. The DAM is for Doctor of Applied Miracles, the term for Physicists in some nightmare Sci-Fi novel where the Christians have taken over the world: you'd probably know which one it was, Steve.


    SB: I ain't telling, but some joker will undoubtably post the info in the comments and that'll be that. Your family has a palatial spread outside of Bennington, VT. Sticking to what you're willing to share in this public arena, what's the Viereck family story and legacy, as experienced in your lifetime?

    DOC: My parents bought that place in 1954. They were New Englanders of the coastal persuasion, but had ended up in Alaska after the war and college. I was born in Cordova, AK, but they figured it was a little grim up there for raising a bunch of kids, what with the isolation, the cold, and the 220 inches of precipitation. They applied for teaching jobs in a couple of places they knew from their college days (they met through the Dartmouth/Vassar Outing Club - what can I say?). The train between Poughkeepsie and Hanover went through Bennington in those days, and they got a job offer there they liked. The Superintendent wrote them, apologizing that the salary was only a fraction of what they made in Alaska; they wrote back explaining how much a single egg cost in Cordova!


    We moved into the old farmhouse, built circa 1785, right around my first birthday, after the big Husky had given birth to a litter of eight in the back of the car. They paid $12,500 for the place, with around 56 acres, a couple of barns and various outbuildings, a nice brook, a sugar-woods (now Ye Olde Feasting Woode), hay fields, a swamp, a pine woods, and a separate parcel just for firewood. The neighbors thought they were totally nuts paying that kind of money for a beat old farm. God damn flat-landers!

    As to the future of the spread, I don't know. My folks are getting on, as they say, and no consensus has formed. My youngest sister, who lives across the road in a tiny little house, would love to get the farm back on its feet and do a goat operation of some kind, but family dynamics being what they are (does "dysfunctional" mean anything to you, Steve?), it'll be hard to make that work. La Madre is still into total control, naturally, though I think we siblings would back the goat plan to the hilt. (The hilt... now, that makes one wonder where to place the blade up to it... Oops, sorry)

    For better or worse, the farm has held the family together over the years, and without it the Feast would probably never have happened, and certainly wouldn't have continued. What's next? I wish I knew...

    "The Naughty Shepard" by Doc; hmmm, is that lamb on a spit or German Shepard? (see bogus witness account of the Feast, below)

    SB:
    What got you into art, Doc? Just the bit I've seen over the years covers a lot of ground, in many media. What are your earliest memories that led to your making -- stuff?

    DOC: My mother's family was into art. My mother painted, and also illustrated my dad's books; her mother painted and was an architect. I was always encouraged in my art, whatever it was, from drawing to making Da Vinci-esque glider models or miniature crossbows. I can't believe some of the shit I was indulged in. For example, stuffiness (and I refer here to the actual non-movement of air, not the cultural aspect) in classrooms always bothered me, especially in the spring when it got hot. In 7th grade I made this contraption, mostly out of balsa wood and tissue paper, which clamped to my desk and used a foot pedal to operate a simple fan. They actually let me use this thing in class! Go figure. By the end of the following year, I had moved to a compact battery operated design with a propeller from a wind-up plane mounted on a little motor... and again, they allowed it in class. Fun.

    But I suppose most of the early "stuff" I made was for my bear. I had this little up-right humanoid bear, actually an antique Stieff, which my mother had gotten second hand when she was a kid. She had made quite a bit of stuff for him herself, but I did immediately eliminate the bi-sexual aspect of the wardrobe. She had named him after Winnie-the-Pooh's cousin (actually an alias for the Pooh himself), "Poodle". Unfortunate, but who cares when you're a kid? At some point I got a very nicely-made little monkey for his side-kick (I named him "Monkey", OK?), and I made or accumulated a lot of costumes and props.



    I figured out how to run the sowing machine when I was eight, and made a white canvas winter camouflage suit for him. I made him Roman armor with a big "P" on the front out of beaten copper, and also he fitted the original GI Joe uniforms and weapons. I made him a parachute to fit the GI Joe harness and chucked him out my bedroom window. Stieff collectors, eat your hearts out! My youngest sister had toy horses, and we used to play together, taking them all on expeditions in the yard and gardens.

