Book Trailer Number Two: Maxed Out by Katrina Alcorn

Though she lives across the country from me, I was able meet Katrina Alcorn a few days after agreeing to do the trailer for her memoir, Maxed Out; American Moms on the Brink (Seal Press). When I sent her my mailing address for the deposit she said, “Oh! You live in Brooklyn? I’ll be in Brooklyn tomorrow!”

We met for coffee at a light-filled, white-washed cafe, recommended by my cousin, who always knows all the cool places.

Our conversation was of a piece with the cafe: pleasant, airy, invigorating. I walked home feeling so inspired and hopeful. The mid-morning sun was golden on the low buildings on Smith Street. As I walked home it slowly gave way to raw late-morning brightness shining on the buildings next to the BQE.

I hope you like the trailer. I had fun making it. I'm looking forward to reading the book.

Below, a few deleted scenes that I really liked but that didn't fit into the final piece. (Funny how that's so often the case. A painting teacher in college called those little precious bits cherries and said you have to be brutal and paint over them.)

A Little Walk

Flowers by Plenty of Posies. Photo by Wonderbliss Wedding Photography.

On the night before our wedding, I woke up when Brian came to bed and thought, “I can’t believe we got married and didn’t go to bed at the same time!” Then I walked to the hotel bathroom with its mysteriously and perpetually wet floor, flipped on the light and realized, no. It didn’t happen yet. That was just the rehearsal dinner.

When I woke up again, in the morning, it was grey and raining a little. “It’s supposed to be good luck if it rains on your wedding day,” I thought, and got dressed for coffee with the wedding team. Some logistics, vegan waffles, gossip in bed and a hot shower later and it was time to get ready.

A lot of the time, I try to want the minimum, take care of my own needs, be the helper. But on your wedding day, people don’t really let you do that. If you say, “Oh do her makeup first,” when it’s 3:00 PM and becoming clear that either you or your sister-in-law, but not both, will be getting her makeup done, nobody’s having it. So you sit down in the chair and someone brings you a bottle of water. Being able to feel fine about that feels freaking awesome.

While we were getting ready, my sister-in-law Wendy, a practical, hilarious class act, as both my sister-in-laws are, called down to order champagne. She possesses that innate understanding that some practical people have of how to celebrate—what to splurge on, where to pin a corsage, when to have another drink and when to call it a night. It’s a skillset that my parents and I lack, but that somehow my brother ended up with. All my in-laws have it, and I find it absolutely thrilling.

The guy on the other end of the phone told her, “I’m sorry, we only have sparkling wine.” (Who knew the Holiday Inn were such sticklers about authentic, Champagne-region Champagne, what with the baby poop in the lobby and all.)

“That’s fine,” Wendy said, in her quick, deadpan voice.

“Well, I don’t have a price list here. My manager will be here in an hour, so I can call you back then.”

“Well, why don’t you just figure out a price, and if it’s not reasonable, just . . . make it reasonable,” she said, before hanging up the phone.

My sister-in-law Karen looked at her approvingly, “That’s my kinda girl.”

My friend Allison’s wide-set baby mammal eyes trained on my face as she applied foundation and blush with little white sponges. I drank bottled water with my mouth in an O shape to try to avoid rubbing off my lipstick.

Around 5 PM, the photographer told us that she’d been down to the wedding site and the clouds had broken and the sun was out.

I hadn’t allowed enough time for getting ready and we had to start over on the hair a few times, so we ended up arriving at the ceremony about 15 minutes late. We pulled into the farmer’s market parking lot just as my cousin Ricky and his girlfriend Amanda arrived with their dog Buddy, a giant “man in a dog suit” kind of dog.

“Is it ok if we bring Buddy?” Amanda called out.

“I think I saw a sign saying no dogs in the pavillion?” I replied.

“Oh we asked someone, she said it’s really up to you.”

“Then sure!”

Who doesn’t want a man in a dog suit at their wedding?

The chaos, cheer, and rule-breaking of my family already in full effect, I felt heartened. We may not know how to class things up, but we know how to make things irreverent, which I think is equally important.

We walked through the gravel towards the market. Wendy and I held hands. When they dropped me off at my waiting area, Karen looked over her shoulder and said, in her 80’s movie star voice, “Don’t worry. You’re just takin’ a little walk.”

I watched them find their respective husbands and start down the aisle to the Peanuts song. The flower girl walked to her “mark” (the day before, at my panicked request, my friend Ted, a film director, had graciously taken over directing the rehearsal) and took the ring bearer’s hand. I started to walk out behind them and Ted stopped me, whispering, “Wait a second, we’re building a dramatic pause for you.”

