We drew from pictures we’d clipped from the newspaper and magazines. This is my version. I started with a cartoon, but switched to realistic drawing after the first panel.
This is the second time I’ve done this exercise. Here is my first version of the same poem, illustrated.
I think the exercise could be completed in a number of different ways. It could even be done without doing any drawing whatsoever: the text could be illuminated with interesting lettering, or by changing the shape on the page.
The poem is “The Diver’s Clothes Lying Empty,” by Rumi, as translated by Coleman Barks, if you want to look it up.
PS The tiny print at the bottom of the Record/Collect section of the course outline includes the instructions to collect graphic novels and comics you admire, i.e. Skim, by Mariko Tamaki and Jillian Tamaki; and Jane, the Fox and Me, by Fanny Britt and Isabella Arsenault. I will keep adding to this list. Do you have any favourites?
The concussion is taking its time to heal and screens seem to cause the greatest difficulty. Email is next to impossible, and I cannot compose at length on-screen; please excuse my absence here and elsewhere. In fact, I am approaching this as a gift rather than a curse, and I am writing often in my notebook, and drawing, and reading off the page. I am living offline. This could be a new year’s resolution. But I don’t do new year’s resolutions. Instead, I choose a word of the year.
Last year’s word was PEACE. I loved the word. I used it often. I needed it, but also I lived it. In a sense, my approach to this concussion has embodied my understanding of peace, as I’ve lived it. I haven’t fought what’s happened. I’ve been at peace (largely) with the changes it has necessitated. I’ve been grateful for many small wonders every day. For some reason — maybe concussion-related — I’ve been more sensitive to small changes in light and noise, in ways that I stop and appreciate. Today, I watched as the dim afternoon light that was falling across our dining-room table rippled in rhythm with a helicopter that was passing across the sky, out of my view; I couldn’t’ see it, but I could hear it, and I could see the pattern of its disturbance in the light.
Yeah, that’s probably due to the concussion.
My word of the year for 2017 is STAND. I announce it without fanfare, because the clock is ticking (literally; I’ve put a 10-minute timer on this post).
I’ve chosen STAND because it chose me. Here’s why, I think. This year ahead seems likely to be one that will call for protest, and for taking a stand. I am not brave, as I have said before, and this is not a natural posture for me, but I believe that as a writer and artist my work is to stand for something greater than myself. I believe that my stories, my efforts, must come from a grounded place, and that in order to create I must be solid inside myself “like a plant is solid in the ground.”
Time’s up. If you’re doing a word of the year, please share in a comment, below.
Happy New Year!
I am gathering materials for my experimental 12-week creativity course based on Lynda Barry’s Syllabus, which could also be called a writing & drawing course, a cartooning course, or a graphic novel course; it encompasses aspects of all of the above.
Here are the materials I’ve gathered:
*Books: Lynda Barry’s What It Is, and Syllabus. The Essential Rumi, translated by Coleman Barks. The Poetry of Emily Dickinson. (I’m still waiting on the arrival of Cartooning: Philosophy and Practice, by Ivan Brunetti.)
*Materials: 48 Crayola crayons; 12 Primsacolor pencil crayons; Uniball vision pens, fine; Black flair pens; a non-photo blue pencil; pencil sharpener; travel watercolour set with fine brush, brand name Winsor & Newton; India ink; Elmer’s glue and a glue stick; scissors; a box cutter; 1-inch Chinese brush; nylon brush; cork-back 12-inch ruler; a Staedtler pencil set. (Note: most everything on this list was a Christmas gift from my family, and mainly from my husband, with help from the woman at the art store on our corner.)
*Paper materials: compositions books; index cards; copier paper; watercolour paper; blank sketchbook; scraps of different kinds of paper saved from a variety of sources.
I’m going to test out Week One of my course curriculum tomorrow, possibly with the participation of a child, who has expressed interest in joining in. I’m aiming for three hours of dedicated “classroom” work each week, for twelve weeks, plus smaller homework assignments.
This wall of colouring pages, which includes work by friends from last night’s New Year’s Eve party (yo, I know how to throw a rocking party….!), is just the beginning.