    As for the rest of it, I'm a "one thing leads to another," "go with the flow" kind of guy, as opposed to "goal oriented." I didn't grow up dreaming of bending glass and making neon art, for instance, I just had a girlfriend who wanted to work in a movie studio, where I got a job building sets and hanging signs, got to know the tube-bender, a wonderful kinetic artist from the Mid-West, and when I had some time and money, went to Kansas and took his course. He and I are still great friends, but now I'm doing something different, like mainly raising kids. Now, talk about "a piece o' work", you ought to meet my kids!

    SB: What about them kids? Let's jump the chronological rails for a moment or two and let's here about your family -- how did you and Tamara meet, when did you start your family life, and how about them kids?

    DOC: Tamara was a great friend of my sister Meg's. They knew each other in Yellow Springs, Ohio, home of Antioch College, which neither of them actually attended. Meg mentioned her a few times as someone who should come to the Feast, and she gave me her address and I actually did send an invitation. She was in Med School and insanely busy, but eventually she got a little time off and came. I tell everyone that I met her at the Feast (the 21st, "Feast of the Majority", which few get; 1991), but of course I actually met her a day or two before when she showed up to help. So we took a shine, and commuted between Catskill, NY, where I was doing archeology, and Columbus where she was doing medicine, for a year or two, traveled together, and moved out to Tacoma, Washington, together, where she did a fellowship in rural medicine.

    Our daughter, Raphaela Danielle Singleton Viereck, was born there, actually in Federal Way, WA. What a name for a town! Best to leave it at "Tacoma," and hope no one is familiar with the term "Tacoma Aroma"! Our son, on the other hand, Jasper Anselmo Kingsbury Viereck, aka Pom or Palm Barrel, lucked out, being born at the Midwifery Center in Taos, New Mexico, five years later. That'll sound cool no matter where he ends up, no? Incidentally, we got married when Rapha was 3, old enough to take part and enjoy the celebration. What a party! We got married on Columbus Day, 1997, at our really nice rental house down on the San Ildefonso Pueblo reservation, under a golden cottonwood tree in a walled garden. The Ramon Bermudez Group played (if you can find their CD, I recommend it highly; this was our big splurge!), our friend Norma Naranjo of San Juan Pueblo catered (she's one of the best native cooks around; she's catered for the Smithsonian), and we spent the wedding night in a wonderful old movie tipi in the back yard (the damn Indians had chained off the canyon where we planned to camp). Eee, what a party! You should have come out, Steve.

    Say, if you read A Fair Wind, And Plenty Of It by Rigel Crockett, you'll find that in the midst of the crisis of trying to get the tall ship Picton Castle ready for her first circumnavigation under sail, with too little money and less time, the Captain suddenly declares a holiday for all and mysteriously disappears for a week. That's my cousin Dan -- I had to twist his arm a little, but I didn't want to wait two years for him to get back and I had no interest in getting married without my primo as my best man...

    As for those kids, unless they do their goddamn homework today, and without a huge fuss, I've got nothin' to say about 'em!

    SB: Hey, share that SpiderBaby Comix story with us --

    DOC: I knew what story you meant instantly, but to recall it exactly... Instead, I spent some time searching old emails and finally came up with:

    “So I came into the living room this morning, Saturday morning. Videos have been banished for two weeks, as punishment for faulty behavior patterns, and Tamara and Pom are ensconced in an easy chair, she reading aloud. How sweet, how special!

    I read an email, fill in a petition against the repeal of the estate tax, peruse some jokes sent by a friend, as the words drift into my consciousness: "... said grace, his robes moved... shifted and quivered as if hidden limbs were moving... limbs where no human being ever had limbs... "

    Arrggghh! Spider Baby Comix has found my six-year-old!

    I turned his attention to Tyrant, and read a couple, but even after one, he said, "That next one doesn't look so good - it doesn't have much blood... I like the blood!," and after two, he went back outside to play.

    To play whatever secret games he plays...
    alone...
    in the shadows...
    by the ditch,
    perhaps with little helpless creatures...

    Thanks, old buddy -
    Doc

    Now, to update that story, I should say that as they've aged a little, they've gone more to Tyrant, and like much of the world, want to know when the rest of the series is coming out... Yeah, yeah, I know; I'm talking about the rest of the world.

    SB: Nice try, Doc, but my “where’s Tyrant?” callouses are thick and resist such feeble prodding. Anyhoot, I love that SpiderBaby Comix story.

    DOC: As I said back then, "I knew yer cockles would be warmin'".