The music changed to the traditional Here Comes The Bride. It was funny the things I ended up feeling traditional about. We didn’t have a cake or toss flowers or do the garter, but I wanted that song, and I made sure to have something old (my necklace), something new (my dress), something borrowed (thread and time from my friend Kara, who helped me hem my dress by hand, watching Pretty Little Liars on the internet, just like they did in the olden days), and something blue (my eyes.)

I went to my mark, and though my instinct is always to rush, I thought, “Molly, this is the one time it’s ok to make people wait.” Which is probably really for the best, given I rarely wear heels and my dress was nearly floor length.

I walked past the decorations, which I’d helped to coordinate but which were made into reality by friends. These friends who amaze me all the time with their creativity and art had made the space so beautiful, so much better than I’d envisioned it, and I’m pretty sure I started crying right then.

I made it (slowly) down the few steps to the area where everyone was sitting, and the first things I saw were a little kid and Buddy the dog sticking their heads into the aisle and I thought, “Yup. This is my wedding.”

Brian was standing all the way at the end of the dock, so he walked up as I walked down, and we met where the water meets the land. My friend Andrea was our officiant, and looked so beautiful that I got choked up like it was her wedding day.

I had to laugh at myself a little as she read the ceremony, which I had written, clearly in a time of great trepidation, for the whole thing is kind of a pep talk saying, “don’t be scared! You can do this!” But it turned out that once it was happening I wasn’t scared.

My friend Kallista read a poem about an old man saving toads in the road, because “they have places to go, too,” which Brian referenced a few days later as he carefully saved a large slug from getting stepped on. My friend Q read a passage by Pema Chodron and Brian’s brother Mike finished it up.

I’d partly picked that Pema Chodron piece because it talks about a pilot saving his passengers, and Brian’s father, who worked for a manufacturer that made airplane engine parts, starting in the foundry and ending up head of sales, loves pilots. But when I looked to see if he was enjoying it, I saw his eyes were closed and his mouth drawn in a frown, holding back tears, a pose he maintained the whole ceremony. I recognize that sensitivity because he passed it on to Brian, and it regularly breaks and melts my heart during funerals, weddings, and tv commercials alike.

I cried all during my vows, which I hadn’t thought I would. But with all those people there, showing up and making this day, how could I not be cracked open?

By midway through the reception, I became the “I love you, man!” guy from Wayne’s World.

I told family members I’ve never said it to before that I love them. My mom’s cousin Tamison, whose house we’ve stayed at about half the Thanksgivings of my life, whose house we’d stayed at, in fact, two nights before and who, incidentally, gave my friends and I her bed to sleep in, who spent the following day making 30 pies with us and then took us swimming, replied, with her signature wild grin and Mary Louise Parker-esque lack of jaw movement, “WHY?”

And I said easily, because for that one night everything felt easy, “I can’t help it, I just do.”

She seemed satisfied with that and replied, “Well, I happen to be very fond of all my family members, even the ones no one else likes!”

Which satisfied me.

When the reception was starting to wind down, a group of us went swimming, stripped down to underwear or nothing. The moon was almost full. I went in first (unlike me, but this night I was brave) and looked back at the glowing bodies wading through the water, like bathers in an old painting, or people performing a baptism ritual, or sirens.

When I was still in the midst of wedding planning minutia, my sister-in-law referred to the impending wedding as “the happiest day of Molly’s life.” I thought that was a ridiculously romantic thing to say. Why would a day that’s just about me and Brian be the happiest of my life? I love lots of people in lots of ways, not just him. But that, it turns out, is the point.

An Insufficient Fare Kind of Day

It’s an insufficient fare kind of day.

A spilled soda kind of day.

A drop a dirty fork on a customer and he rolls his eyes at you kind of day.

A your best friend misses his flight to come visit you kind of day.

An if I try to fold this blanket I’m gonna freak out kind of day.

A day when the murderer of a black teenage boy goes free.

A day when your heart feels numb and clumsy as a gloved hand.

A day when you realize that everyone you know is sad for the same reason and that’s the one thing that makes you feel better.

A day when the murderer gets his gun back and the prosecutor smiles and says she’s proud and you wonder how did these people get to be in charge and what is wrong with us?

A day when your friends go to a rally and walk all around Manhattan and miraculously people still have hope and rage and energy left.

A day when you sit in the yard after work drinking a beer with the guys, listening to them talk in Spanish, using your four verbs, laughing at stupid stuff and cheers-ing over and over again. And you know it doesn’t change anything but it makes you feel better.

And your boss’s cousin talks about how jail is so easy these days it’s like daycare and you crack up.

