There’s a delicate, industrious ticking at my left-hand side. A tiny golden hand advancing second by second around the upturned face of a watch from 1969. My grandfather’s watch. A watch I didn’t know existed before this month, belonging to a man I’d never met, whose personal effects I just traveled 5300 miles to retrieve after 30 years in storage.
I’ve always been a sucker for tiny, functional items; things that carry the evidence of daily activity and the particular devotion of the mundane. A monument may dazzle, but it’s the sealed jar from Pompeii that sticks with me after all these years, its lid lifted to reveal the scooped impression of three fingers in white cream.
How many times have I scooped lotion from a jar? Fidgeted with a ring? Buttoned on a coat?
How could I have known that winding this watch would bring it back to life as if no time at all had passed?
It’s happening again, the thing that happens when I get back to drawing after a slump.
The transition was abrupt. I woke up two weeks ago, went to the studio, queued up Neil Gaiman’s live reading of The Graveyard Book (my habitual comfort food of many years), cranked out four pages, rode my stationary bike for a half hour, and then took it upon myself to begin eating a whole head of lettuce every day to finally get ahead of our CSA box. The transition was shocking in its ease, especially when I hold it up beside weeks and weeks of disruption and self-judgement. I’ve been torn between dog-sitting gigs, two different living situations, visits from friends, heart procedures at the hospital with my dad, studio moves, traveling out of state for events, and passing obsessions with whittling, ultralight backpacking, and quilting scattered in between.
Writing it all out, I soften. Of course I’ve struggled to sink into the kind of flow state needed for real progress on my book. There’s been no consistency! No ritual! No routine! My poor little animal brain doesn’t know how to make sense of it all.
But now that the gears have clicked into place and I’m suddenly off to work every morning like clockwork, the other thing happens: I lock down. I become superstitious and squirrelly, prone to evading all well-meaning attempts at conversation from the people I love.
“How’d it go at the studio today?”
“What’s your page goal this week?”
“When are you heading to work?”
Too much scrutiny makes me fearful. The ease of transition is suspicious. How did this happen? Why did I magically wake up and find it simple to return to work on this day of all days? If I don’t understand it, anything might switch it off again. So I err on the side of secrecy, and remain a jealous guardian of my time.
It’s been two weeks of consistent creative flow. It’s working for now. I’ll bask in it for as long as it lasts.
A month ago, encouraged by this wonderfully clear explainer comic from Maia Kobabe, I bought an eSim for someone in Gaza via Connecting Humanity. Like Maia, mine took a while to get assigned and activated, but this morning IT HAPPENED.
(This is just an excerpt from Maia’s full comic. You can read the rest here.)
I try to pay a lot of attention to how taking various actions makes me feel. Not because activism shouldn’t include things that are difficult or painful, but because I’m a human creature and I know that I gravitate towards things that bring me pleasure or fulfillment. If I can embody my values in a way that’s rewarding, I’m going to be far more effective in my work. I see this in the people I admire: a kind of joyous integrity that drives fundraisers and community events, art projects and experiments.
The feeling I got seeing that eSIM activated and streaming data was very similar to what Maia describes in her comic. A burst of hope! A jolt of delight! The understanding that a stranger across the world, in unimaginably horrifying circumstances, has the chance to reach out and be heard—to connect.
In a season where everything about the internet feels poisoned, I’m reminded that data can mean hearing a loved one’s voice, subscribing to updates from emergency personnel, letting your children distract themselves with a cartoon on YouTube, or sharing the lived reality of life in a war zone. These are all means of spiritual and physical survival, and we can gift them to others.
If you feel moved to give it a go yourself, there’s an ongoing 5% discount code for Nomad Middle East eSims (NOMADCNG) and I have a personal code for 25% off (LUCYUADYUW) anyone’s first order. The full instructions for purchasing and donating eSims can be found on Connecting Humanity’s eSim page.