    SB: OK, now, what are you up to these days, Doc?

    DOC: These days, I irrigate my fields, I prune my fruit trees, I collect the money for La Acequia Del Gavilan (part of the ancient Spanish system of irrigation ditches), I take care of the local community water system as President and Certified Operator, and I do most of the ordering for Ojo Caliente Volunteer Fire & Rescue, where I also respond for fires and car wrecks. Hey, I just completed an Advanced Extrication training last week, where we cut up a school bus and a semi, and chopped up numerous wrecked vehicles piled precariously on top of each other. Fun. Also, I've been building a set of kitchen cabinets for a friend up the road. The lowers are in, and they can't say enough good about them. They brag on them to all their friends, which is heart warming of course, though I'm left thinking "Well what the hell did you think I'd make? These are the materials, the designs, the finishes you picked out, did you really think I could turn all this great material into a pile of crap?" But they seem to find it artistic, I guess. Now if I can just find time for the uppers...

    SB: The Feast -- please, explain, Doc. The Feast, St. Edacious, all of it.

    DOC: The Council of Edacious Souls Feast has been going on for several decades; this year's will be the 37th. It all started when... Actually, my cousin (or primo, as we say here in Mew Mexico) Danny, now aka Captain Daniel Dawson Moreland, commander of the three masted barque 'Picton Castle', had an idea back in 1970.

    There's a mostly uninhabited island off the cove where he (and other of our maternal line) lived in Connecticut. He and his friends (including me) loved to get out there and camp, away from all parental and otherwise authoritarian influences, and, due to the substantial rat population, mostly in nets up in the trees. There were several groups, each with their own distinct tree or grove, only rule: No Daps! (kids from Darien, poor bastards). The camps were made entirely of flotsam and jetsam - very picturesque, with furniture made of stakes driven in the ground, lashed up, netting woven in place, swings, a great flat rock suspended on an old hawser from high in the tree serving as a side-table, old spars lashed in high branches netted for sleeping platforms - you get the idea.

    Dan came up with the idea of having a Thanksgiving feast on the weekend after Thanksgiving. That first year, someone cooked a turkey in mom's oven, somebody obtained a small supply of Bali Hi wine (mmm - sweet!), Dan bought plates and silver ware at the Salvation Army store, which were then renewed each year. All vessels involved were, by tradition, unregistered, under equipped, overloaded, fun. The feasters, mostly high school juniors (I was a senior), met at the family dock and were ferried out where they were then stuck until enough people wanted to head in to convince a boatman to transport them, a nice arrangement.

    The note! The naming of the Council, circa 1970-71

    I returned to Vermont with many fine tales of this affair, and my friend Ed and I started formulating a plot. We wanted to have a spring feast, out in the woods, in a flowering orchard, somewhere isolated enough to keep things private and where we could transport our friends and hold them marooned in island fashion. We felt that a large spitted animal should be roasted on site, with nothing from our parents kitchen involved. No silverware seemed like a good idea, so did no expenses. To this end, we formed an official club at school, faculty sponsor and all. I searched my thesaurus into the wee hours for just the right name, something along the lines of "Society of Glutinous Persons". Oddly, in my archives, I still have the little piece of note paper on which I tried various combinations, finally arriving at the Council of Edacious Souls. We had thirty members, at $1 each, and we had a raffle in which we talked the winner out of his cash prize in return for an invite. Sadly, as we didn't get things together until post-graduation, we lost track and he's never made it.

    From the first couple of feasts in my parents' wood-lot, about a mile from the house and illuminated by hissing Coleman lantern, to another decade in the Sugar Woods, to the expanded two-site ( and Sanctum Profanis and Sanctum Sanctorum) with procession all lit by torches, years of varying amounts of illegal fireworks, varying amounts of live music (also of varying quality), and always prodigious amounts of excellent food, the Feast has blundered on, in good times and weird, in sickness and in health, etc. Attendance has swollen and shrunk, from an early count of 20 to 25 up to a high of 85 or 90 in the past decade. My sister Meg took to brewing truly fine malt beverages for a while, around 160 pints of ales and porter, which we labeled anew each year and placed on planks in a pit of ice...