And you look at the sky and think about how you are just a tiny spot on the globe.

And you are more than usually aware of the complicated, simple humanity of everyone around you.

I have nothing very smart to say about George Zimmerman and Trayvon Martin and racism and the American justice system. There are so many people saying smart things all over the internet, I’m sure you have read them. I don’t know if I should even try to talk about it, but I can’t really think about anything without also thinking about that.

I have been reading so many heartbreaking, infuriating articles over the past few days since George Zimmerman was acquitted. I have also been doing a bunch of stuff to prepare for my wedding, which is on Saturday. My emotional state has been blurry, as if the good and the bad cancel each other out, complimentary colors mixed together to make a non-color.

I've been looking through Pema Chodron's book Living Beautifully With Uncertainty and Change to find readings for the ceremony, and this passage feels particularly apt at this moment:

"The other morning I woke up worrying about a dear friend's well-being. I felt it as an ache in my heart. When I got up and looked out my window, I saw such a beauty that it stopped my mind. I just stood there with the heartbreak of my friend's condition and saw trees heavy with fresh snow, a sky that was purple-blue, and a soft mist that covered the valley, turning the world into a vision of the Pure Land. Just then, a flock of yellow birds landed on the fence and looked at me, increasing my wonder further still.

I realized then what it means to hold pain in my heart and simultaneously be deeply touched by the power and magic of the world. Life doesn't have to be one way or the other. We don't have to jump back and forth. We can live beautifully with whatever comes--heartache and joy, success and failure, instability and change."

I can't let my heart go numb. I have to have a big, wise heart that has room for all of these things at once.

The 88 Cent Tote Bag

I am getting married in a few weeks, and my partner and I are trying to find something to give to people as favors, their prize for coming to our wedding. Our budget is approximately one dollar per person, which rules out the fancy vegan chocolates, the tiny succulents in little tin pails, and pretty much most things I’d want to buy or they’d want to own.

I finally came up with the idea of buying cheap blank tote bags and block printing an image on them. I knew how we would present them, rolled up and tied with twine and a little tag that would say “Thank you for coming.” I could picture their future lives, like so many given-away kittens, hanging out in pantries, in the kitchen, at picnics.

I searched the internet, ruthlessly turning down totes that cost $1.86, or $2.35, and finally found some for under a dollar. I started the purchasing process and got to the part where it totalled the shipping costs: $26.45. “Well I bet I can find a coupon for that!” I thought, proud of my thrifty nature, and opened a new tab to search for coupon codes. I found a couple of dead links, and a few wedding boards featuring former brides complaining about the low quality of the tote bags from this particular site. I looked at one woman’s sad photo comparing the actual quality of the bag she received with the image on the website, and I started to freak out.

This tote bag was almost certainly made by someone working in a sweatshop, I realized. Which is obvious, given that it costs 88 cents, but which I’d been avoiding until that moment. If I’m not willing to pay a fair price, who do I expect to make up the difference? The employer? The government?

The cognitive dissonance between my vision of sweet, hand-printed gifts lovingly tied in twine and the reality of the product I was about to buy made me feel dizzy. I want to give people something I made, but who made this tote bag? And how many other tote bags did they make that day, and how were they paid for it, and what was the ventilation like? What is their name and what is their life like and what were they thinking when they made it? One thing is for sure, they were not thinking about me or the guests at my wedding. Suddenly this "personal" gift started to seem extremely impersonal, and probably immoral.

I realize that it is somewhat ridiculous to fixate on the tote bags, when I have no idea where most of the things I purchase, for the wedding or otherwise, were made—or rather, I do have an idea, and I’m pretty sure it wasn’t in an intergenerational feminist craft collective made up of my friends and loved ones.

Sometimes I buy things that cost $1 because they’re a good deal even though they smell like plastic and sadness, and sometimes I buy locally-sourced, organic things for too much money. Either way I hate myself a little bit.

In my dream world, we would all make most of what we use, either buying or making the materials to do so. If we wanted to buy something, it would be for a fair price, and it would be because that thing was special or beautiful, not because we didn’t feel like taking the time to make it ourselves. Things wouldn’t be cheaper to throw away than to repair. We would value the time and labor it takes to make something.

I realize that I could make my life more like this if I tried. Instead, I live in a city and buy cheap crap quite regularly.  I am often extremely happy to walk down the street eating a 99 cent popsicle with 35 ingredients.

But aren’t weddings about trying to live out our romantic fantasies of how could be? Isn’t that the point of saying the nice words and wearing the special outfits and getting everyone you love together in one place? Some fantasies include riding in a limo and wearing a diamond ring. My fantasy includes not buying 88 cent tote bags. I know that I can figure something out that will be just as cheap but that won't make me freak out. For better or for worse, I'm going to live the tote-less dream.  