(Enormous respect to Mirna El Helbawi, the organizing force behind Connecting Humanity and Maia Kobabe, for always sharing such clear and humanizing comics. The title of this post comes from a chapter about the internet in Dan Nott’s fantastic book Hidden Systems.)
Our town (~9,000 people) has a couple garages, but there’s a big one on the main drag. My family has been going there for decades. I drive past it every day.
There used to be a huge pine tree on the corner of their lot, but last year it became a hazard and had to be taken down.
Shortly thereafter I drive by and see they’ve hired a guy to chainsaw sculpt the stump into a bald eagle.
Birds own my heart, but nationalism makes me twitchy. I withhold outright condemnation of the eagle, but I’m skeptical. (The original owner—an objectively Good Dude—sold the business to a younger couple a few years ago, and I don’t have any knowledge of their whole deal.)
Then it turns out someone on staff is really into making costumes for the eagle. Every holiday. Every month. Stuffed turkey, witch costume, menorah headpiece, bunny ears. These people love to dress their bird.
The changing of the eagle suit becomes a source of joy every time I drive through town.
Until June, when the eagle is bare.
Now look, maybe I’m expecting too much asking my garage to celebrate Pride. But this is a small town. Every time I drive by that stupid eagle—this thing that has previously brought me so much joy—I feel hurt. I feel reminded that there are plenty of people in my liberal bubble who don’t consider my community worthy of celebration. I drive to work, I feel bad. I drive home, I feel bad. The eagle is mocking me.
Then my A/C quits working.
So I book an appointment to bring my car in—and realize what I have to do.
I pick all this up at a thrift store for under ten bucks. I print the shirt with some weird heat-transfer fabric crayons I find in a cupboard. I loop gold elastic around the sunglasses and pray they’ll fit on the eagle’s head. (It is also important to draw your attention to the price of the feather boa.)
Nice.
My reasoning is thus: if I show up with a complete costume ready to go, someone will have to look me in the eye and say “We don’t believe in that,” at which point I’ll be finding a new garage. But if they let me dress the eagle, then people in town get to have the joy I’ve been missing since the start of the month.
I listen to a lot of hype-up jams on my way over. I hate confrontation. I also don’t wanna have to find another garage. I want to believe that this decision isn’t actively antagonistic, but I’m not particularly hopeful.
I talk through the A/C issue with the guy at the desk, hand over my keys, then take a deep breath.
“Who’s in charge of the eagle?”
“Oh, that’s all Dylan. Second bay from the end.”
I walk down the row of hydraulic lifts and find a disarmingly smiley middle-aged man pouring fluid through a funnel. I introduce myself and explain that, since the Pride parade is this Sunday and the eagle seems to be missing a costume, I have taken the liberty of making one myself, and can I get his blessing to go put it on?
Back in 2016 I had the pleasure of working on a piece for The Nib about renewed efforts to bring wind-powered shipping to the international trade scene. I chatted with a handful of passionate, fascinating people and just got to scratch the surface of what was happening at the time. Somewhere in the years that followed, between multiple changes in hosting and ownership, the comic disappeared from The Nib’s archives, so I’m re-posting it here on my own site to make sure it stays up for future readers to investigate.
(I’m still mucking around with the best way to format this kind of thing for my own site, but this’ll do for now. You can use the arrows to scroll through thumbnails, or click the image to read in a bigger carousel viewer.)
Between the disruption of the Pandemic, the rigors of caregiving, and the long tunnel of working on a new book, conventions have felt like a thing of the past for me. The travel, the crowds, the need to produce and sell and be ON have all seemed difficult to reach in this phase of my life. But there are some shows you just know in your heart are worth the bother, and I’m happy to say that I listened to my intuition and applied for this one back when they announced the deadline.
