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Dyspeptic Oroborous: Reacting To It

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I recently finished reading an advance copy of Chester Brown’s new book Paying For It. I’m writing a review for someone who is (appropriately) hopefully going to pay me for it, so I’m not going to talk about the book specifically right at the moment. But…I was interested in talking about Tom Spurgeon’s review of the book, and some reaction to it.

Tom’s review is striking because he so strongly insists that he doesn’t want to talk about the book’s content.

I felt myself at a disadvantage throughout the entire process of reading Paying For It, Chester Brown’s long-awaited graphic novel about his becoming a John and how that part of his life developed over a lengthy period of time. I have no interest in prostitutes, less interest than that in the issue of prostitution and sex work, and can muster only the tiniest bit of prurient intrigue for watching how a cartoonist of whom I’m a fan orients himself to the aforementioned. That’s going to sound like a protestation, but I genuinely mean that I lack a fundamental interest in that specific subject matter.

Consistently enough, Tom then goes on to say that his favorite part of the book was a moment having nothing to do with prostitution.

The most fascinating sequence in Paying For It for me didn’t involve a single naked woman or the sensible peculiarities revealed by the veteran comic book maker as he unfurls the operational workings of such enterprises from the consumer’s end. What I enjoyed most was a few panels where Brown tries to orient himself to the fact he’ll soon move from the home of one-time lover and longtime friend Sook-Yin Lee. Buffeted by very understandable waves of grief, Brown gathers himself, pounces on a brief, inexplicable flash of happiness and pins it to the white board of his consciousness like an amateur entomologist. I’ve read that section four times now. It feels much more intimate than any time the cartoonist depicts himself in the sexual act, more revealing, even, than when Brown suggests we take a second look at his actions throughout this work for the implications of a surprising, final-act twist. The greatest strength of Paying For It comes in its facilitation of these tiny, off-hand moments, less its ability to bring us the world in which Brown moves than the manner in which he processes what he sees once he gets there. (m emphasis added)

In the remainder of the review, Tom continues this back and forth, expressing discomfort and indifference to Brown’s major themes while concluding that the book is still great. “Whatever the comics equivalent of saying you’d watch a certain actor read a phone book might be,” Tom says, “that’s Chester Brown.”

Over at tcj.com in comments, Jeet Heer expressed some doubts as to whether this was a useful approach to Brown’s book.

I also want to know what Tom thinks about sex work. Which is another way of saying that, like Joe Sacco’s various books on contemporary wars and Crumb’s Genesis, Brown’s book is one where the content requires the reviewer to give more than just an aesthetic judgement and also weigh in on the content and issues raised. Given the nature of the work, I think its important to be upfront about one’s response to Brown’s arguments/opinions, although of course it’s possible to like the book and think that the legal and cultural changes he’s advocating are completely out to lunch.

Tom responded sharply.

I couldn’t disagree more that any kind of response is required of anyone writing about a work, either in this case or generally, although I realize that some folks may think less of any piece that doesn’t engage a work on those levels. Those kinds of strictures don’t seem logical to me — or fruitful, even. Heck, I think you can make a stronger argument that any response to Paying For It needs to be in comics form before it needs to engage X, Y, Z issues in A, B, C ways. And as the former’s obviously silly I think the latter’s silly, too.

I’ll catch you guys up next time (first time) we meet as to my deep and personal opinions on the sex work stuff. It’s faaascinating. (No it’s not.)

And Jeet then backed and filled a bit.

Just to clarify: I thought Tom’s review was really smart and incisive. So if he doesn’t want to tackle the politics of the book head on, that’s fine. But someone (not Tom, if he doesn’t want to) should take “Paying For It” seriously not just as a comic by a major cartoonist but also a book with a radical political message — that message is worth trying to evaluate (along with, of course, the sort of formalist evaluation of the book that Tom did so well).

What’s interesting to me is that this is, I think, a debate that comes up a lot in comics criticism. That debate being…what place does content have in a discussion of a comic? Does it matter that Crumb’s Genesis (for example) has nothing particular to add to the discussion of Genesis? Do we need to think about Alan Moore and Melinda Gebbie’s attitudes towards sex when reading Lost Girls? Is it important to think about Ditko’s objectivism when evaluating Ditko? Or are the contributions of cartoonists tied into their art — so much so that responding to what they’re saying, as what they’re saying, can be beside the point?