Lemon

Two memories.

1) 3rd grade. My friend Rebecca’s mom was an artist, like my mom, and she did a painting for our class based on Charlotte’s Web. I wanted everyone to know that my mom was an artist, too, so I suggested to her that she should paint our class a picture of the Boxcar Children (you know, in her spare time). She told me that she was sorry, but she couldn’t ever seem to get excited about making things that were other people’s ideas.

2) Junior or senior year of high school. Sitting on my bed, looking at an art school course catalogue, and thinking, “All of these majors look really cool...except for graphic design. I would never do that.” The page about the graphic design department had an image of a lemon. I recoiled from it the way one might a person whose behavior reminds you too much of your own secrets—the kind of reaction so strong it deserves to be examined, but usually isn’t.

I spent most of my life assuming that no matter what kind of artist I was, I would never, ever be a commercial one. Like, it would be much better to work at a job I don’t care about at all, than to compromise the purity of my artistic expression.

I came of age, after all, during the grunge era, and if I learned anything from Kurt Cobain (and from my mom), it was to avoid being a sell-out.

Now it’s 2013 and lo-fi has become an aesthetic found in car commercials and Taylor Swift videos, twee is an insult, and punk is an exhibit at the Met. Sleater-Kinney broke up and Carrie Brownstein is on TV making fun of the hegemony of the DIY aesthetic (“put a bird on it!”) We’re in a brave new world, people.

The friends I have who make art either:

a) Are commercial artists in one way or another (even if they also have a fine art practice)

b) Are part of academia

or

c) Feel like they have no idea how to make a living as an artist, and have a job doing something else.

I’m not sure if this is just me growing up or an actual cultural shift, but I do feel like the successful artists I’m aware of these days seem less like Ethan Hawke in Reality Bites and more like Ben Stiller in Reality Bites. I mean, it’s easy to make fun of the Ben Stiller character because he kind of betrays Winona Ryder and he's such a people pleaser, but...he’s trying. Ethan Hawke is just stealing candy bars and making fun of her dress and sitting around the house acting like he’s above it all.

I’m almost done with the book trailer I’ve been working on—someone else’s words, someone else’s story, but my aesthetic and my visual interpretation. The overall “voice” of the project isn’t purely mine, but I believe in it to the extent that I feel good about putting my name on the finished product.

I’m thinking about that lemon. I remember the paper, it was matte. I remember the colors, yellow and green. It was a nice lemon, you know? You can do a nice still life painting of a lemon and photograph it and make a cool graphic image of it. You can do whatever you want with that lemon. It's a lemon, it's not going to get mad at you.

The Art of Uncertainty

Whenever a friend expresses doubt about moving forward with an art project, I tell them that the artist’s job is to feel that doubt and move forward anyway. It is our willingness to deal with uncertainty that makes us contributing members of society. Our job is to feel afraid that what we want to make is stupid or embarrassing and keep going anyway. That is hard work, and somebody has to do it. If we are sure that people are going to like what we make then we are probably doing something wrong—unless it’s a birthday card for our best friend, and then we should feel pretty confident that they’re gonna love it.

It’s easy for me to say all that when I’m talking to a friend who I’ve seen make excellent work in the past. I don’t have to deal with the fear, because I can look away during the process and just wait for the amazing art to come out at the end. But personally, when I feel that sense of uncertainty, a lot of the time I cave. I either quit what I’m working on, or I feel more excited about making something I think will go over well, because it looks like something I’ve seen/made before.

So this weekend I challenged myself to make something just for myself. The rules were that I wasn’t allowed to think, edit, or quit. I just had to draw exactly what came out, and then cut it out. I’ve spent so much time holding myself back and trying to plan out my art so that it will fit into the world—more specifically, my world. I want the art I make to match my personality. I try to be a nice, smart, comforting person, so I want the art I make to be those things too. When I draw without editing I feel like what I make is kind of weird. Maybe perverse. Repetitive. Crass.

But it felt so good, just to be in that space. Just to follow my rules and tell the judgements that came up, negative (“This is stupid! I still draw the same things I drew when I was 15. I was so depressed then. I don’t want to be depressed!”) and positive (“Maybe it’s not stupid, maybe I’ll show it to people and everyone will love it and I’ll get a gallery show because I let myself be freeeee!”) that they just didn’t matter. They were all judgements and so I wasn’t supposed to listen to them.

