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

Dusted off my GPD Pocket PC which I haven't used since Denver (some... 8 months ago maybe?). It had become my preferred writing tool, not because it does it better than anything else, but simply because it's not particularly ideal to do other things. Sure it's got a touch screen, and can run Photoshop, but the screen is too small to do any of the other things with a degree of comfort, so I had relegated it to a writing tool. On its own it even isn't particularly good at that either, because the keyboard is way too small to type with any degree of effeciency, but the collapsible bluetooth keyboard I got is there to remedy the problem. Keyboard stopped working though, so I'm back to using my Surfacebook for writing—which isn't a bad thing at all. Just need to get used to turning off notifications and avoid opening any other tabs (the tiny size of the other one just makes you not at all interested in multitasking).

Inbox is at an unruly 57, and temperature is at a sizzling 31C (87F) just the way I like it. Menu for the week is set according to available provisions.

Enjoyed an afternoon drink with a friend over Skype the other day, and virtual coffee with another friend this morning. Which is something I could've used in my 14+ years of independent artistry (which has always entailed working from home for extended periods of time), but only now is it becoming part of the culture at large. I win, I guess.

My strategy right now is to continue producing even though I have absolutely no income streams to look forward to for the foreseeable future. We'll see how long I can persevere.

It's a good time to get absorbed in a book right now, but I've been having trouble finding the right read. Just before the pandemic, I read Cormac McCarthy's THE ROAD which I disliked very much. I attempted Kurt Vonnegut's CAT'S CRADLE a couple nights ago (my second attempt in a year) and decided that it just ain't for me (a shame, because I loved his SLAUGHTERHOUSE-FIVE), and so in the give-away box it was tossed.

Hope I find something soon.

#journal

In an effort to provide reading material to English-language readers living through self-isolation, the fine folks at Oh Nothing Press have made the first issue of CREEPER MAGAZINE available for free digital download.

Within its pages lies weird crime, bizarre philosophies, and genre-exploding fiction by an array of colorful individuals such as: Helena Papageorgiou, Elytron Frass, Sean Oscar, Tom Syverson, Sophie Sauzier, M1k3y, Ben Nichols, Jon Weber, Ben Mcleay, Benoît Debuisser, I. Caniveau, Murdoch Stafford, Lachlan Barker, Bart Kelly, J Clement, Corey J. White, myself and many others. Enjoy.

#work

I was planning on getting a tattoo last week. The appointment was set for Tuesday, but the artist and I both thought it would be better to postpone given everything that was going on.

I don't scare easily, nor do I panic (I have after all lived through things like revolution, civilian policing, military curfew, and relentless dictatorship—not to mention being separated from friends and family for a good 6 years now), but I wasn't about to have my skin poked at with needles in the middle of a mass pandemic. This isn't paranoia, it's just rationality; I can live without a tattoo, it's cool.

Managing Expectations

From what I'm seeing, it still seems like there are an awful lot of people who assume we're looking at a 2-week high alert situation before things go back to “normal” (thanks in no small part to misleading addresses from the White House). But I think it's fair to say that it's very clear we're in this for the long haul. The Washington Post noted that “It took three months to reach 100,000 Coronavirus cases worldwide. The second 100,000 took 12 days.”

This thing is sneaky as fuck and really knows how to spread. Out of 285,772 cases so far 11,876 have died. That is a 4.1% death rate (it should be noted though that the rate differs widely per country; 0.97% in South Korea, for example, versus 7.94% in Italy). The estimate right now is that Coronavirus will infect half the global population. What that means is we can expect over 338 million deaths worldwide, at what seems like an unprecedented rate (unless of course strict “social distancing” measures are put in place and kept in practice for the foreseeable future).

There's very little we can do about this unless a vaccine is developed, and it is close to impossible for such a vaccine to be made available before 18 months, if even.

Adapt or Die

What that means is that we are going to have to adapt the way we live to a situation where a deadly very contagious virus is among us. Not for the coming two weeks, but for the coming years. I briefly touched upon the notion of superusers in my recent newsletter, in that there are superusers for everything. Our species may not have dealt with anything like this, not since the Black Death (a combination of both bubonic and pneumonic plagues) and the Spanish Flu, but among us walks a very specific segment of society comprised of superusers of life-with-substantial-threat-of-viral-infection, and it is from them we may need to learn a thing or two. Mark Schoofs for Buzzfeed: How to Survive Yet Another Plague – I Lived Through The Aids Epidemic. Here's How To Live Through Coronavirus. Very poignant, very important read.