This is a post I meant to write on my birthday, which was yesterday. Yesterday, I fully intended to plan out my writing adventures for this upcoming year. I would journal and blog and make schedules and send messages and plot workshops onto calendars. Instead, I indulged every lovely whim: I was treated to lunch by a friend, hugged my dad, went to the movies, opened presents and cards, and went on a dinner date with Kevin. When I sat down at 10PM to write in my journal, I was promptly interrupted by my youngest, who needed me to read Harry Potter to him — the last book in the series has become too dark for him to read alone in his bed: “It’s like she [JK Rowling] dug down so far that she hit a sewer pipe and then she just kept digging!” He pronounced it “swer” pipe. I love when my children mispronounce difficult words — it means they’ve learned the word by reading it. Thus ended the journaling.
I’ve been working on sketching out the curriculum for a 12-week creativity course, based on Lynda Barry’s Syllabus. (That’s what it looks like, above.) The course involves a lot of writing and perhaps even more drawing, using a variety of materials (crayons, watercolours, pencils, ink). The goal of the course is to create an illustrated handmade book, roughly in the form of a short graphic novel, although the book could take any form, really, so long as it has stories and drawings. In order to refine the curriculum, and understand my own capacity to teach this course, I’m going to test out my ideas over the next twelve weeks. I am looking for a few guinea pigs to test the ideas with me. You don’t have to live nearby, as I’d also like to discover whether it would be feasible to administer and take this course from a distance.
Are you interested?!
If so, please contact me, and I will send you details of what I’m imagining for this very rough, experimental, alpha version of the course. It’s a reasonably big commitment (12 weeks of serious writing and drawing assignments), but I’m looking forward to exploring in new and creative ways. I’m looking forward to building new stories.
UPDATE, JAN. 3, 2017: Thank you to everyone who volunteered to be a guinea pig! The trial spots have all been filled. Stay tuned for progress reports throughout the term, and let me know if you would like to be contacted with info about future courses.
Today I would like to tell you about an article I read in The New Yorker. I would like to tell you, without resorting to cliche, how the article struck a chord in me; but I’ve just used the phrase “struck a chord in me.” (Having spent far too long trying to think of a better phrase.) The article, “Lessons from My Mother,” was written by James Wood, a lovely, reflective piece about, as you’ve guessed, his mother, who passed away not so long ago. His mother was a teacher, beloved by her students, a force to behold in the classroom, charismatic, quirky, entertaining, empathetic; and yet she disliked her job, even hated it, or so James Wood thought, when he was a child. Upon reflection, after her death, he came to believe that his mother strongly disliked teaching, and yet was powerfully, “helplessly,” drawn to the profession, that it was her true vocation, even if she was tormented by nerves and anxiety as she prepared for her classes. It was almost as if she had a form of stage fright, or crippling self-doubt, which she dealt with by preparing relentlessly, obsessively (locking herself in the bathroom to cram before classes). Yet she never quit teaching. She threw herself in.
Why did this essay — or more precisely, this tiny tangent within the larger essay — strike a chord? For a chord was struck, strongly, and not just because I read the article standing in the bathroom, as I read most articles (no one bothers you when you’re standing behind a closed bathroom door, as James Wood’s mother could have told you) — it was his mother’s insecurity, her lack of confidence, that drew my attention. I keep returning to this insight, like it’s a revelation: that a person doesn’t have to love or even like what she does to be drawn to doing it; that a person may not love or even like her vocation, the very work she’s meant to do.
I’m drawn to doing work that makes me nervous, anxious, that taps on my insecurities like it’s tapping on rotten roots, especially when I’m preparing for it. I think we have a cultural obsession with loving what we do — as if the ultimate Life goal is to strive for work that only rewards you with good things, in which case, anxiety or nerves are giant red flags — you’re doing the wrong thing! Look elsewhere! Reading about James Wood’s mother gives me peace of mind. A person may fear doing the very thing she is put on this earth to do. A person may fear that which draws her like a magnet. But a person still recognizes her purpose, and her duty, and simply gets on with it.
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My name is Carrie Snyder. I'm mother of four, writer of fiction and non-, dreamer, contemplative, mid-life runner, coach, forever curious. I'm interested in the intersection between art and spirituality. What if the purpose of life is to seek beauty? What if everyone could make art?