Part of me wants to say that letting myself make something without listening to my own judgements was giving myself a gift, but I think that oversimplifies it. Allowing/forcing oneself to make things without knowing how they’ll turn out, without listening to fear, is not simply a selfish pursuit. Art is a mirror. The lack of self-judgement comes out in the work, and when people see it, that openness is mirrored back to them. When I hear music that is really raw and strange and daring, when I read a book that is unabashedly honest, when I see art that is decidedly “uncool,” I feel happy. I feel like the world is more forgiving and has more of a place for me. I think we all have the capacity to contribute more of that forgiveness and freedom to the world. It’s funny how painful it can feel to do it.

The Vortex

Philly is a vortex.

My friend Sarah just reminded me the other day. Psychic Jackie, who all our friends swear by, told Smoot once. There’s a vortex under the art museum—that’s why people get stuck. I moved away seven years ago and I still feel the pull.

When I lived in Philly, I was very ambitious for the immediate future. I was always making plans to put on an art show, to bake a strawberry pie, to go on tour. Now, older and living in New York, I’ve become ambitious in a different way. For the first time in my life I believe that if I persevere on the path I’m on, it’s possible I can eventually make a living doing art.

Specifically, I think it is possible that I can eventually make a living doing illustrations and animations. I never used to think of those things as distinct from just ‘art’. In Philadelphia, making crafts and cards and drawings all seemed like basically the same thing. When did they start to seem so separate from each other?

I thought of all this because making my wedding invitations brought me so much pleasure and satisfaction, even though (or because) it was just a small project to share with friends and family. Because it was strictly a personal personal project, not for a client or to try and put in a gallery, I experimented, I tried new things, and I persevered, blithely confident that I would figure it out in the end. I even worked with a team and didn’t get all uptight the way I normally do. In short, I let go of a lot of my normal hangups.

When I completed the first one, I looked at it and thought, “this is the most beautiful thing I’ve ever made!” Which may not be true, but which is the appropriate feeling, I think, on completing a project. And which is not what I usually think these days—I’m so worried about being consistent, living up to my own standards, pleasing the client.

The thing I’m trying to learn from this—the thing I’m trying to remember—is that making things is just that: making things.

Graphic design or illustration or art or crafts or puppet show or pies . . . the drive behind them is the same. The impulse to create doesn’t need to be informed by market realities. It’s about diving deep and coming out shaking and surprised. It’s about figuring out problems and their solutions so quickly they’re inseparable. It’s about joy.

Just Say Yes

Usually I only work on one project at a time. But the freelancers I know who make a living at it work on multiple projects at once, and I want to learn to do that. When it comes to my social life, I’ve always been into saying ‘yes’ to lots of things and then figuring out how they all fit together, and I’m trying to extend that same confidence to art/illustration jobs. So, I’m working on a few different projects right now, and I think I like it.

I always like the beginnings of things (like fellow Gemini Don Draper), which can make follow-through a challenge. Self-help books have taught me that the best way to deal with a potentially self-destructive tendency is not to try and make it go away, but to find a way to make it work for you. So I think switching back and forth between projects is actually good for someone like me, because it means starting fresh again every couple of days. It also creates mini deadlines at the end of the day, which is helpful for the same reason--the only thing as exciting as starting something is finishing something!

Working on multiple projects concurrently seems to add up to just working more, period, which is good. I notice myself getting a little looser and stronger with my drawings. This helps me feel more motivated, too. I am starting to see potential, rather than feeling my I’ve plateaued. I’m still not drawing enough to be as strong as I could be, but I am seeing that I can improve, and that is really exciting me.

Below are some images of bits and pieces of different projects I’m working on now. I hope you will enjoy the medley [click to see full image].

[gallery link="file" order="DESC" orderby="title"]

For other freelancers: How many projects do you take on at one time? How have you learned to manage your time?

Easter Eggs

This year, Brian had an idea to make Easter baskets for our parents, which was really fun and made me feel all right about Easter, which has never been my favorite holiday. I am working on a story about the two of us shopping for Easter basket materials. I am going to make the illustrations out of cut paper, but I also needed to figure out how to do the text. I decided to try hand writing it.

I didn’t like the way that the black ink looked because the contrast between its light and dark parts seemed too harsh. I got some grey ink and also a new brush at the art supply store. Funny visit to the art supply store. Everyone in the paper department was really grumpy, and downstairs, the woman checking me out told me how moths ate her paintbrushes so she has to keep them in the fridge (she was really sweet and sassy and seemed so old school NYC like an Annie Potts character in an 80s movie) and then I am pretty sure one of the employees pooped on the floor. Pretty sure.

Clean desk and new art supplies! The brush is wrapped in brown paper. She was so careful with it.