    Saint Edacious arose naturally from all this. I have been equated with the saint myself at times, though I can't see it myself; it started after the 6th Feast, when it rained like holy hell. It had never actually rained on the Feast up to that point (though it had sure rained before and after), and since I was off paddling in the sub-arctic, feasting on ptarmigan pegged with a wrist-rocket slingshot and staying dry, I was hailed by some upon my return as "Saint Edacious", and indeed, the Feast never did get rained on, wherever I personally was Feasting, up to I believe the 25th. That was too much pressure for me; it was a huge relief when it finally poured on me and washed that cult stigma away! The image of Saint Edacious came from the second Feast, and it led up to the Satan worship thing in your next question. I made a linoleum block print with our motto "Caveat Emptor" on it, and posted some along the jeep trail which led to the site, giving rise to rumors (as intended).

    SB: OK, let's get to that question. I recall a 'satanic cult' news item from the Bennington papers that somehow was tied in to all of this...

    DOC: It was in the Bennington and Rutland papers, but more absurdly on an Albany NY TV station. Some disgruntled parent at the elementary school where my father was principal, a self-proclaimed "Christian," tried to make trouble for him, and succeeded due to greed and America's yearning for sensationalism.

    Mid-autumn of 1987, this woman called all the papers and TV news rooms in the region to report that Phil Viereck was host to a Satan worshipping Black Sabbath of some sort every summer. One reporter, on the Rutland Herald, followed it up and got the true story. He spoke with State Police in Shaftsbury, telling them that the charges seemed groundless and that he was going to print that in the Herald. So a State cop, their "cult expert" or something, actually called the anchor-babe at a struggling Albany station, who also was looking into the story for a big lurid splash, and told her that if she wanted to scoop it, she better get it on the news that night. She called my dad, informed him of the allegations, and asked for his side. He of course said it was just a party his son and his theater-type friends had, and invited her out to the site. She said something like "Thanks, but we've already been out there and filmed -- catch the news at Eleven", and in fact it ran as an "Extra", with footage from our Feast site, footage of a "Cult expert" from Mary Rose College (!) discussing this footage ("and this is the West-facing throne where the high priest or priestess would sit", a crude chair made for our co-founder due to a crippling injury he got trying to help at a car-wreck, and "this residue on the tree appears to be candle wax!" - it was blue plastic from a fire-works pinwheel), and the news teaser: "Satan Worship in a nearby Vermont town? State Police say it's no joke!", a line still quoted to this day.

    So everything hit the fan, my dad came up with some good lines for the paper, my favorite being "I think we have a lot more to fear from irresponsible journalism than we do from things that go bump in the night!" To another quote of his "There's nothing remotely resembling Satan worship that goes on there", a fellow Edacian said "Well, remotely resembling... I don't know, that could be stretching it." The State Trooper moron was disavowed and eventually transferred away. The best allegation of the whole deal: the woman's boyfriend claimed to have watched from the bushes as we Mephistophelian revelers roasted "a German Shepard" on a spit! Boy, anybody who's ever roasted a good sized animal on a spit has to have a lot of respect for someone who could tell whether the critter was a sheep or a dog, let alone the breed. Incidentally, we usually end up with a good sized calf these days...

    SB: Speaking of Bennington weirdness, I have to ask: growing up in the area, what kind of weird lore punctuated your pre-college years (we'll get into the college lore next batch of questions)? Had you ever heard of the disappearances on Glastonbury Mountain which Joe Citro has dubbed "The Bennington Triangle"?

    DOC: Only in the sense that I do vaguely recall a Bennington College girl or something disappearing over there, but the fact is, it's a huge rough heavily-wooded remote area, so it was no surprise if some fool headed out that way and didn't come back. Lotta bears, too...

    No, the only strange, brooding local story I grew up with was from the area of the family camp, Jewel Clearing, and old sugar-house built by some distant relatives who settled back in behind Readsboro. There was an interesting unsolved mystery death which occurred back in there while the dam for the Whitingham Reservoir was being built.
    ______________________

    OK, enough for one day, Edacious ones.

    End of Part One -- Part Two tomorrow, paving the way for a week of CCS interviews, too!

    Have a great Saturday...

    Early Feast photo, circa 1977

    Labels: , , , , , , ,

    Monday, June 04, 2007

    Tragic Relief, Indeed!

    Cover: Tragic Relief #1 by Colleen Frakes;
    interview with Colleen awaits you, below!


    Morning, all -- and a rainy Monday it is too, here in Vermont.