One of the biggest takeaways from Mark's essay is the realization that this isn't something you can just wait out, nor is it something you can rely on the government to solve for you. This is something that we, the potential carriers (which in this particular case is every single human being on the planet, regardless of habits or lifestyle) will have to adapt to. Essentially, we all need to wear condoms on our hands and faces now.

We also need to constantly disinfect surfaces, wash hands regularly, limit physical interaction with one another as much as possible. This, many of us already know, because it's all we've been getting from various media for the past couple of weeks, isn't it?

Yet, I've seen an awful lot of people not entirely complying. And I'm not talking about the deniers and disbelievers, I'm talking about the ones who think it's enough to wipe their shopping cart handles at the supermarket, while continuing to share breathing space without need for gloves or face-masks (also, postal workers—at least here in Houston—were not provided with either). I should note that I'm anything but a germaphobe. I've eaten off of street carts in Cairo and Hanoi, am used to greeting friends with hugs and kisses, have never shied away from liberally sharing drinking straws, and have never purchased a bottle of hand-sanitizer not once in my life. However, A VERY DEADLY AND VERY CONTAGIOUS VIRUS LIVES AMONG US NOW! Out of love and compassion for other human lives, taking necessary precautions shouldn't even be optional. It's a necessity. It's clear that not enough people fully understand how Coronavirus works. And even many who do seem to think that properly dealing with it only requires temporary measures.

While I understand the need for people to believe that for the benefit of one's own comfort and sanity, but that's only if you're frightened by the notion of adaptability, of needing to make lifestyle changes in order to adapt to a new reality. We, as a species, do it all the time though! We've even done it within our own lifetime(s) (it should be as clear as day to anyone above thirty). That is a reassuring thought, isn't it? We're good at adapting. We can do this. The difference this time is that the changes we make are going to have to be relatively drastic and enacted at unprecedented speed.

Luckily, it's almost as if we've been working towards this moment for a very long time now; we have the technology to move many of our interactions to the virtual realm, we can have almost anything we need delivered to our doorsteps, and much of our cultural entertainment is already streamable.

The New Normal of the Future

If a vaccine cannot be developed in less than 18 months, then we must envision how life under Coronavirus can be sustained for at least 18 months (if not more). We then must also envision the ripple effects those 18 months will have on the culture at large beyond those 18 months, likely for the entire decade that is the 2020s.

The New Workplace

Home will be the new workplace for most people. A trajectory we were heading towards anyway. Co-working spaces? Definitely done for. Certain jobs that are simply impossible to get done remotely will require specific protective gear, utilizing knowhow gained from industries that deal in hazardous matter.

The New Public Gathering

Maintaining a two-meter distance will likely become the new norm, but only in open spaces. You can forget about public gatherings in closed spaces, which will make theaters, restaurants and cafes as we know them completely obsolete. We'll instead see a proliferation of takeout-based establishments, and maybe even a return of the German-style Automat (which has already made a soft comeback in San Francisco anyway). Establishments designed to accommodate sit-in patrons will have to be entirely rethought with necessary social distancing and sanitation in mind; a very low cap on the number of patrons within, fewer tables, and perhaps a proliferation of booth-style seating. Bartenders, baristas, and cooks will all be required to wear the necessary protective gear.

The New Workforce

Protective gear will be required by all on-site jobs that need to be performed by humans. Anything that needn't be performed by human beings simply will not. We've already witnessed the birth of the RoboVac, the occasional Robot Bartender, and smart warehouses. We can expect an acceleration in the development of robotics and a severe reduction in jobs performed by humans. These will be welcomed by the general public because it will no longer be a matter of maximizing corporate profit and instead be a matter of preserving human life.

The New Travel

We've experienced a good century of unprecedented human travel. This will probably slow down and travel will only be on a need-be basis for most people (which wouldn't be so bad for the environment). On the short run, airlines may start giving passengers mandatory gloves and face-masks. If however it is proven that that is not enough to keep Coronavirus from spreading between people in tight closed spaces, airplanes will likely be retrofitted with private cabins. This of course will make air-travel very expensive and reserved solely for the elite. Given that boats can accommodate more private quarters (not to mention actual fresh air), we may see a serge in sea travel for non-business related purposes. With most people working remotely anyway, this really shouldn't interfere with employees' limited time off. If you can do the job from home, you can arguably do it on a wi-fi equipped cruise ship.