Also got some new paper for an animation I am going to make, a video for a friend’s band. I never let myself buy fancy paper because it feels like cheating but I decided this time it’s ok, this video can have a little more of a collage feel to it. The two white papers are going to be snow.

The writing isn’t perfect but I think it will work, and I like the grey ink. When I showed Brian this and said, “What do you think?” he said, “It looks like Apu from the Simpsons.”

 Tracing eggs.

Egg outline. (I don’t know where that weird owl came from.)

Eggs in progress.

A pretty nice egg.

 I really like this egg.

The first egg I made. I rejected it for being insufficiently egg-like.

I tried to make a replacement but I didn’t like that one either.

So I decided the original egg would do. (Practicing egg-ceptance.)

More to come in the future!

Alchemy

I’ve been thinking about this Joseph Campbell quote: “If the path before you is clear, you're probably on someone else's.” As artists, we really don’t know what effect our work will have once we put it into the world. Whether working for a client, collaborating, or preparing for a solo show, that uncertainty is always there. As artists, we have to be confident enough to make work that is honest about who we are and the world we inhabit. We never know if we are good enough; there is not a set path for how to succeed or even a clear definition of what success means. Embracing that uncertainty and going forth honestly anyway is our job, the same way that when I waitress my job is to set aside my ego and serve the customer as well as I can, even when they are annoying and the kitchen is slow and I am so tired and I have my period and I just want to go home.

The worst part is, when you’re a waitress you know that it makes sense that in a city with a lot of people, there are lots of restaurants, because everyone needs to eat. But as an artist living in The Age of Mechanical Reproduction™, a lot of times it just seems like there is already enough art! You can buy a printed copy of any great painting, illustrated book, or amazing poster you like. Why make more? When I think about the sheer number of artists making things and trying to make a name for themselves, it boggles my mind. Throw in some heaping self-doubt and it’s enough to make you want to stop trying altogether.

I thought of this overabundance of art when I heard about Meriç Algün Ringborg recent show at Art in General, The Library of Unborrowed Books, in which she culled a selection of books from the Center for Fiction’s library. The piece, following the same guidelines as her 2012 show at the Stockholm Public Library, “comprise[d] all the books from a selected library that have never been borrowed.”

The show is a little embarrassing for the books. Claire Barliant of the New Yorker writes that “while [she] browsed [she] found [her]self searching for flaws in the books that might have made them undesirable” to others, which sounds like online dating. The Center for Fiction’s tumblr is ostensibly supportive, but incorrectly refers to Ringborg with male pronouns, so perhaps there’s a little buried resentment on their end.

But Michele Filgate of the Paris Review finds that the show made the books more attractive, writing, “there’s something about displaying the books as art that made me want to page through each and every novel. It’s as if all of the words put together are trying to say, We are necessary; we have stories to share.”

Although the mass of artists living today can be daunting, it is also be powerful. If there are that many of us who want to approach problems creatively, there are ways to harness that creative power to make the world a better place, and that is exciting.

The truth is, most of my artist friends think about a lot of the same questions I do. I see the different ways that we try to make ourselves and the world better through art, whether it be through an overtly political message or simply a celebration of creativity over consumption. Nobody has it all figured out, but everyone is trying.

Artists like El Anatsui (go see his awe-inspiring show at the Brooklyn Art Museum!) and Chakaia Booker (read more about her here) are especially exciting to me, because of their approach to materials. They take objects that most people think of as ugly and disposable, and make them into gorgeous sculptures. It’s not just that this is a surprising thing to do, it’s also that their work acknowledges the world we find ourselves in, with all of its industrialized waste and ugliness, and finds beauty there. The detritus and tires and metal scraps that make up Booker and Anatsui's work are not so different from the unborrowed books in Ringborg’s piece. All three artists find value in objects that other people have ignored. That’s what art does. It takes the parts of ourselves, our worlds, our perceptions that we thought were the most unlovable, the most obscure, or just too obvious to bother with, and transforms them into something to share with pride.

Further Reading:

The Work of Art in the Age of Mechanical Reproduction

Paris Review: Borrowed Time

New Yorker: The Art of Browsing

Ringborg's Website: Meriç Algün Ringborg

Center for Fiction: The Library of Unborrowed Books

ltr">El Anatsui

Defiant Beauty

My Grown-Up Desk

I remember visiting my Great Aunt Ann when I was about 7 or 8. At that time she lived in an apartment in a house in Martha’s Vineyard. During the summers, when the rent was higher, she would find tenants to rent part of the space, which was always an adventure. She had a couch covered in patchwork denim which I think was where her art therapy clients were supposed to sit, although I don’t think such clients actually existed. She was very whimsical and would swim every day and complained about her bad back and drove a really old Volvo with a lot of sand in it. Then, as now, she seemed to live like a charming cat, pulling things from thin air, acting according to her own whims. One of the best things was walking in the dark warm air at night to get ice cream cones. But I think the really best thing was her desk. A slanted artist’s desk lit by a bending lamp, and on it an entire set of colored pencils sharpened and waiting. It seemed so magical and inviting and sophisticated.

