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

I'm noticing that many people my age or thereabouts seem to still be stuck on the want for marriage, which I find a little surprising. Especially given that many said people in my orbit happen to be in some kind of creative and/or intellectual field: painters, writers, printmakers, technologists, academics, and so forth. These are the kind of vocations that are typically associated with unconventional thinkers, but how unconventional can one's thinking really be if they are so keen on adopting an awfully conventional lifestyle choice? One instilled in us by family and society at large. One can't really claim to be a unique maverick, immune to social norms if they fall for one of the most widely spread, seldom-questioned social norms of all.

Of course I say this as someone who was once married himself, someone who liked to think of himself as a creative, unconventional thinker, but it was only the experience of marriage itself that helped me recognize its inherent flaws (still on great terms with my ex btw). The funny thing is, many people of a certain age are quick to accuse those less keen on marriage of not having grown-up yet, of being infected by some malicious “Peter Pan Syndrome”, and “not taking the relationship seriously”. But, if you look at older folk, the ones in their sixties who have been widowed or divorced and become interested in starting something new with someone else; they don't care about marriage. They don't typically care about their new partner's job or education, nor do they necessarily care a whole lot about sex, and they certainly don't care about having children. The only thing they care about at that point is companionship. Companionship with someone they get along with.

It is only towards our later years do we realize what is truly important in life. Perhaps what younger people can learn from this is the understanding that genuine companionship is the thing that matters most in a relationship at any stage. Everything else is secondary and beyond.

#journal

Knowing that very soon the work at hand will involve long stretches at the drawing table, I'm taking advantage of the ease of mobility of the scripting/thumbnail stage of TSG's grand finale by taking my work to bars and cafe-like places. An added, albeit unnecessary expense, but important for my sanity.

Still haven't solved how to fit the thing into 20ish pages, but I'm hoping I'll get there soon enough.

#work #comix #tsg

Generally speaking, there are 4 types of clients:

1) Very knowledgeable and know exactly what they want. 2) Very knowledgeable, but don't quite know what they want (happy to delegate). 3) Not knowledgeable, but know exactly what they want. 4) Not knowledgeable, and don't quite know what they want.

#1 and #2 are good to work with, although I'm partial to working with type #2. Type #4 can be okay to work with, sometimes, but #3 you need to stay as far away from as possible no matter what they try to lure you with. They do not delegate any of the decision-making and will insist on things you know are terrible.

#journal #work

I'm grateful for all my readers, but especially grateful to international readers. The high price point of each print issue of THE SOLAR GRID is not at all lost on me (an unfortunate consequence of the considerably limited print run we can muster), a price point that is even compounded when you factor international shipping into the equation. And I feel more grateful to those who, after making an initial order of the first couple issues, end up coming back for more.

I'm generally aware that sales of a thing aren't always an indication that you're doing something right. So many things often factor into why a thing sells well; market penetration, aggressive advertising, or straight up name recognition, or in most cases all three. But in our very small, very humble, very independent effort, sales are a very good indication, especially when direct to the reader and especially when the reader feels they must let you know how much they appreciate what you're doing.

From the bottom of my heart, I thank you.

#work #comix #tsg

Henry Miller's “Commandments”:

Point #10 is a tough one, and something I've struggled with since the day I was born. Point #7 and #11 seem to me to be in direct contradiction with one another.

#web #writing

Nothing says insincerity is endemic in today's world more than the existence of an 8-week course on offer titled “Radical Honesty”.

Inboxes 15, RSS 195.

#journal

Finding much resonance in Camus' BETWEEN HELL AND REASON, essays written for the “resistance newspaper” Combat between 1944-1947. This bit however had the exact opposite effect:

“The problem of our day is not how to speak with words from the heart, but how to think clearly.”

Things have clearly changed in that regard. My sense is that the greatest issue of today, very broadly speaking, isn't so much one of clear-thinking in as much as it relates to a widely adopted practice of insincerity.

#reads

“We make love by telephone, we no longer work with material but with machines, and we kill and are killed by proxy.”

— Albert Camus, 1946

#reads

Forthcoming in September, a comix exhibition in Italy:

”'Their gazes,' writes co-curator Alessio Trabacchini, 'render a multifaceted world, sometimes in dense ink marks, sometimes among fibers of ancient textiles, sometimes in the bright colors of the digital age. Reality and imagination intertwine with memories of troubled pasts and visions of dystopian futures, dreams of broken freedom, nightmares and desires.'”

Curators Alessio Trabacchini and Luce Lacquaniti handpicked a few comix-makers who hail from the Arabic-speaking Mediterranean to represent in this travelling exhibition.

”'This exhibition,' adds Luce Lacquaniti translator from Arabic and co-curator, 'Gives an account of the latest developments, brings together young women artists who, in many cases, are coming to Italy for the first time. Their stories cross more than one border, artistic and geographic, and take their cues from both the Tunisian, Egyptian and Lebanese coasts, and from overseas through artists of the Arab diaspora in the U.S., to land in Jesi, the birthplace of Frederick II, the protagonist of the exchange between the two shores of the Mediterranean to rewrite and redraw together a history of multiple, free and reciprocal crossings.'”

Humbled to be among the list of incredible artists; Deena Mohamed, Tracy Chahwan, Twins Cartoon, and Issam Smiri. No plans to be making a physical appearance in Italy, except potentially in December. Deets forthcoming on that front.

Full press release is here.

#work #exhibition #italy #comix

Back in Houston, slow and quiet, reeling from my time in New York which was marked by a great deal of socializing and subway rides. The latter allowed for ample reading, namely two books by Albert Camus I picked up from Book Thug Nation in Brooklyn (one of my favorite bookshops in existence), easily devoured over the course of my 10-day stay.

And somehow, in the cauldron of conversations, reading, observation, book-browsing, and general contemplation, an idea for a novel came to me.

This, of course, is a terrible thing. I'm still on the last chapter of THE SOLAR GRID, after which I should probably add a few short stories to TIMES NEW HUMAN. After which, and only after which, I should contemplate pursuing the prospect of writing a novel (or any other potentially draining project for that matter). One way of knowing whether or not you're passionate enough about a project anyway is putting it aside and revisiting your notes on it down the line, to see if you feel just as excited about it as when the idea first struck.

It is good to know though that I, sooner or later, will have a way to put my notes on writing a novel in one month to the test and see if they actually work.

#journal

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