In that regard, I think it’s interesting that when challenged, Tom went immediately to the idea that it makes more sense for reviews to be done in comics form than for reviews to have to engage with ideas. Again, he said:

Heck, I think you can make a stronger argument that any response to Paying For It needs to be in comics form before it needs to engage X, Y, Z issues in A, B, C ways.

He then adds that either requirement (review in comics form or review responding to polemic) is silly — but he seems to believe that the first is (at least marginally) less silly than the second.

Like Tom and Jeet (in his second comment) I’m somewhat reluctant to say, “reviewers must react to a work in this way.” On the other hand…I do agree with Jeet’s first comment, that works of art, especially polemical works of art like, say, James Baldwin’s essays, really seem to be demanding an engagement with their ideas. If you refuse to grant them that engagement — if you insist, I will not talk about racism, I will only talk about Baldwin’s prose style and the moments of personal revelation of universal human insights — you are in fact missing the point in a fairly profound manner.

What’s interesting to me, too, is that I don’t think Tom does miss the point in that way. He disavows a polemical stance, but there’s ample evidence in the essay that he is not so much indifferent to Brown’s opinions as uncomfortable with them — especially when they’re expressed in the prose appendices rather than in cartoon form.

This is a far cry from what comes through in the essays: that Brown’s orientations might somehow be the basis for policy and cultural change, that all stigma is correlative, that the removal of cultural discrimination afforded paid sex is the difference between the world we live now and a world that functions a bit more like Chester Brown. When the cartoonist moves away from his own experiences and into broader proclamations about the nature of romantic love and assertions that more frequent monetary remuneration in sexual relationships will somehow ease relationships between men and women, it’s hard to engage with what he’s saying beyond being certain he means it. To put it more directly, even for someone not invested in the general subject matter, many of the broader arguments fail to convince.

That paragraph to me doesn’t sound like someone who is not invested in the subject matter. It sounds like someone who disagrees with Brown — but who values his cartooning so much that he’s ambivalent about saying so.

The thing is, to me Tom is being in many ways more generous to Brown when he agrees to think through and reject his ideas than he is when he suggests that you can put those ideas aside, and that the main thing to go to Brown for are the cartooning choices irrespective, almost, of the issues they engage.

For example, you can say Jimmy Stewart would be great if he read the phone book…and, in fact, I wouldn’t mind hearing Jimmy Stewart read the phone book as an exercise in dada. Still, the fact remains that Jimmy Stewart was at his very best when he was directed by Hitchcock and John Ford and Capra in movies that did not suck. Acknowledging that he is not so great when in movies that weren’t so great (like the mediocre The Mortal Storm) is not an insult to him. Rather, it’s a compliment to his real greatness; he’s an actor that deserves great movies — and indeed, his greatest performances are not separable from his best movies.

Similarly, I think we owe cartoonists an evaluation not just of their formal talents, or of their small choices, but of what they do with those talents, and what those small choices add up to. To withhold that is not a mark of respect for comics or for individual cartoonists. Quite the contrary.

________________

It’s worth noting that both Sean Collins and Chris Mautner have reviews in which they engage fairly directly with the polemical aspects of Brown’s book.

PKD Through History

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We had a little chatter about Philip K. Dick a couple weeks ago in comments, so I thought I’d reprint this tribute. It originally ran on Poor Mojo’s Almanac.
_____________________

I.
“France is the name of our starship,” Maximilien Robespierre tells Danton, “and France is the name of the planet from which we come. But the true France is our destination, the land of equality and virtue to which mankind has always been rising, which you and I shall finally attain!”

Robespierre straps on his blaster and inspects the ship. He checks each porthole for cracks, examines each control panel for tampering. He discovers seven men smuggling Thermidorian Brainburning Petals, sets his weapon to “Guillotine”, and executes them on the spot. He calls his crew together and paces in front of them. “Citizens,” he cries, “it has come to my attention that giant green alien psychic royalists are seeking to invade our democratic ship! Even now their agents may be teleporting on board; even now they may be among us, attempting to introduce their evil morale weakening substances into our untainted bloodstreams! We must be strong, we must be vigilant, we must shoot to kill anything we see that is green or giant or that demonstrates unnatural mental powers!

