Luke added this illustrated addendum to the GOES Books site after hearing from some people that they felt guilty claiming a comic without also paying it forward. It’s so good. This project is so good.
Austin shared some lovely sketchnotes from a talk on writing as a form of prayer yesterday, and this bit really leapt out at me:
Out of all the interesting subjects they discussed, I think I was most taken by Father Martin’s explanation of how his vow of poverty affects his writing. Martin is “editor at large” at America Magazine, and as he explained it, he basically has the freedom to write about whatever he wants. The same goes for his books: All of his royalties go to the magazine, so he’s mostly unconcerned about sales. […] Writing, for him, is never a struggle.
Absence of pressure as a prerequisite for pleasure. I love this.
I’ve still got Luke’s phrase “financial profit is not possible here” reverberating around my skull from the launch of GOES yesterday, which has me wondering:
What happens to a creative practice when you proactively divorce it from capitalism? (And what form does that divorce need to take in order to be an effective means of culture-shift for the individual and their wider community?)
I think of this as the inverse of those well-meaning friends and relatives whose first words after seeing something you’ve made is “You could sell these on Etsy!” You might as well say “You could siphon all the joy out of this practice and replace it with crippling performance anxiety!”
Who are the people in my life whose response to any nascent creative work is: “Have you considered trying to make this as un-commercially-viable as possible?”
And more importantly: what allows someone to follow that instinct?
Shing and I have talked a little lately about feeling the hustle go out of us in our 30s, and how following the course of that ebb is a privilege earned by hustling a lot in our earlier career days (alongside other factors, of course). Overfunding a Kickstarter or landing an unexpectedly lucrative illustration gig—or even, on a more sustainable scale, running a Patreon—is a means of buying your own creative freedom for a spell, but all of these still involve an initial influx of cash. You have to pay to play.
(The string layer is back on.)
Okay, listen: I’ve been pretty consumed lately with barking up my own mental redwood tree about patronage and interdependent communities and what it means to try and support artists during late-stage capitalism, but this morning I got an email from my friend Luke Kruger-Howard that felt like turning around and realizing that this isn’t just one goddamn redwood. There’s a whole forest out there.
Luke’s email (and it was an email, addressed tenderly to many friends, which is the kind of thing I love getting) announced a new physical publication (Goes #1), released under the aegis of a new publisher (Goes Books), but it stopped me in my tracks because there was something different going on.
He wasn’t running a crowdfunding campaign. He wasn’t encouraging people to preorder. He wasn’t even asking for money.
Instead, I got to read this sentence:
This comic will be free for all readers, gifted by other anonymous readers along the way.
Hear that? It’s the sound of my heart exploding.
The only encouragement in the email, beyond asking people to talk about it which, like, DUH OF COURSE HOW COULD I NOT TALK ABOUT THIS I WILL NEVER SHUT UP ABOUT THIS, is to sign up to receive a free copy of the comic in the mail. That’s it. 2,000 copies of this new beauty are headed into the world and they will all be gifts. I already have so many questions! Is there a Mysterious Benefactor who financed the initial print run so that, potentially, every copy could simply be given away even if nobody chose to pay it forward? Or is there no initial capital beyond Luke’s own savings and this is just a massive trust fall? Is it more or less of a trust fall than running a Kickstarter?
Whatever the answer, I’ve never rushed to give somebody $20 faster in my life.
In the delightfully-illustrated financial transparency page, Luke writes:
This is an investment in the relationship between artist and reader—between stranger and stranger. Financial profit is not possible here.
The comic will always be free.
The comic will always be free.
Oh yeah also P.S. any money raised beyond what’s needed to pay forward all copies of the comic will be donated to RAICES. HELL YES TO THIS.
I’m going to save all the other yelling I want to do about this for Friday because you can bet your ass I texted Luke the moment I finished reading the email and begged him to sit down for an interview. If there are things you’re interested in hearing us talk about, let me know.