When I was a kid, there were certain things that I knew I wanted to have or be when I grew up. And then along the way I forgot about those intentions, or maybe not forgot but ingested them entirely. Because sometimes they show up here in my adult life, as if they were a point on the map that I had been walking toward without remembering why.

Today I looked down at my desk (built by Brian), lit by a bending lamp (impulse buy from a yard sale in Maine), with a couple of colored pencils and a pile of paper on top, and thought, here it is: my Great Aunt Ann’s desk—my 7-year-old idea of what being a grown-up artist looks like.

Stranger Here

I am excited to present to you the trailer for Jen Larsen's forthcoming memoir, Stranger Here: How Weight-Loss Surgery Transformed My Body and Messed With My Head. Written and narrated by Jen Larsen, music composed and performed by Jared Holdaway, animated and directed by me.

Bloopers reel:

Behind the scenes:

Read more about the book here: jenlarsen.net Read about how the montage in this video came to be here.

Snow

I was going to post the animated trailer for Stranger Here today, but the big social media release date is 2/25, so I'm going to have to wait. . . So instead I’ll tell you a story.

I met a guy the other night who asked me, “Have you ever made a business plan? Have you ever looked at yourself in the mirror and said, ‘I can achieve my goals?’” “I haven’t,” I said, “but I guess I should.”

He asked me, “What percentage of you is committed to achieving your goals? On a scale of one to a hundred, what percent committed are you?” I thought about it, I looked down, I looked up at him. “I’d say 95 to 100 percent,” I said. He laughed. “It’s not a test, you’re not on a game show.”

We had just watched my boss compete for a job, on a reality television show. He didn’t really want the job, but it was a chance to be on television, which is what he really wants to do. His actual job is owning a restaurant, which is where we were, drinking boxed wine. It was really snowing for the first time this year.

We went outside into the snow. We threw snowballs. Mine went in gentle arcs, smashing to powder on people’s coats. The business plan guy would hide behind a car until we were all ahead of him and then hit us from behind, hard.

The staff of the gelato place was outside and we had a snowball fight with them. After a while, a girl on their team asked a guy on our team whose team he was on, and he said, “I don’t even know anymore!” I yelled at him and threw a snowball at him. “You hit me in the dick! You hit me in the dick!” he yelled. But he wasn’t mad and I didn’t feel bad. I said, “That’s what you get for being a traitor!” He said, “Yeah, I deserved it.”

There were tequila shots inside. Aida and I told the boy I hit in the dick that he should shave his beard. He said, “Sometimes I shave off this part, so it’s just a goatee.” “Noooooo!” we said, “that’s worse!”

We went down the street to a bar and there was dancing in the basement. We danced with two 22 year old fetuses. One of them said to me, pointing to my hair, “Why the bob? I love it! You’re so retro!” I wanted to say, I’m not retro, I’m just ten years older than you, but I didn’t want to kill the moment.

Aida said to me, “Attack them with the hair!” and we shook our hair in their faces, her long black hair and my retro bob.

Sometimes everything comes together---how things look, what you’re doing, who you’re with, and who you are right then---and you can feel it all existing as one thing, separated out in time. Like a knot in a string.

The next day I thought about  my business plan. I don’t have one. But I have looked myself in the mirror and said, “Go for it.” I have had a flash, while carrying a stack of glasses across the restaurant where I work, and thought to myself, “This is my life! This is my life this is my life this is my life.” And thought, I want to get that tattooed somewhere so I see it every day, but in French or something, so I don’t get sick of it, so it can become just letters most of the time.

Emotional Montage

I am working on an animated trailer for Jen Larsen’s memoir, Stranger Here: How Weight-Loss Surgery Transformed My Body and Messed with My Head (being released in February by Seal Press). The script for the animation is the introduction to the book, which outlines a series of the author’s strange, hilarious, heartbreaking self-“improvement” fantasies. The first few are described so visually that the stage directions were basically written for me. But the penultimate fantasy is about an emotional transformation, in which the character becomes the kind of person she wants to be—warm, happy, wise, etc. To show her emotional transformation, I wanted to have the character enter a magical world. I decided on a woodland scene, starting out with the character standing next to some trees, looking glum. Then she stretches out her arms, the trees bear fruit, and she becomes friends with some deer. I thought this might be stupidly sweet in a way that would fit with the self-aware, funny, sad tone of the writing. But something bothered me.