A ragged cheer rises from those assembled; the men raise their blasters, the women toss flowers. Already, though, Robespierre can see that several of the citizens are tinged with green; even some of the children appear to be larger than any three normal men. After he dismisses the assembly, Robespierre commands the ship’s computer to play patriotic songs, but still he feels weak and sad as he stands alone with Danton on the bridge. “It is hard,” he says, “this voyage, without knowing how long we must travel or exactly where we are going.”

“Yes it is,” Danton agrees. Robespierre notes that the other man does not move his lips when he speaks; as he watches, in fact, Danton grows enormous, his face becoming a vast expanse of green.

Robespierre retreats to his own quarters. He sits down at his plain desk and listens with eyes closed as the Muzak version of the “Marseillaise” drones from his nondescript terminal. “Computer,” he says. “What percent of the crew aboard this ship are aliens?”

“One hundred percent,” the computer says.

Robespierre nods. When he opens his eyes, he sees that his desk is covered with purple Thermidorian Bulbs.

“Computer,” he says again, keeping his voice steady. “Does that include me?”

“You are an alien,” the computer says.

Robespierre feels tears on his cheeks. All our efforts, he thinks. All the lives lost for nothing. We will not create a new age of reason, we will not free ourselves from tyranny. We will never reach France.

“Yes,” says the computer, although Robespierre did not speak aloud. “We are already heading back. We are returning to France.”

II.

Salesperson Immanuel Kant pitches over the counter medication on prime-time holovid. “Feeling down?” he asks, grinning furiously into the camera even as he pops a small white capsule into his mouth. “Are you depressed, dreary, anxious? Luckily for you, there’s a product that can help. After years of measuring, quantifying, parceling, and splicing, our scientists have finally discovered the formula for God. Caught in the middle of a nuclear holocaust, an alien invasion, a meteor shower, a messy divorce? Then try Numenol, the amazing drug that can make you divine! That’s Numenol — for fast, fast transcendence! Available in tablet or capsule.”

Unemployed Aerocar Repairman Immanuel Kant sits in his run-down apartment in the sky-bubble city of Konigsberg on the planet Jupiter and watches the salesperson on the holovid. “That’s what I need!” he thinks to himself. “Instant revelation — a way out of this mess of my life! ” He half turns on the couch to address his wife in the kitchen. “Say, honey,” he calls. “Have you heard of this new drug, Numenol ? I think I’m going to run down to the drugstore and pick some up!”

His wife, Supermarket Cashier Immanuel Kant, comes out of the kitchen. He smooths his dress. “Actually,” he says, “I bought some just the other day. The effects are very strange. Not at all as advertised.” He glances contemplatively out of the window. On the street below, underneath the towering atmosphere dome Immanuel Kant walks arm in arm with Immanuel Kant as Immanuel Kant navigates his aerocar amidst the skyscrapers in which Immanuel Kant attends meetings directed by Immanuel Kant concerning the new plans for a hundred Immanuel Kants to colonize yet another planet far off among the stars.

Night falls on Konigsberg and Immanuel Kant stands outside a holovid store. Behind the glass, five rows of 3-d images of Immanuel Kant jabber incessantly into the darkness. Immanuel Kant spits on the sidewalk in disgust. “A fine job you’ve done,” he says angrily. “I could have spent the rest of my days quietly enough here. I had problems, sure, but they weren’t insoluble. And now look at me! I’ve murdered a man on Venus and been raped in the Alpha Centuri system, down the block my wife hates me and on the other side of this world I’ve contracted a horrible disease that’s making my face melt. I have lice and a headache and a cold and I can’t find work or food or cash to pay the rent. I trusted you to make me God, and instead you’ve just made me more confused and miserable than I ever was before!”

The hologram Immanuel Kants each raise an admonishing index finger. “Now Immanuel,” they say. “We understand that things seem hopeless at the moment and that you feel like you’re no further along than you ever were. But we’d like to remind you that these things take time. We’ve gotten omnipresence now, so surely omnipotence and omniscience and eternal youth etc., won’t take us much longer. You’ve just got to have a little faith, keep smiling, and we assure you that you won’t be disappointed. Trust me. You have your own word on it.”