The New Socioculture

Cultural habits can differ from one place to another, but sometimes a trait from one culture can spill over and take root in another. Casual handshakes, hugs, and kisses will be no more. Enter the Japanese bow. It may first start with a nod, but time may prove the nod too casual a gesture in front of a senior or someone worthy of a bit more respect.

Also, promiscuity? Too risky. We've lived a good era of relative free-love, bar pickups, sex clubs, and random Tinder hookups—but we can expect sexual relations to take a turn to the very conservative. This has all happened before; some people forget that before the “Swinging Sixties”, there were the “Roaring Twenties”. The three decades in-between? Quite conservative. The Eighties also saw a return to conservatism. Such sexually conservative cycles almost always coincide with the spread of infectious disease.

The New Art & Culture

Aside from the importance of healthcare funding, Coronavirus has also reaffirmed the importance of culture. With the majority of us forced to stay home, we're quickly realizing the importance of film, television, music, and books as psychologically necessary comforts. This decade should see an uptick in affordable and easily accessible cultural output. Much of it may be virtual/streamable (even museum exhibitions), but too much of the untouchable may see a renewed appreciation for tactile things; subscription-based publications and other printed matter that utilize textured papers and a mixture of printing techniques may be on the upswing.

The New Tech

Given that the touching of surfaces is proving to be potentially lethal, all new tech in the coming decade will be optimized for contactless usability. Voice commands and hand gestures (powered by bluetooth rings) will dominate devices and appliances.

The New Fashion

Masks will become as mainstream as pants. Air-filtering scarves will become a thing, and we may even see shirts designed with mouth covering parts that you can just pull up when necessary (think of it as an evolved turtleneck). Gloves will definitely make a fashionable comeback. Tattooing will be seen as an easy harbor of disease and quickly lose the mainstream acceptance it has gained over the past three decades.

The New Food Supply

All viruses come from animals. Some viruses that cause the flu come from birds and pigs. HIV AIDS from chimpanzees. COVID-19? Evidence suggests it may have went from a bat to pangolin before making the jump to a human. It is that jump that results in the kind of hybrid-viruses that are particularly destructive to human immune systems (The 1918 Spanish Flu is thought to be a mix of avian and swine flus).

Thing is though that bats and pangolins don't traditionally mix in nature. It is human interference that brought both species together in a marketplace in Wuhan, China, where a large variety of live animals are kept in tight cages within close proximity to one another; the very same conditions that led to the SARS outbreak of 2003, where a Civet Cat is thought to be the culprit (or one of a combination of culprits).

(It should be noted though that if you caught SARS, symptoms would show very quickly. COVID-19 symptoms may not reveal themselves for a full 15 days [if at all], during which the carrier could very easily and unknowingly infect others. It's basically a more clever SARS.)

Essentially, nature has sent us the warning signs time and time again, but we seem insistent on carrying on “business as usual”. Westerners inclined to jump on racist bandwagons without ever questioning their own capitalist practices may put the blame entirely on another culture, but really animal cruelty is at the heart of these viral outbreaks be it Eastern or Western. It is not enough to ban wet markets in China, nor is it enough to ban wildlife trade. No animal should ever be caged, nor should their habitats be destroyed, nor should they ever be forced to mix with other species they wouldn't naturally mix with. All of that should be strictly criminalized.

We will likely see a rise in veganism, and those who cannot give up their carnivorous ways may be inclined to say goodbye to supermarkets and mass-produced meats and instead source their foods from small local farms they know and trust.

In order to adapt, big brands may start shutting down their industrial facilities and outsourcing their production to small farms instead.

Or, they may instead transform their big industrial facilities into megalabs where meat is grown instead of raised. These will be touted as more hygienic, environmentally-safe, and cruelty-free.

The New Urbanism

The rising public-transit movement will die, and preference for the private automobile will be the only thing that makes sense. Suburbs and gated developments will make a comeback as idealic living bubbles, and cities and downtowns will lose both funding and investment, relegating them as dirty, dangerous, and derelict. A new wave of “white flight” will result in a kind of reverse-gentrification, making city centers affordable to struggling classes again. The discernible diversity of city centers combined with the lethal threat cities harbor as viral cesspools will rekindle false notions in the minds of Whites regarding race and disease; and in turn an acute revival of white supremacy in the mainstream.