I set the cut-outs aside for a day and thought about this scene—and realized that it wasn’t specific enough. In the rest of the animation, the imagery consists of everyday objects depicted in unusual scenarios. Almost every object is based on something I’ve seen in real life: my favorite coffee cup, my grandmother’s armchair, the funeral home near my house. The trees and deer in the woodland scene were not drawn from memories of real trees or deer, but from images in fairy tales.

That’s when I decided I wanted to make a montage of ordinary actions. Instead of changing the setting, I would change the perspective. I would show the character engaged in one domestic activity after another, using the trope of a montage to tenderly poke fun at the idea that it's possible to become perfect.

I love montages. I love how sentimental they are, and how they depict almost nothing of how time passes, but so much of how it feels to look back on things. I wonder how our ability to instantly “montage” our own lives through social media affects our way of thinking about things. I have a love-hate relationship with those perfectly Instagrammable moments—the well-plated, locally-sourced dinner; the perfect mid-day latte; the urban mason jar—you know what I mean.

I think that my issue has to do with making personal happiness a consumer item. This surely isn’t a new thing. Instagram didn’t invent bragging. When we don’t have something, we can become consumed with wanting it. When we get it, we know that our lives our still as complicated as before, and yet it is easy to fall prey to the allure of making ourselves appear simple now that we’ve gotten this (socially-acceptable) thing.

Stranger Here is about being unhappy and thinking it’s because of one thing, and then finding out that when that thing changes, the feelings don’t really change. There’s a quote I read (on Facebook, naturally) that goes something like, “Don’t judge yourself, because you’re always comparing your blooper reel to someone else’s highlight reel.” But much of the time, we put our highlight reel out into the world as the official storyline. And maybe that is inevitable when we are communicating in such short bursts. I'm not anti-Social-Media, but I am curious how, over time, the forms of communication we use might change the way we perceive the world, and ourselves. I think that’s why it is so important to also share longer, complicated narratives that aren’t all good or all bad, but are nuanced and ambivalent. They help us read between the lines of the 140 characters.

Two weeks from now, I will post the completed trailer. Hopefully, the guy doing the soundtrack will have come up with some sweet montage music.

Molly's previous pieces on process can be found here.

Resisting Autopilot

The other day, I heard an interview on NPR with David Esterly, a master woodcarver who just came out with a book, The Lost Carving: A Journey to the Heart of Making. He talked about what he believes are the two halves of creativity: one half consists of coming up with ideas and planning things out; the other half exists within the making itself. This second half (his favorite), is a spontaneous, intuitive relationship with the process—responding to the materials and adapting mistakes into solutions. I had the radio on while I worked on a cut-out for an animation I am making. I usually have something on for background noise, except when I’m drawing, because I always think of drawing as the hard part. Once the drawing is done, the pressure is off and the radio (or podcast) comes on.

I draw on yellow tracing paper, which I flip over and transfer onto a piece of medium-weight black paper. I used to draw directly onto the back of the black paper (and occasionally still do), but the cut-outs always come out messier that way, and when I’m using multiple colors, it becomes hard to line them up correctly without a master drawing. The trade-off is that the immediacy of the line is lost with all the tracing that goes on. As I sat, cutting out along my prescribed, traced lines, listening to Esterly talk, I wondered, am I really doing anything creative right now?

The weird thing about getting good at something and developing a neat little personalized system is that it makes it easy to go on autopilot.

As part of me listened to the radio, another part of me started thinking more about what I was doing. Though the drawing is there as a guide, there are numerous subtle decisions to make as I cut. Most of the time, I don’t really make these decisions, but let them happen automatically. The cut-outs come out just fine. But this time, I really thought about what I was doing—How thick should this line be? Should this small gap be left black or cut away? Shouldn’t these lines be more parallel?

I think that the sum of all these tiny nuanced decisions shows in the finished product. There is a tension in the lines that makes it feel more alive. And focusing my attention that way made me feel more alive, too.

In her book Long Quiet Highway, Natalie Goldberg talks about how creative acts can be a form of meditation. Sometimes when I am making a cut-out I am impatient, just wanting to get it done and see what it looks like. But sometimes, like this time, I go deep into it. Time passes differently, the way it does when I play with an animal, or really listen to music. I really experience what I am doing; I experience the uncertainty of being alive.

To listen to the David Esterly interview, go here: http://www.npr.org/2013/01/06/168632372/re-creating-the-lost-carving-of-an-english-genius

You can see more of my work here: http://mollymcintyre.com/