Kant turns from the screens, his fists clenched. But what can I do? he thinks. He looks up at the stars, shining high above the sleeping city, even as, in a spaceship somewhere far above the dome, he looks down upon Jupiter, upon himself. His hands relax, he draws a deep breath. Behind him, Immanuel Kant on the screens watches Immanuel Kant with shoulders slumped walk alone into the darkened town.

III.

Saint Bernadette looks out the window of her parents cubicle on Venus and sees a girl no larger than herself standing without any breathing equipment on the surface of the planet. She puts on her own respirator and goes outside.

“Why can you breath out here?” Bernadette asks.

“Que soy era Immaculado Conceptiou,” says the girl. “I am the Immaculate Conception, Mother of God.”

The Virgin Mary becomes an instant celebrity. She appears on talk shows and launches her own satellite to relay pre-taped advice round the clock. She personally visits as many family cubicles as she can. “I have been sent by Earthgov to let you all know the colonies have not been forgotten,” she says. “There is still a place for your souls on earth after death.” Everywhere the colonists are happier. Bernadette’s own parents begin to smile on occasion, where before they had been always silent and grim.

When Bernadette turns twenty, two policemen come to take her to a detention camp. “You are sick,” the first one explains. He is huge; his purple uniform stretches before her like a wall. “We’re very sorry to have to do this to a saint,” the second one says, gently taking her wrist. His eyes are blue and sad. “But you have asthma — we can’t allow such deviations. Our population must be pure if we want to continue to survive.”

“Mary could cure me,” Bernadette says.

“The policemen exchange glances. “Perhaps,” says the one with blue eyes.

At the camp Bernadette lives in a room with many other men and women. Some of them are lame, some are blind, some can’t hear. Every day they all go to the surface to farm the Venusian dust. Bernadette’s asthma grows much worse.

One night she wakes up and finds the blue-eyed policeman leaning over her. His flashlight casts eerie shadows on his face. “Are you awake?” he asks.

She nods, feels a shiver of fear. “Yes,” she says.

“Listen,” he says. He focuses on a spot to the left of her head. She notices that he is not wearing his hat — his hair is pale in the dim light. “Listen, I can see that you’re a loving type of person. I think that’s why you’re sick. I don’t think you have asthma at all. It’s psychosomatic, a symptom — it’s a kind of cry for affection. This world, Venus, it pulls us apart from each other.” He reaches out awkwardly, takes her hand in his own. “I want to help you,” he says, “If you’ll love me….”

Bernadette looks in disbelief at her own hand in the policeman’s grip. He thinks I’m going to get better because he says so, she thinks distantly. He’s as sick as me, sicker. He has no grip on reality at all.

“Leave me alone,” she says aloud. Her breath whistles as she inhales. There is a shallowness in her chest.

The policeman lets go of her hand. He takes a step back and shines the light at her face, so she can’t see him at all. “All right,” he says. His voice is ugly with anger. “If that’s the way you want it. I know your game. You’re too good for me, right? You want to be sick so your precious Virgin can come and heal you. Well, let me tell you something. The Virgin, she doesn’t exist, see? She’s an android. And Earthgov didn’t even send it, either, because Earth’s been a dead planet for years now — they blew themselves up long ago. It was Venusgov that built Mary, to raise morale among the stupid farmer underlings like you. So how do you like that? You just gave up your chance to live for the sake of a machine.”

Bernadette lies alone in the dark as the policeman stamps down the long hallway to the door, slams it behind him. She wonders if anyone else in the whole room is awake. She can’t hear over the sounds of her own gasping breaths. She sucks air into her lungs as hard as she can, but she can’t get enough. That man’s killed me, she realizes. I don’t even want to live now. She tries to convince herself that he was lying, but she can’t do it. He had seemed so confident and she has no energy. Everything is taken up by the need for the next breath, and the next. The Virgin a robot, she thinks. But she wasn’t lying. Made without intercourse. Soldered and hammered, rather. Immaculate Conception.

The room fades, disappearing into black as Bernadette’s strength ebbs. Then there is blinding light. Mary bends down, takes Bernadette in strong metal arms.

“Will you heal me?” Bernadette asks. “Will you take me to Earth?”

“All are healed,” Mary says. “All are taken to Earth.” Around the room, from every bed, the crippled rise dancing on metal limbs, the blind open photoelectric eyes, the mute begin to sing from stereo voice boxes. Mary’s face is a painted mask of tenderness as Bernadette inhales with plastic lungs the poisoned air of Earth.

