Notes from a recent informational webinar run by For The People, a fantastic team aiming to get more people actively involved in defending and championing libraries. This was well-timed, since I wanted to check out volunteer opportunities with our local Friends of the Ojai Library organization, but Katie, Mariame, Tara, and their colleagues inspired me to dig deeper. This call was aimed at enrolling people in their incubator project, which offers weekly Zoom calls to help elected or hopeful board members navigate group dynamics, stand up for free speech, and strategize together. It’s an incredibly smart and well-run operation.
True to their word, I found the documentation online for the Ventura County Library board to be pretty opaque, but with a little digging I was able to locate the one board member who lives in Ojai. I reached out and she kindly agreed to give an informational interview on Friday, so we’ll be chatting about how things get done in this corner of the world. I’m very curious to see what she has to say about the process.
If you’re a library enthusiast, I can’t recommend For The People enough. Sign up for their newsletter, check out their fantastic resources page (especially the Public Libraries 101 zine), and see if you can get more involved in your own local library community.
I don’t know how long she’s been there when I spot her.
A pointed muzzle. Massive, soft ears swiveling in the dusk. Slender legs perched on the rock wall. She’s close to the orchard, but leaving the shelter of the trees. The comet of her dark-tipped tail follows her to the lawn.
We’re close, maybe twenty feet from each other. The dogs don’t like it one bit, growling and barking in a defensive fury, but she saunters forward, unconcerned. I’m frozen, attuned, waiting for something. She holds steady until I stand and shatter her confidence against the edge of my movement.
In seconds both the coyote, and the brief unselfing she brings, are gone.
Just in time for my next event at Bart’s Books, I’ve finally finished cutting together the audio of my previous conversation there with creative powerhouse Tessa Hulls! This talk was recorded on her whirlwind book tour for Feeding Ghosts, a stunning matrilineal graphic memoir that rocked me to my core and has remained on my mind all year.
Tune in to hear us talk about sustaining ourselves during interminable creative projects, insights from Tessa’s seven-month isolated wilderness residency, and some Patented Bellwood Questions about money in publishing under a springtime sunset.
Tessa also read us an excerpt from the book, which I’ve included in the audio because the words absolutely hold up on their own (although obviously the ideal way to experience the book is to get your hands on a copy).
Longtime readers might remember this chat we recorded back in 2018. Many themes in this more recent conversation are the same, but the intervening years have changed us both in some pretty significant ways. I hope we get to cross paths again and answer all these questions anew another six years down the line.
I have so much admiration for Tessa as a fellow uncategorizeable creative force. She continues to remind me what it can look like to blend all the disparate passions of our lives into something rich and strange. I hope that affection and enthusiasm come through in this conversation, and that you’re able to read her book soon.
After looking over the Big Weirdies at a recent show, a friend said with a wink-wink laugh, “I’ll have what he’s having.”
He’s welcome to it! What I’m having is fun.
I really like this post from my pal Christopher about his approach to “super-saturation and world-building” in his paintings without the use of psychedelics (despite what many people seem to think upon viewing them).
I’m joining the inimitable Carson Ellis for a conversation at Bart’s Books this month! Come help celebrate the release of her new book, One Week in January, on October 12th in the Bart’s courtyard from 6-7pm. We’ll be chatting about creative booms in funky towns, spending time with our younger selves, and finding community in rural spaces. Event details here.
Here’s a bit more about the book:
In January 2001, […] 25-year-old Ellis moved into a warehouse in the Central Eastside with a group of fellow artists. For the first week she lived there, Ellis kept a detailed diary recording only the minutiae of each day, mostly as a brain exercise to stave off what she perceived as memory loss. A couple years ago, having recently rediscovered the volume in a crate of letters and keep-sakes, she set to illustrate the two-decade-old journal with rich gouache paintings, evocatively capturing a specific cultural moment of the early 2000s.
Offering here a snapshot of a bygone era and a meticulous re-creation of quotidian frustrations and small, meaningful moments, One Week in January is a meditation on what it means both to start your journey as an artist and to look back at that beginning many years later.
You can also see all the original paintings from the book at Nationale in Portland through October 19th!
There are tons of things I love about this project, but I’m specifically delighted by it as a time capsule of the Portland that was already dissolving when I arrived there as a college student in late 2009. I know the buildings and markets Carson mentions in her diary! I’ve visited friends’ painting studios in those same warehouses! I’ve shopped at those corner stores! But the version of the city I found was slightly newer, the grime a bit less visible. The city I visit now—the one she still lives outside of—is newer still.
And then, of course, there’s the collapsing tunnel that flings me back further in my own life. A year after writing this diary, Carson would illustrate the cover of Castaways and Cutouts—the first album from The Decemberists, fronted by her now-husband (and frequent diary apparition) Colin Meloy. By the time I started high school in 2003 I was eagerly bringing their songs to play at Morning Assembly. As a tall ship sailor in the late 2000s, it was basically mandatory that one listen to a band with so many raucous, anachronistic, shanty-like tunes under their belt—not to mention the nautical art Carson made for each release. The thought of sitting down as something like peers to discuss Carson’s work from that era is surreal in the extreme.
Now that I think of it, one of my favorite reads from this year, Dear Sophie, Love Sophie, likewise begins with the recovery of a painfully earnest diary and spins it into something compassionate and affirming in the present day.
It’s more graphic novel than pairing of painting and text, but equally heartfelt and charming. (I’m just a big fan of Sophie Lucido Johnson, generally speaking. Her newsletter is great.)
Oh, Carson has a newsletter, too! It’s called Slowpoke.
Okay, I think that’s it for promotion. See you at Bart’s!
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.
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?
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
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.