    A big happy birthday to Bruce Dern, my favorite character actor next to the late, great Strother Martin and the still very-much-with-us Eli Wallach. Bruce Dern home film fest to follow!

    Tomorrow, I'll write a bit about Ichii and Me -- yep, I'm part of a new DVD release, in stores and online everywhere, and I'll blarf about it here.
    ______________

    If you love Ichii, you must have savored the Republican debate on Fox News last week.

    Marge and I watched the Democratic debates last night (on CNN and our local New Hampshire public television station), and it was engaging and enlightening -- far superior to the race-to-fascist-bottom of the Fox News Republican debate, which I found completely alarming and discouraging. If one of these Republican shits denounces the likes of Hostel II after the verbal torture-fest they all (with the notable exception of Senator McCain) reveled in on Fox News's debate, they'll have a lot to answer for. When Mitt Romney boasted he'd double the size of Guantanamo, my gorge rose (along with my blood pressure).

    If anyone had written a sf novel 15 years ago proffering the reality of the Fox News Republican debate, word for word, I simply wouldn't have believed it -- much less believed it possible. What a sad, sick time we live in. It'll be interesting to see what tomorrow night's NH Republican debate brings after the rabid fear-mongering of the Fox News event. Did the network or the candidates set the tenor, tone and content? We'll soon know.

    Anyhoot, The Democratic debate was an oasis of rational conversation by comparison, though Wolf Blitzer (the moderator)'s ongoing rewording of audience questions into increasingly polarized, extremist 'what if?' scenarios and 'raise your hands if you agree that' reductionism was a sad reflection of the Fox News polemics and loopy 'what if?' questions. The candidates last night finally refused to engage in such nonsense, and the debate was the richer for it.

    I'm still stunned, though, that no one is truly calling Bush on the budget issue -- that is, the ongoing refusal to incorporate war funding in the annual Federal budget, making the continuing spectacle of these sidelined war funding bills such a hot spot.

    Not once did the Democratic candidates articulate this simple fact -- thus, the core issue (the Bush Administration's refusal to include the cost of war in the annual Federal budget) again gets a slide, and the Bush Administration's ploy of 'blame game' nonsense is sustained. Why do the Democrats fall for it? Because they do, the American public does.

    Call a spade a spade: THE WAR COST HAS BEEN SIDELINED since the war began in Afghanistan in 2002. This is Bush's tactic; let him eat it. We're sick to death of it, and the only thing more disgusting and tiresome than this ongoing spectacle is the Democratic Party's continual rising-to-the-bait of the President's ploy. Colbert Report got it right: it's identical to Charlie Brown falling for Lucy's football stunt every goddamned year.

    Well, enough on that for now. Let's look to a brighter immediate future:
    __________________

    It's time for lift-off --


    As mentioned Friday, the upcoming MoCCA comics convention in New York City (June 23 and 24) will offer a venue for you to meet, greet and sample the Center for Cartoon Studies graduates, artists, students and their creations.

    As Robyn Chapman notes, “The CCS table will be B5, a prime location near the front door of the first room,” and it’s my understanding that at least one group of CCSers may have another table, too, at the show.


    In anticipation of that event, I’m going to offer a series of interviews here with some of the artists -- students and our first-ever graduates! -- who are planning on being at MoCCA with their comics, mini-comics and zines for sale.

    These will be spread over the weeks to come until the weekend of the 23rd. These will also give you a peek at some of the artists who are part of the CCS scene -- and please, don’t forget you don’t have to wait for MoCCA or (if you’re not going) some other event. Many of the comics you’ll be seeing previewed and discussed in this series of blog interviews are
  • available right now, at the I Know Joe Kimpel site; check ‘em out, check some out!


  • First up, recent CCS pioneer class graduate Colleen Frakes -- take it away, Colleen!
    _________________


    Colleen Frakes: Tragic Relief

    SB: Colleen where do you herald from?

    COLLEEN FRAKES: I'm from Washington State, born in Walla Walla, but the family moved a lot within the state so I grew up all over the place. When I was 12 we settled down for a while on McNeil Island, where I lived until my second year of college.

    SB: When did you first get into comics -- as a reader?

    COLLEEN: I first got into comic books in the second grade. I was out of school for a few weeks with chicken pox, and spent almost the entire time on the couch reading my dad's old issues of Mad. This led to some benevolent family member getting me a subscription. Beyond Mad, I didn't read many comics until I got to college. Living on an island, even things like newspapers were hard to come by.