The Ann Arbor Comic Arts Festival is a lovely, kid-specific show that’s FREE (we love a free show) and takes place at the Ann Arbor District Library (WE LOVE A LIBRARY) from 11-5 (WE LOVE A SHOW WITH REASONABLE OPENING HOURS) this Saturday the 15th and Sunday the 16th. My previous visits to A2CAF have always left me feeling so revved up and grateful to be working in comics, and I’m sure this one will be no exception.
Here’s a handy map of where I’ll be (Table #1), unless I’m off doing one of the lightning Quick Draw events, which are scattered throughout the weekend:
Some other folks I’d recommend checking out are:
Cara Bean (Table 25), with her new mental health for kids book Here I Am, I Am Me (this is going to be the first thing I buy)
Alec Longstreth (Table 3), one of my earliest comics teachers, who continues to inspire and delight with his series Basewood and a host of other projects
Lauren Houser (Table 11), who I had the pleasure of collaborating with on a story for Spitball #7, the CCAD comics anthology that pairs working pros with up and coming student artists
Vera Brosgol (Signing at Green Brain Comics, Tables 8-10), celebrating her new book Plain Jane and the Mermaid (the second thing I’m going to buy), which I had the pleasure of contributing to in a small way by getting on FaceTime to puzzle out some Boat Issues
Jen Wang (Signing at Green Brain Comics, Tables 8-10), whose first graphic novel, Koko Be Good, continues to shape the way I think about character, story, and expressive acting on the page
I also have some original pages appearing in Drawing Worlds: The Art of Comics and Beyond at the Ann Arbor Art Center. The opening reception will take place Friday from 6-8pm, but the show runs all the way till July 3rd. (I believe they also have some of my stuff for sale in the gift shop!)
Dennis Rice, former headmaster of my eccentric, much-loved little high school, wrote some thoughts about the Morning Assemblies we used to hold. I’m reproducing it here because I haven’t written anything in a long while and it touched me and what is a blog for if not to collect things that touch us?
The choice is always ours. Then, let me choose
The longest art, the hard Promethian way
Cherishingly to tend and feed and fan
That inward fire, whose small, precarious flame,
Kindled or quenched, creates
The noble or ignoble men we are,
The worlds we live in and the very fates,
Our bright or muddy star.
Aldous Huxley
The 17 students of my first Happy Valley year slowly grew to 30 then 40. The new buildings wallowed on a muddy hillside, waiting for many Project Days to come before they could be planted and green. Like much of the experimental nature of what we did in those years, we did not pave the paths of the school until people had walked on campus for two years. The paths designated themselves.
To the chagrin of some alums, I admitted other than classical music to Morning Assembly.
When my mind drifts back to HVS, it often lands on Morning Assembly. Each day, rain or shine, students and teachers would gather together—at first in the new Commons, but by the mid-eighties, in a large yurt—seated in a circle on zafu cushions, having all removed our shoes before entering. A selection of gentle music was played, often orchestral or single instrument, on occasion played live by Eddie Guthman and the Advanced Band, and then there would be a reading.
I still have a dozen books that are severely dog eared for morning readings (Huxley’s Perennial Philosophy or The Choice is Always Ours), as I would read on Monday and then solicit volunteers for the remainder of the week. It was rare that anything trivial was chosen. In fact, we had a shelf in the library dedicated to good quotes and readings for assembly. After the reading, we would all sit in silence—a remarkable feat for a room full of teenagers, but it happened every morning. Morning Assembly was an important time for the community, a time to start together before we began the challenges of the day.
I realize that it was not all that popular with every student at the time—some of those mornings were cold—but I would like to think that more than a few look back on those mornings fondly. I understand that Morning Assembly was one of the first things to go after my departure, as David Anderson, who followed me, generally looked on it as a waste of time. It moved to mid-morning and met only on selected days. I would wager that the school still gathers in some way and there are a few old timers still on campus who attempt to keep part of the old flame alive, but the magic of those often cold mornings, sitting in a circle with colleagues and students, still lingers with me after these long years. My gaze drifts around that circle, bringing an endless chain of faces and voices, 27 years’ worth.