The New Globalism

One person's actions on one side of the planet can effect everything and everyone on the rest of the planet. From public health to politics to entire economies. The outbreak of COVID-19 has been made this more clear than ever. As such a new kind of Globalism will take root wherein the world must function as a global village, with laws, regulations, and the systems by which our lives operate being designed with the entire globe in mind. Paradoxically, human interaction is now potentially lethal, so households and human relations more generally will be forced to become increasingly atomized and super-local.

The New Cultural Divide

During the Plague, Europeans blamed the “miasma” carried forth by winds coming in from the East and South (Ottoman lands basically). When an 18th century American missionary stationed in Egypt witnessed Cairo's 1781 plague, he concluded that it was brought in by a Jewish merchant and two black female slaves. The spread of disease on a wide scale has always brought about the racist leanings already harbored by human beings. With the outbreak of Coronavirus and one marketplace in China being pointed to as the source, we can expect the emergence (or reemergence rather) of a great cultural divide between the greater East and overall West. Everything “Eastern” (because racism isn't logical) will be seen by a greater number of Westerners as wholly inferior, the once growing interest in Eastern cuisine, books, and cinema will come to a sudden halt (while paradoxically picking up other traits out of necessity; the Japanese bow, bamboo-made disposables, and an obsession with robots for example).

The New Frontier

More interest and funding will be put towards finding and developing a new human habitat away from Earth, be it on Mars or elsewhere; a “Plan(et) B” where the human race (or a particular segment of the human race rather) may live and prosper far from the hundreds of thousands of viruses on Earth threatening to kill us at any moment.

Some say human evolution is cyclical rather than linear. After all, the glory of the Roman empire was followed by the European dark ages. By the time Europeans made it to the Americas, entire Mayan cities had already been abandoned for centuries.

I wonder if human evolution is a combination of both cyclical and linear trajectories though. Given that our very planet revolves around its own access, as well as around the sun which itself moves in an eclipse within the milky way, which itself speeds through the universe... why should human existence be any different?

#Journal #Covid19 #Future

Had to eliminate the option of purchasing hi-res PDF downloads of THE SOLAR GRID, because the cost of storage/bandwidth was far surpassing the revenue made from downloads. Not too happy about this, because I've always felt that the option to acquire hi-res files had to be there. But, this is a necessary consequence of basic economics.

Especially with various income streams disappearing for the foreseeable future, will have to look at ways to cut as many costs as possible (which I s'pose is what one shouldda been doing anyyywaaay.).

#work

Well well well, would you look what I just found in my story journal?!

It may be time to revisit this very loose idea and flesh it out into a jolly little short.

#journal #work #story

One lousy virus and eveeeerything collapses. Everything. Not a single thing is capable of functioning as it used to. And if that's not a clear sign that the hyper capitalist systems upon which our entire existence hinged on were just rotten from the get go, I'm not sure what is.

I know a lot of people just want to “wait this thing out” and hope that we can just resume life exactly the way it was before, but personally... I really don't. I hope we learn a little something from this and start doing things a little differently from here on out.

But who am I kidding?

As I type this, even my goddamn internet service is failing (I turned my phone into a hotspot though).

(Not my internet alone apparently. Customer service rep told me there seems to be a problem in my entire neighborhood that they're not entirely sure how to fix. Actually.)

I mean, I can do self-quarantine for as long as need be without going stir crazy just fine. But that, dear reader, is with an internet connection. Without one? There goes my television, my music, my RSS feeds...

Which is fiiiine. I do have a bunch of books that need reading.

And I have much drawing to do.

I'll just... I'll just do those things.

And I do have records to listen to. Like five of them. I can.. I can work with that. 🙃

#journal

There is a panel—a single panel—in THE SOLAR GRID that has been the source of great agony for me. Since starting the book to this very day, I've only ever had to redraw a panel a handful of times. I'm usually good from the first go, but this panel here... it's been killing me. And if I show it to you now, there's no way you would possibly think a panel this simple could have possibly been reached by a jagged road of pain and suffering.

TSG, Ch5, P3

You see what I mean?

I shit you not, that panel there I'd left blank for the longest time, and would go off and do other pages and scenes, then come back to it, try my hand at it, kind of hate it, go off and do other pages and scenes and things, come back to it, try my hand at it again, fail again, repeat.