    SB: You’re among the CCS graduates who had already graduated from college before you became part of CCS’s pioneer class --

    COLLEEN: I graduated from the Evergreen State College in 2004 (other cartoonist alumni include Lynda Barry, Craig Bartlet, Charles Burns, Matt Groening, David Craig Simpson, Megan Kelso, Tatiana Gill, and many more). Evergreen is a big hippie school -- no grades, departments, tests, majors, requirements, etc. I went there planning on becoming a history teacher, but ended up taking mostly book arts and writing classes.

    Colleen Frakes; photo by Elizabeth Chasalow, 2006

    SB: What got you into creating your own comics, and what were some of your first?

    COLLEEN: I first started drawing comics in 2002. Until then, I'd always thought comics were beyond me. Draw the same thing more than once, I could never do that! It was in 2002 that
  • Curtis Retherford, then comics editor of Evergreen's Cooper Point Journal, encouraged me to submit a weekly comic strip. So I did, and it got a surprising amount of response, both positive and negative. The attention amounted to less than five e-mails and a handful of comments from professors, but it was enough to start something.

  • In the spring of 2003, I wrote an independent contract to spend the quarter working on a comic book. My advisor, Peg Tysver, took on three other students with similar projects that quarter. The way I'd set up the project, I ended up only having a month to write and draw the 18-page booklet, then self-publish and distribute it at the Olympia Comics Festival. Because of this, it's a pretty surreal and badly drawn story, Peg called it "refreshingly female". I ended up destroying most of the copies. But, as horrible as that first experience was, I learned a lot from it, and the zine I put out the following year, It's Always the Quiet Ones, is far less shameful.

    SB: So, what led you to CCS?

    COLLEEN: In my last quarter at Evergreen I met Jon-Mikel Gates while working with him at the school's literary magazine, Slightly West. His best friend, Pat Mapp, owns Olympia's downtown comic book shop, The Danger Room. We'd hang out on the couch there a lot and read comics. I'd been looking into grad schools, and had been advised by my favorite professor at Evergreen to figure out who I wanted to learn from, then find out where they were teaching. One day at The Danger Room, people started talking about this new comic book school that was starting in Vermont. Everyone I wanted to learn from was teaching there, so it sounded like my best option.


    SB: Your latest comic is Tragic Relief, which is already a series -- could you tell us about it?

    COLLEEN: Well, the back cover says "Tragic Relief is a bi-monthy series of zines self-published by Colleen Frakes. These largely silent comics, based in world folklore, meditate on sex, love, and the 'unknowable other'." These started out as just something to do while taking a break from working on my CCS [senior] thesis, but eventually turned into the thesis itself. I'll have the first three issues available at MoCCA, but right now you can buy #1 at Jim Hanley's Universe in New York, and both #1-2 at iknowjoekimpel.com [see link above].


    SB: Tragic Relief grew out of a planned longer work based on a Russian folktale. What was that, and how did that energy get channeled into this new series?

    COLLEEN: The Russian folktale adaptation, Marya and Death, grew from a short story I wrote in 2003 as part of a writing class with Bill Ransom about a woman who discovers the physical manifestation of death inside of an egg. Then, with the help of CCS writing prof Sarah Stewart Taylor, it was expanded into a comic script during the freshman year, and I spent the first half of our senior year working on that as my thesis. Sometime in late January, for a variety of reasons I won't go into here, I ran out of steam.

    Since I didn't have the energy to work on my thesis at that point, and since not drawing has never been an option, I started doodling on scraps of bristol. That grew into the first chapter of "Mother's Son", which I took into class critique that week. The response from my classmates (mostly positive, a little horrified) was enough to encourage me to continue.

  • Greg Cook illo, copyright Greg Cook; one of Colleen's inspirations

  • SB: That was a pretty amazing crit session. Given the breezy nature of your storytelling and art in TR -- however grim the emotional content at some points! -- I'm wondering if Greg Cook's work was an inspiration or springboard for Tragic Relief.

    COLLEEN: I haven't read many of Greg's comics (much to my shame) but his visit to CCS and lecture was a definite inspiration. His talk about dissecting his own visual style and attempting to tell a story with as few lines and little visual information on the page as possible was what inspired the spare, paneless look of Tragic Relief.

