Current Feelings (But Also Actually Past Feelings)

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.

A collection of slips of paper, each bearing a word like resentment, shame, disappointment, urgency, anticipation, fear, or tiredness, sorted into columns.

“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)

Penny Stackin’

A colorful graph comparing the relative merits of six different income streams: 701 Work, Seacritters, Housesitting, Buyolympia, Freelance, and Patreon.

I joked with my partner that this behavior feels like stacking my pocket change. “Look! I can make a pyramid! Or a square! Ooh this one has rust on it, but the other one doesn’t! I WILL CATALOGUE THEM.” It’s fun, but at the end of the day it doesn’t change the fact that I’m just stacking five pennies as many ways as I can.

BUT THIS IS DIFFERENT, I PROMISE. IT REALLY MIGHT HELP.

Relative Pricing

Robin and I were texting about Arion Press yesterday, drooling over their edition of Oscar Wilde’s fairy tales. I mean, just look at this thing:

A photograph of two fine press editions of The Fairy Tales of Oscar Wilde by Arion Press. Both are exquisitely bound in sage bookcloth with understated type and illustrations.

HOMINA HOMINA HOMINA. That BINDING! The ILLUSTRATIONS! The DROP CAPS!

Also it starts at SIX HUNDRED AND EIGHTY DOLLARS!

A screen shot of a conversation between Robin and Lucy. Robin says "Agh. Oh sorry, I was not scared by the themes of the book, but by the effing price tag. If I wince at the price of a book, you done fucked up." Lucy says "I mean it takes an unbelievable amount of time to typeset a book by hand. I get that. It's an interesting conundrum. Kind of like what would happen if...Oh! Oh! I have an idea." Robin says "Here we go. Let er rip. Get em."

OKAY SO.

Creative work is often priced on a bafflingly subjective scale of value—one which can deviate wildly from the amount of time invested in the piece depending on a variety of other factors (edition size, physical scale, desirability, intended audience).

With commercial art, the equation is often simpler—although of course we’re all raising our rates over time to compensate for increased skill and swiftness in execution (right?). We often bill more like tradespeople than “fine artists”.

But with a fine press book, there are two vectors: the status associated with the object itself, yes, but also the sheer enormity of time required to typeset an entire book by hand. This is the first example that’s really resonated in my head as a decent point of comparison for how long graphic novels take to produce.

It’s a lot.

I’m tracking my time on Seacritters! because a) I love data and want to understand exactly how long it’s taking me to do everything and b) I think it’s going to be really valuable (read: sobering) to sit with the reality of how long it takes to make a graphic novel relative to the money involved.

I’ve only roughed in 73 pages of a book that will likely clock in around 350 and it’s already taken 63 hours of labor. For roughs. There are still refined pencils, inks, and colors left to go. My guess is that it’ll be about five hours of work per page at least, which means we’re looking at 1,750 hours just to complete the art itself—not including time spent fielding notes from the editor or anything aside from pure drawing. (The average American fulltime (i.e., benefitted) employee works 1,801 hours per year.)

If I were to apply a freelance rate of $90/hr to that time estimate, I’d clock in at $157,500 per book. I’m guessing at an overall timeline of 2 years per book, so that shakes out to $78,750 a year. The publishing industry isn’t currently paying artists that kind of money, so where would it need to come from?

The fine press book market feels like one potential answer to this thought experiment.

What would it really take for cartoonists to be paid fairly for the work they do? What happens to the accessibility of my work if I’m paid what I’m worth? Would the cost be passed on to the consumer or shouldered by the publisher? Who could afford the resulting product?

I really believe that art is meant to be shared. I want to make things that people can afford. When I was just starting to learn about the world of fine presses and letterpress and Artists’ Books in college, I remember being deeply frustrated by the fact that these creators—many of whom were working with themes of tactility, interaction, and accessibility—were making work that got sold for hundreds of dollars to private institutions, who then kept it in small rooms known only to a small subset of people.

It all felt so prohibitive.

(Something I’ve always loved about McSweeney’s Quarterly Concern is that they publish some truly batshit Artist Book-like objects, but they’re generally under $30 a pop. That’s accessibility.)

But wait.

A line drawing of setting type by hand. Right right hand holds an individual piece of type, the left holds a composing tray full of letters.

Do I really know how long it takes to typeset a page by hand? I text Glenn, because one should always have a letterpress nerd on speed-dial. He sets me straight: maybe a little over 2 hours per page by hand, but 5-10x faster by machine (Monotype). I dig a little deeper and find that the Arion Press edition is set in Monotype with some bits done by hand.

So maybe it’s not quite the same.

Still, this was useful.