The reason being: well I hadn't adequately thought about which bits I really needed to focus on. I knew that I needed to depict the exchange of bags. That was the primary “action” taking place in the panel, but I also wanted to depict some more information. Chiefly, the logos on the back of those trench-coats, and also... the trench-coats themselves. The outfits worn by those two figures needed to be seen in clear juxtaposition to the less stylish, more downtrodden attire worn by the figure on the left (Falak). For the longest time, I was convinced we needed to see Falak from the rear just like the two other guys, to emphasize that—unlike them—his outfit featured no logo, and instead just the word “Earth” haphazardly scrawled on the back of his suit. However, any attempt at depicting him from behind made the the transaction of bags seem less obvious. Which was our primary reason for having this panel at all, remember?

Can't let the secondary purpose get in the way of the primary purpose. Especially given that we already see Falak's backside a couple chapters prior.

TSG, Ch3, P7

Those who will notice will. Those who won't will not, and that's okay; it won't disrupt the narrative. It's just a little detail that makes it better, but what will certainly disrupt the narrative is if they can't tell that there's an exchange of bags taking place.

At the end of the day, each line we put onto the page is an additional piece of information that is relayed to the reader, and it's important to be conscientious about what information we are putting out, especially with such a very finite amount of space to depict information to begin with.

I also wanted to depict that this transaction was taking place in a bar. Now, when you look at the resulting panel, you get that they're in a bar. But, it doesn't really capture the “baryness” of a bar, does it? There's no hustle and bustle, there's no backdrop with a bajillion types of liquour, no bartenders working their magic even, and for the longest time I was greedy about wanting to fit aaaaaalll that in. And in my attempts to do just that, I just failed really miserably.

Here's one very bad example:

This one is such a mess because the hierarchy of relevant information is so jacked up, that neither the primary, secondary, or tertiary purposes at all make it through. We can hardly tell that there's a transaction of bags, we can't really get a good look at the outfits or logos, and yes, we can see they're sat at a bar (that's probably the one thing we really get out of the panel in this case), but it's so zoomed out that its hard to tell what the point of focus ought to be. Is it the teardrop-shaped chandelier things? The hardly eligible signage? The pull-down liquor bottles?

The panel I ended up with does the job of communicating that we're at a bar adequately enough, especially when you take into consideration the context within which the panel exists:

TSG, Ch 5, P2-3

It's sometimes easy to forget that a comix panel doesn't exist in a vacuum. It exists in the context of not just the single page, but actually within the context of the double-page spread. And in this particular case, we can clearly get a sense of the bar and it's rowdy atmosphere without needing to jam it all in that one particular panel.

The page is the unit, not the panel.

Sometimes I just need to remind myself.

Another thing the struggle around this panel brought to the forefront for me was the importance of visual “cyphers”. I'll get to that in a future #ComixEngine.

#TheSolarGrid #ComixEngine #MakingComix #Work

All the Manga

There's this Japan segment in Chapter 5 of THE SOLAR GRID that I've been studying a bunch of Manga for. I'm not looking to emulate Manga superficially, not interested in the cliches of what manga style is thought to be (i.e. big eyes and speed-lines), but rather I'm looking to get into its essence. At the end of the day, it's still gonna be very much a Ganzeer comic, but Ganzeer after having soaked up some good Japanese sequential storytelling.

(Regarding that particular edition of Paul Pope's THE ONE TRICK RIP OFF pictured above; it includes a few shorts he did when he worked for Kodansha in Japan, hence it's inclusion in my manga study.)

Some of the rules I've extracted that I'm looking to apply: 1. Ample blank space on page edges, except for the occasional panel or two that extend into the bleeds. 2. Tighter vertical gutters. 3. 3-7 panels per page max. 4. Simple lines, minimal shadows. 5. Various zipatone, patterns, and textures. 6. Very detailed backgrounds and inanimate objects. 7. Simple, animated faces. 8. Big hand-lettered sound effects, even for subtle sounds. 9. Key dramatic moments: realistic rendering. 10. Action: Tilt gutters, show speed in lineart.

#ComixEngine #TheSolarGrid #Work

Praise all Gods, the imaginary and fictitious.

Both inboxes are at a reassuring zero. And, my workspaces are fully organized and ready to receive me and my [work] load head on.

Shall we take a little tour?