    SB: 'Paneless,' yes, but Tragic Relief is painful reading at times; the emotional content hits surprisingly close to home! Do you derive any inspiration from some of the 'textless' graphic novelists of the 1920s and '30s, like Lynd Ward?

    COLLEEN: I can't think of any that I've read (again, I am full of shame). My comics have never had much text to them, which just comes from my background as a writer. Omit, omit omit! Take out anything that isn't essential to the story! Also, Jason's comics have been a huge influence since before I attended CCS. He's the reason I stuck with the six panel grid for so long, and I've always admired his ability to tell long, emotional and engaging stories with so few words.

    SB: Who is Jason?

    COLLEEN: "Jason" is the Norwegian cartoonist who doesn't use a last name, he did Sshhh!, Hey Wait, The Living and the Dead, etc. Wikipedia tells me his real name is John Arne Sæterøy.

  • Photo: Jason aka John Arne Sæterøy, photo from AtomicBooks.com

  • SB: The fusion of humor and the macabre is also quite distinctive in Tragic Relief, but you handle it with such disarming candor. There's a philosophy of life that informs all the stories thus far --

    COLLEEN: Thanks! Um...I have no idea what that philosophy is. But when in doubt, quote Charles Schulz, "drama and humor come from trouble and sadness, and mankind's astounding ability to survive life's unhappiness." Yup, that'll do.

    SB: There's also a rather uncanny fusion of the timeless aura and 'authority' of myth with the feeling these stories are inventing themselves as they progress. These should be at odds, but everything just flows, as a reader. Are you drawing from specific folk tales at this point, seeking them out, or drawing from memory of past readings and just letting the stories flow, or are these wholly invented?

    COLLEEN: It seems like all of these folktale and mythic elements are such a part of my subconscious now they creep their way into everything I write. For the most part, I just draw until the story starts to form itself, then go back later and flip through books trying to figure out where the hell I got these crazy ideas from. There's a lot of editing, too. Half of what I draw never makes it into the comic, a lot is added later after I've shown a few people the first draft. I already want to go back and re-draw book one.

    SB: Given the taboos you've rather blissfully broken from the first issue, is there anywhere Tragic Relief won't go?

    COLLEEN: I don't think I could draw bad things happening to kids. I'm not much for blood and gore either, and usually keep it out of frame. I'm against kicking puppies. So, yes! I guess there are a lot of places Tragic Relief won't go. I didn't think of anything I draw as taboo-breaking because so much of it draws on myth and folklore traditions where murder, cannibalism, abductions and sex with weird things are common themes.

    SB: Fair enough. How far do you foresee going with this series, in terms of issues or length?

    COLLEEN: I'm dedicated to sticking with it for a year, so, at least seven more issues. Beyond that, I'll quit when I get bored or when I can't afford to do it anymore. Whichever comes first.

    SB: Will we be seeing your original planned graphic novel Marya and Death as well, or do you think that will become an installment of Tragic Relief?

    COLLEEN: It definitely won't become part of Tragic Relief. I already tried re-drawing it once in that style and it just didn't work. I think I will eventually complete it, I just need to find the right working method.

    A happy reader of one of Colleen's kid-friendly creations (photo compliments of Colleen Frakes)

    SB: What other projects are you working on this summer?

    COLLEEN: I've been doing painted comics for the show "Arts, Crafts, and Jackalopes! Area craftswomen exhibit top-notch wares" at the Main Street Museum. It opens this Friday, June 8th (for more information, contact curator Josie Whitmore at josie.whitmore@gmail.com). Gabby will be there playing the banjo!

    And I did a piece for this amazing Sundays Anthology a group of the CCS freshman have put together, which is also debuting at MoCCA. You can find more about that
  • here.
  • [Note: I'll be interviewing the Sundays creators here, too! -SRB]

    I'm also writing a series of short stories about failure, several of which have already been rejected by prominent literary magazines.

    SB: You've just graduated from CCS. What are your current plans in this big, bad world?

    COLLEEN: Just to keep drawing. I now have an extra eight hours a week to draw that I use to spend in class! Long-term plans include learning to play the ukulele and maybe some contra dance classes.
    ________________

  • For more of Colleen's thoughts, art and comics, along with those of Jon-Mikel Gates, visit cowboyorange.com -- Enjoy!

  • See you here tomorrow -- Ichiiiiiiiiiiiiii...


    Labels: , , , , , , , , , , ,