The online home of Adventure Cartoonist Lucy Bellwood
Add cardboard (carbon), gently torn, to some dried leaves (carbon), and the leftover zucchini bits and broccoli floret (nitrogen) from dinner, and you’ll end up with a singularly useful and generative substance (“soil”), from which all other life now stems. Is that not amazing? And it’s available to you. The earth’s deepest and most primal incantation.
I lost track of Cassie for a year or two but I’m now I’m subscribed to her newsletter about compost and it’s great.
Working on the music, for me, it’s kind of important to not fake it in some ways, to not try to force this emotional state out of it, to sort of pay attention to what’s going on in your life, if you’re feeling inspired or motivated just letting it happen. […] Especially after you’ve released a bunch of records for a long time, you don’t want to manufacture longing.
RIP Brian McBride
Two lovely pieces of feedback on the blog in very different mediums recently: a tiny, encouraging email from Rob right after my last entry and the sweetest postcard from Piper that arrived in my PO box sometime in June (but given the way life’s been going I didn’t manage to stop by and discover it until well into July).
Maybe it’s because blogging is often a much quieter affair than posting on social media, but I love these little blips and boops of connection. They hit harder than comments and likes and reblogs. They feel more personal. They remind me to reach out and email people (or write them a card!) when their work strikes a chord.
I had cause to do this recently with Ursula Vernon, whose work I’ve been following since I was in middle school. She’s been sharing some very vulnerable comics about dealing with breast cancer and I thought “My god, if not now, when?” It’s been over TWENTY YEARS and I’ve never taken the time to tell this person how much discovering her website and her comics and her delightfully eccentric illustrations meant to me as a weird tween without a lot of artistic friends. It’s an impossible gift when someone’s been a fixed point in your creative community for that long.
It reminds me that even if social media is crumbling around us, people can endure. The impressions we make on one another outlast the silos and the buyouts and the implosions.
But it’s good to come out and say so every once in a while.
I’m sitting here thinking about internet silos, the exhaustion of trying to post all the things in all the places, the relief of not being in an active Kickstarter cycle anymore, how two hummingbirds fencing in mid-air is more exciting than any action film, how much has changed since the WGA went on strike in 2007, what it would look like to write things for my blog and then share them everywhere else rather than trying to tailor things to each channel, how little lust for Instagram I have when I’m not obligated to be there, the Mother Theresa quote on the chalk board in front of this house, the vast gulf between the place I help take care of as a part-time job and this place that I’m looking after for friends, how much love pours out of the funky flooring and flaking windowsills, where I should eat lunch today, how much I need to pee, making physical objects, the power of niche communities, how every industry has its 1% and that 1% colors the public perception of how we do what we do and how so many people really do have no idea how the money shakes out no matter how many times we explain it, the Hooded Oriole who came, long and slender, to the sugar water feeder just ten minutes ago, the oleanders blooming, the possibility of rewilding a large stretch of our property, and building something there in the process, the fact that there are no rules on the blog, the emerging judgement that this is indulgent and pointless, the retaliation that it doesn’t matter, the gift of time, the inclination to capture, even imperfectly, the feeling of swinging on a porch swing while I write and how pleasurable and correct it feels to be writing while in motion, like recording a Ramble while walking, like understanding music through dance, like being in conversation with a friend while you both bob in the surf of the Pacific Ocean.
I signed up for another one of Jocelyn’s online classes last month, and so far I’ve found it incredibly helpful in finding my way back to bits of myself and my creative practice that have been occluded by caregiving. One of the exercises was a mind map exploring all the tools we use to access and interact with our creative selves. The four stages she suggests are Ritual, Connection, Collection, and Synthesis. Here’s a big mess of ideas around those hubs:
I love letting myself use little doodles to explore concepts like this. I think it started after Shay Mirk shared some More/Less lists they’d made for the year and inspired me to make my own. (Pretty sure I did one for 2022 as well but I can’t find it so here’s an old one.)
I see these inventories and remember that I have such a robust series of practices for doing what I do. I also see how the things I’m pursuing in my life right now have roots in this list from two years ago, which I love. It all takes such a long time.
I recorded a Ramble about all this the other night that I still haven’t edited and uploaded to Patreon, but it’s coming. Still circling the question of my job and what I think it is vs. what it actually is.
An unexpected bit of Promotion on the blog today:
This collection of poems by Tara K. Shepersky features loads of full-page watercolor illustrations by me and gorgeous printing from our publisher, Bored Wolves. (You can even grab our first collaboration, Tell the Turning, as part of the campaign—not to mention a host of other goodies like postcards and special bookplates by calligrapher Amber D. Stoner.)
The book is a love letter to a particular river in Northern California, and to Tara’s peregrinations from north to south along various West Coast highways and byways over the course of her lifetime. Her work is contemplative, rich, tender, and full of love. It’s an honor to be in conversation with her words through watercolor. When describing the book, she writes:
Serpentine is blue and green: many shades, from cerulean to viridian to young-alder to haze-above-the-Pacific. She’s soaked with sun, even when the particular poem takes place at night or in deep shade. Sunshine permeates. Blooming permeates. Celebration permeates. Refuge permeates. Serpentine reaches out to help you shuck your anxiety and displacement. I hope Serpentine will turn out to be a strong companion for you, as she has been, for a very long time, for me.
Once again: HERE’S THAT KICKSTARTER LINK. This is a short campaign (just two weeks!) so I’ll be writing about it again with some more watercolor work before things wrap up.
I’m washing my eyes with words and hoping something turns up that works as I’m moving forward.
Robert Eggers, on writing dialect for The Lighthouse
7. People pretend there are readers and non-readers. But there are just people willing to practice the patience necessary to get hypnotized, and those who quit before their eyes turn into spirals. To read is to welcome this hypnosis, await its arrival, then trust its direction.