Let's start with the office:

The Office

The chair at the far end near the window? That's where I sit. Not to do any drawing (that's reserved for the drafting table in the foreground to your left), but to do all the other things; email, graphic design, writing, etc. You'll notice a narrow draw/erase board for weekly to-dos, right above a magnetic strip where I put up important future dates to keep in mind (deadlines, scheduled talks, travel, etc.).

When it's time to draw, I drag the chair to the drafting table, where nothing is in front of me but the drawing at hand:

Dafting Table

Focus is the name of the game. You'll notice a small rolling side table to the left. Typically, that's where I place only the tools I need for any given drawing, most of which are now placed on the shelf above the drafting table. What is on the table now is a small stack of some recently finished pages. I may have to find another place for those (Perhaps add a bottom shelf to the rolling table? Right above the wheels?).

You'll also notice a small magnetic strip above the drawing table, where I keep a few other tools I need to reach every now and again (sharpeners, nibs, erasers). And of course, the big HELLBOY ARTIST'S EDITION looming over me (Because Mignola is one of the greatest comix storytellers of all time and his work is to be studied for all eternity. I'm also considering getting Steranko's NICK FURY one, but... I oughtta sell a couple paintings first.).

Now you might ask; but Ganzeer? Where do you paint your large canvases and do your other odd artsy things?!?!

I'm glad you asked. It's been a while since I've been able to do that sort of thing with any level of comfort. Now, however, I have this:

Ganzeer's Garage

Welcome to the garage.

You'll see at the far end there's the pegboard and Craftsman thing where I keep a large number of tools pertaining to painting as well as handyman stuff. Next to it are my flatfiles where I keep my printmaking results as well as other works on paper. And above it is where many supplies pertaining to the making of that stuff is kept, as well as packaging and shipping supplies (to fulfill online orders with a degree of efficiency).

The table on wheels is of course very important (it was time to chuck out my trusty orange one, no wheels). The bookshelf is for books and comix and magazines as well as my own files (because frankly, there just ain't any room inside the house). I should also note that my bookshelf is... very full and I cannot under any circumstances acquire any new books without first getting rid of some (which means, I need to read my unread ones very quickly and decide on which ones I'm cool to let go of).

In the extreme foreground, to your left are a number of folding chairs (for myself as well as visitors). A couple boxes filled with used packing stuff that I should just go ahead and toss out. A little trolly there containing numerous painting supplies, and those tall boxes? One of them contains plain canvas, the other contains a half-finished painting I started in New York earlier in the year, and the third contains three paintings on canvas ready to ship out to their new owner.

The clothes rack? That's my makeshift solution to hang work-in-progress paintings and things. Current unfinished project dangling off the thing and jeering at me every time I walk in?

Ramy Essam's Jacket

Denim jacket for Ramy Essam's stage presence. It was once white, and now it's just stained. But soon enough... it will look entirely different. 😈

Future plans include installing a big sink (but... I oughtta sell a few paintings first). Gotta keep them brushes clean and you don't wanna mess up the sinks inside the house.

I quite like that I get to work out of a garage though. When the weather's good, I just roll the door wide open and it's like I'm practically working outside. I've never had a garage before, but that didn't keep me from naming my online store Garage.Ganzeer, which must've been some peculiar form of magical foreshadowing. ¯_(ツ)_/¯

#journal #houston #studio

The air is thick and humid today.

And it is just about starting to rain. Just a drizzle, nothing violent. It'll likely go on like this all day though. Generally speaking, I am not a fan of gray skies. I need to see the sun rise to start my day (standard Egyptian practice), but y'know what? It's warm in Houston; 22 Celsius (that's 71.6 Fahrenheit), so I will very gladly take it.

(Also, the sound of light drizzle is rather soothing.)

Work inbox is at a taunting 11. Personal inbox is at a threatening 349. As an inbox zeroer, this brings me great anguish. Luckily though, personal inbox is mostly filled with unread newsletters and notices (I clearly have no friends), messages I can just click away once I get around to it.

Still working on accounting stuff, which I am several months behind on. Feeling the pressure of the buildup of all the things I have to do once I'm done with that. At which point, there will be the buildup of other future things.

Kind of longing for the day when I no longer have to postpone any of the day's tasks till tomorrow or the day after.

I'll get there. Soon enough, I'll get there.

#Journal #Houston

Enter your email to subscribe to updates.