I reach over to one of those dog-eared tomes, open to a random page, and read:
Any friendship—between two or a hundred—entails a new emergent unity, where each of the constituent selves is far more in its functional oneness with the rest than it ever was in its apartness.
Gregory Vlastos, 1909, Canadian professor of philosophy
I was hanging out with some new friends recently and the conversation turned, as it inevitably does, toward books. Someone asked me to guess who read the least out of the assembled company. (Weird move, but okay.) I guessed that one person had grand bookish intentions, but really only read one “big ideas” book a quarter, another escaped into lengthy fantasy series, and the third was a wild card bouncing between fiction and pop psych. Not far off, it turned out. But that’s subject matter, not quantity. Someone said they had a hunch I went through books “like food,” which is true. “A book a month?” someone suggested. I looked shifty. “A book a week?!”
I had to pull up this list to check. It feels off to make that claim when I read so many graphic novels, but it’s true. I love books. I love devouring them. I love thinking about them and talking about them and letting them change and shape me.
Interesting that so many of my top favorites this year were comics! Getting back into working on Seacritters has me wanting to explore the medium more than I usually do, and I found some real gems. I love looking over the list and remembering where I was while reading each of these. It’s a strangely vivid experience. Getting lost in Hilary Mantel at Christopher’s was otherworldly. Plowing through Aidan Truhen at home was a riot. Being bewitched by Trung Le Nguyen’s lines on a beanbag in the Ojai Library kids’ section was nostalgic and peaceful.
I look at these lists and struggle to explain to new people what and how I read. In some groups it’s a shorthand for belonging—in others it’s a gateway to somewhere else.
Given that they were the standout delight of 2023, I planted wildflowers again for 2024. The frontrunner is still Nemophila menziesii (Baby Blue Eyes), opening its first flower on March 16th. (Last year’s arrived on March 29th.)
Most of what reseeded this year was Elegant Clarkia. It is out of control. Every patch that held five plants last spring now holds triple the amount of seedlings. The lupins were much-beloved by gophers, so no more of them for now. I sowed a lot of Purple Vetch (with seeds harvested from El Nido Meadow in 2023). They’re currently putting forth tiny tendrils around the agave bed. The local high school’s native plant sale yielded more Narrowleaf Milkweed for the butterflies, Sticky Monkeyflower for under the oaks, Island Snapdragon for the cursed bed out front that gets too much sun. We were liberal with the California Poppies, with varied success.
There’s so much greenery this year that the seedlings often can’t complete, but they’re made for this land. They’ll keep coming back.
I’ll be at Bart’s Books in Ojai, CA next Thursday, March 21st at 6pm to interview my genius bike-touring, adventure-having, genre-bending cartoonist friend Tessa Hulls about her new graphic memoir Feeding Ghosts. The book explores three generations of her family’s tumultuous history from Maoist China to America and beyond. It’s rich and cathartic and unbelievably gorgeous. Tessa’s spent the last nine years bringing it to life. You can read more about it in the San Francisco Chronicle or the New York Times.
Given the lengthy isolation and emotional toll required to craft a book like this, I’m very keen to have a packed house to help celebrate its emergence into the world. Bart’s has a gorgeous outdoor courtyard and an absolutely amazing selection of used titles. Well worth the visit. I’ll also be bringing some of my own books along, so if you’ve been wanting to get your hands on some copies from the second printings of 100 Demon Dialogues and Baggywrinkles, you can do a one-stop shop!
Want to get your hands on the book, but don’t live in Southern California? Great news! You can order Feeding Ghosts from wherever books are sold. Personally I’m a fan of using Bookshop.org or requesting it at your local library. Tessa’s book tour also ranges widely, so if you have friends around the country who might enjoy this project, take a peek at the list of other stops.
