G A N Z E E R . T O D A Y

After popular demand, the complete THE SOLAR GRID graphic novel is now available for download. For a limited time only, there are presently two ways to get it:

• – $10 bucks through Garage.Ganzeer
• – Pay-what-you-want on Gumroad

The book is also being serialized in print from Radix Co-op.

A pathway for a collected print edition is still being explored.

This complete e-book edition comes with a never-before-seen introduction by Warren Ellis (Transmetropolitan, Castlevania, Normal), extensive foreword by Sim Kern (The Free People's Village, Genocide Bad), and fantastic afterword by Ho Che Anderson (King, I Want To Be Your Dog, Godhead).

Hundreds of years after a global flood, night has been consigned to legend. In its place, the Solar Grid—a vast network of artificial suns—keeps Earth bathed in relentless daylight, powering factories that never cease. But this eternal dawn comes at a cost: The Earth has become a scrapheap, a wasteland stripped of resources to fuel colonial settlements on Mars.

Amidst the ruins, two young scavengers, Mehret and Kameen, stumble upon a discovery that could shatter the Solar Grid's fragile, oppressive system. The story spans centuries—from a submerged Cairo to the corporate strongholds of New York, and into the augmented reality of a distant Mars. Environmental collapse, capitalism, imperialism, and migration collide in an epic tale that examines the hopes and consequences of unhinged techno-utopianism.

“Ganzeer treats The Solar Grid as a culmination of his personal, professional and political experiences over recent years.” – THE GUARDIAN

“Ganzeer’s project epitomizes his hyper-democratic ethos.” – FOREIGN POLICY

“It’s a story about the inevitable destruction of our planet by corporate greed and a couple of unassuming antiheroes who somehow bring it all down. This is a story of revolution, the powerless taking power back from the powerful.” – SLATE

#work #comix #tsg

Accidentally started a new project somehow.

CAIRO DIARIES | يوميات القاهرة: A series of small mixed media artworks on paper (all around 28 cm x 20 cm | 11” x 7.9” or thereof). The starting point always begins with ripping out a page from an Arabic-language book and blacking out most of the text blackout poetry style, leaving only the words that form a sentence that actually corresponds to my day/week/year. The page then gets rolled into the typewriter, where the translation of the sentence is punched in, and the remainder of the artwork gets built from there.

Pictured above is CAIRO DIARY 001: EXPECTED | توقعت.

Yeah, what I said a few days ago about dedicating the next 6 months to PROJECT HOURGLASS? So not happening; three more projects have already been jammed into the pipeline.

#Work #CairoDiaries

Twelve hours at the writing desk. The body aches and the word machine is depleted. Finished a short story in English, around 3500 words, and immediately started drafting the Arabic version. First time writing fiction in Arabic in a good... 20 years maybe? Which makes me slow and sluggish, but also makes the experience itself exciting. What can I say, I get off on trying new shit.

One of the interesting things emerging from this process is that in drafting the Arabic, I'm not doing a super faithful translation, but rather I find myself making drastic changes along the way. Not just in dialogue or choice of words or sentence structuring, but even in characterization and plot details. Changes that I feel would make for a better story. So much so that once I'm done with the Arabic, I'm likely to go back to the English draft and rewrite it accordingly.

As I begin to build momentum in my approach to PROJECT HOURGLASS, I'm already anticipating the three major disruptions I have in store for me in coming months:

• Kiddo for two weeks.
• Istanbul for a week.
• Dresden for a week.

Other than that, I should be able to dedicate the bulk of the six months that remain to PROJECT HOURGLASS. As far as TSG goes—which has been complete for months now—still no concrete development on that front just yet.

#journal #work #fiction #tnh

Two scenes and 1400 words later, I now remember how exhausting writing fiction can be. The act of getting into the heads of characters that don't actually exist—really getting into their heads—is no easy feat.

So much so that I felt the urge to take a baking break. I hardly ever want to bake.

Cheesecake. Let's see how it turns out.