Gabi Abrão
Life happened because I turned the pages.
Alberto Manguel, A History of Reading
Drawn in Procreate with my finger while feeding my dad supper.
I keep trying to look—really look—at all of it: what’s not here, what’s still here, how his face changes when he’s tired or alert or confused or happy. I keep thinking about cartoonists who have been in this position before me and the drawings I’ve seen them do of the people they love at the end, when it feels as if there’s no other way to stay present.
I am trying to stay present.
Sometimes (like this week) that means staying somewhere else, using the mild distance of a local housesit to recalibrate my understanding of where we’re at. My fatalism wanes at a distance because when I visit I see more of him. My presence becomes a novelty, and he perks up at novelty. I get to err more on the side of what’s here than what’s not.
This, too, is a gift.
I wish I’d known at twenty-one, when I developed a chronic illness and became suddenly alienated from all my peers, that over the decades, one by one, all of them would come join me on my island.
Sarah Manguso, 300 Arguments
I come back to this quote a lot these days, thinking about it from the perspective of losing a loved one early in life, or becoming a caregiver, or any of the other life circumstances that hit us before we feel they “should.” It’s a weird construct, when you get right down to it. These things happen all the time, so what undergirds the idea that they’re aberrant?
I’m much further into reading Stephen Jenkinson’s Die Wise than I was a couple months ago. (Funny how I can’t crack into a book that gets too directly at my current lived experience while I’m right up close to it. I had to go to another state before I could find a way in. I’m hooked now, though.) As far as he’s concerned the undergirding is a sense of entitlement; this particularly North American obsession with individuality and control and comfort.
The book’s full of things I feel like I’ll need a long, long time to process.
Exactly one year before I started drafting this post (which then languished for a little while, so technically now it’s more than a year ago, but whatever you get the idea) I wrote a short thread on Twitter about feelings and impermanence. I dug it up because I came across this photo and couldn’t remember what the hell I was doing that led me to group these little slips of paper in this kind of configuration. I’ve copied the thread verbatim below.
“Did an exercise in therapy this morning where my therapist asked me to list all the feelings running through my brain/body on bits of paper. Spent the rest of the session sorting them into affinity stacks while we talked.
It got me thinking about Chronic Feelings vs. Current Feelings. These are current, influenced by the hospital visit this week, the slow return to stability after a trauma, my anxiety about understanding my family’s finances, an impending trip, a disappointing career decision.
The Chronic Feelings are things like anticipatory grief, professional burnout, climate anxiety, hatred of capitalism, Pandemic Fatigue. The stuff we’re all collectively steeping in that constitutes a full emotional plate on its own.
But to try and be present with the feelings in my body right NOW requires a different sort of lens. It requires understanding that all of this passes.
I get reliably down most afternoons. Eating lunch triggers a slump of despair and exhaustion that isn’t the end of the world. It’s rare that I feel dreadful while I’m having my tea and scrawling pages into my journal outside in the sun first thing in the morning, so whatever’s coming for me today will, at the very least, abate for a half hour tomorrow. This helps to remember.
I have many weird/bad feelings about Twitter but also I think a lot about the people I know on here who’ve been generous enough to share their complex emotional stuff over the years. Folks grieving in public, folks naming anxiety, folks sharing their affirmations. It’s important.
A big cornerstone of how I’ve carried myself online for years has been an emphasis on sharing clear, proactive, hopeful things. Sometimes I fear this season of my life is going to break that, because it’s HARD. But I do think there are still ways to approach it with that ethic.”
Weird to still be chewing on the same stuff a year later. Weird to still be in an endless rollercoaster of absurdity and grief with my dad. Weird, also, to see the cadence of tweeting transposed onto my blog. Writing like that doesn’t belong here! But also I engaged in it for so many years on that platform. Every container nurtures its own syntax.
A friend asked if I’d signed up for Bluesky and the wave of exhaustion I felt in response washed the flesh clean off my bones. It’s not just that Twitter seems to be continually on fire these days, it’s the broader truth that social media feels hollow to me now. The ADS! There are so many ads. Why did I ever put up with a space that was so aggressively trying to sell me things at every turn? (The answer is that it was giving me the Good Brain Chemicals when I interacted with people I care about, but these days I don’t post enough to get notifications, so I’m trading my attention for NOTHING! No wonder the shine has worn off.)
I’ve been thinking about this installment of Holly Whitaker’s newsletter ever since I read it a couple weeks ago. I haven’t even dug into the links, but the dislocation theory of addiction latched onto my brain stem and has yet to let go.
Our modern social arrangement, Alexander argues, means that we have to sacrifice “family, friends, meaning, and values” in order to be more “efficient” and “competitive” in the rat race. In this framework, addictive behaviors are adaptive responses meant to fill that void of meaning and purpose. Using substances can provide a temporary sense of community (with other users), purpose (to acquire the substance), and meaning (feelings of euphoria or calm from using the substance). Substance abuse and addiction help to fill the gaps in meaning and purpose left by modern society.
None of this is news to me, really, but the articulation slotted something into focus. Reflecting on consumerism as an addiction (or maybe….everything as an addiction?) this month has been a valuable touch point.
And then here I am hitting go on a reprint of my graphic novel! A product I must then sell! A product I might even sell on the premise that it will make people feel less alone! HNGNNNGNNHHGHHH.
(I was going to expand on stuff in that tweet thread in this post too, but I got sidetracked and now it’s time to make my dad his breakfast so I’m hitting post because there are no ads here and nobody needs to buy anything and it’s one of those days where I want to move to the woods and eat grubs for the rest of my life so byeeeeee)