#journal #work #fiction #tnh

Having finished the entirely visual PROJECT ROSEWATER, and in need of a serious gear-shift to engage with the literary aspect of PROJECT HOURGLASS, I pulled a couple books off the shelf in an attempt to help lubricate the writerly side of my brain: ثرثرة فوق النيل (“Adrift on the Nile”) by Naguib Mahfouz and Henry Miller's Tropic of Cancer, altering between both every other chapter.

I'm typically a one book at a time kinda guy, so doing this with two books—each in a completely different language at that—is doing something strange to my brain chemistry.

#journal #reads

Reading Taha Hussein's “Adeeb” from 1935, I came across a line describing banter as essential to authors as food, water, air, and smoke. Smoke here meaning tobacco. It might just be the first time I've read something that placed tobacco within the same hierarchy of needs as food and water.

The word “Adeeb” is an interesting one. It comes from the root “adab”, meaning literature, and is used to describe someone whose vocation is literature. But it implies more than the word “writer” (that would be “katib”), which by definition is focused on the doing of writing. It also implies more than “author” (that would be “mo'allif”). It's a far more broad term that evokes a sense of all-encompassing immersion in literature that doesn't quite have an English-language equivalent.

Scooped up a big pile of books from Cairo Book Fair (which was just gloriously insane) some months ago and finally getting around to making my way through them. Partly because I have been away from Arabic-language Egyptian literature for a long time now and realized how much I miss it (and boy is it different from most of what is churned out by the anglophone world), but partly also because PROJECT HOURGLASS will be produced in both English and Arabic and a good greasing of my Arabic-language functions is sorely in order.

#journal #reads #work #tnh

“Wow! This is incredible! Unfortunately, I don't think we're quite the right fit for...”

#status

• Whichbook: Rather than browse books by genre or author, browse books by mood.

• How a Houston company got its art on the walls of stoners across America: “Founded in 1969, Houston Blacklight & Poster Company was once one of the biggest distributors of the bright, colorful posters that adorned dorm rooms, basements and garage hangouts and became synonymous, along with lava lamps and bongs, with hippies and the counterculture movement.” — This poster here, by George Goode, is one of my favorite samples included in the article:

#radar

Returnee Blues #1, 2026 – Mixed Media on paper, 50 cm x 65 cm | 19.6” x 25.6”

Thought I'd finally found a housekeeper to pop in once a week to assist with cleanup. But that was three Fridays ago, and every time she doesn't show up even though the date and time were of her very own choosing. Similar situation with the plumber who first promised to show up two weeks ago. I've set three different appointments with the mirror place, every time they say they'll call me the day of to confirm and never do. Carpenter too been dragging me on for four weeks now.

Not sure why the need to hound someone to do work for you before they do it even after they promise doing it is such a widespread phenomenon in Cairo. I remember only needing to contact a housekeeper back in Houston just once to agree on the day, time, and fees, and she stuck to the same schedule like clockwork for three years before I had to move (Tidyqueen, if anyone in Houston is reading this and looking).

It's such a tedious energy-sucking thing in Cairo, because on any given day I'm expecting someone to show up, I find it extremely difficult to lock in and really get into the zone of whatever project I have on my table; the anticipation of impending distraction lingering in the back of mind all day.

And some of the stuff that needs tending too isn't superfluous. We've got pipes blocked with weeks full of piss and shit at this point.

Now I know why all my homies have moved into compounds; a virtually non-existent development less than 10 years ago. They tell me whenever anything needs fixin', all they have to do is call a number and help is on the way in less than 24 hours. That's enough of a perk to explain the seemingly unquenchable compound craze that has taken over the country in recent years, but I still can't stand that shit. Nothing spells a seething distaste for “the plebs” quite like a gated “community”.

#journal #work #Cairo

“[Lithium ion batteries are] the story of oil in the 21st century.” — Vital conversation between Nicolas Niarcohos and Novara Media's Aaron Bastani.

Also, an illuminating conversation on China between Jostein Hauge and Michael Walker.

#radar