IV.

Philip K. Dick leaps from his chair, suddenly awake. “I had a dream!” he exclaims. “A dream that all of history had turned into my novels, that I was writing the script of reality!” He blinks twice rapidly, scratches his beard and looks around the room. The party has ground to a tired end; no one is listening to him. Maximilien Robespierre lies unconscious on the couch. Saint Bernadette sits on the bare wood floor, sucking on an unlit hash pipe and staring wide-eyed at the toe of her shoe. Immanuel Kant leans on a broken lamp, wearing underwear, socks, and an expression of dazed befuddlement.

Phil isn’t discouraged. He raises his voice, waves his arms, downs a fistful of amphetamines. “So what that means,” he shouts, “is that when I die is the Apocalypse, when I stop writing for a moment everything stops! We’re not even here right now since I’m not at the typewriter!”

Kant lets go of the lamp, crosses his arms on his chest, shouts something inarticulate and falls to the floor with a crash. Friedan has woken up and is making a vague effort to roll Robespierre off the couch. Bernadette begins coughing violently.

Phil bites his lip. He looks from Kant to Bernadette to Robespierre to Friedan. “Don’t go anywhere,” he says. “I have to get going…got work to do, got to bring you all into being!” But he doesn’t leave. Instead he takes two hesitant steps forward and squats down beside Bernadette. She is still coughing. “Stop that,” he pleads. Instead she coughs harder, bending so far forward that her face almost touches the ground. The hash pipe falls from her fingers and the burnt ashes jump from the bowl, scatter across the floor. Phil stares at them helplessly. They look like a burning spaceship, a metal hand, a frightening alien face. Still he keeps looking, desperately hoping to find some pattern beyond indifference and pain, some way to create the world.

Elfquest Re-Read: Issues 6 and 7

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And now we kick off the actual elf quest of Elfquest!  New clothes, new elves, old acquaintances, and a party when you least expect it.

As always, you can read along at elfquest.com.

Issue #6 — “The Quest Begins”

Elfquest starts a new story arc with issue #6, set several years after the close of #5, and the subtitle reveals that #1-5 were just the prologue to the titular quest. It opens with Savah, the Mother of Memory, searching the psychic void and finding … a faint touch from something or someone.

Continue reading →

Music For Middle-Brow Snobs: R&Bliss

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As long-time readers probably know, I am a big fan of contemporary R&B. So I made a mix; you can download it here.

And the playlist, in case you’re curious:

1. Like That — JoJo
2. G.H.E.T.T.O.U.T. — Changing Faces
3. Interlude — Kelly Rowland
4. Still In Love With My Ex — Kelly Rowland
5. h.a.t.e.u. — Mariah Carey
6. Unusual You — Britney Spears
7. Rain — Nivea
8. Complicated — Nivea
9. Tru Love — Faith Evans
10. He Must Know — Nicole Wray
11. Almost Doesn’t Count — Brandy
12. G.H.E.T.T.O.U.T. (part 2) — Changing Faces
13. Don’t Let Them — Ashanti
14. 4 Page Letter — Aaliyah
15. Ditto — Cassie

Here I Am

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According to Borges, copulation and mirrors are abominable in that they exist to multiply the number of men. Similarly, education and art are abominable in that they exist to multiply that part of man which is speech. And the speech they say is that they have said.

And it came to pass after these things, that God did tempt Abraham, and said unto him, Abraham: and he said, Behold, here I am. And he said, Take now thy son, thine only son Isaac, whom thou lovest, and get thee into the land of Mori’ah; and offer him there for a burnt offering upon one of the mountains which I will tell thee of. And Abraham rose up early in the morning, and saddled his ass, and took two of his young men with him, and Isaac his son, and clave the wood for the burnt offering, and rose up, and went unto the place of which God had told him. Then on the third day Abraham lifted up his eyes, and saw the place afar off. And Abraham said unto his young men, Abide ye here with the ass; and I and the lad will go yonder and worship, and come again to you. And Abraham took the wood of the burnt offering, and laid it upon Isaac his son; and he took the fire in his hand, and a knife; and they went both of them together. And Isaac spake unto Abraham his father, and said, My father: and he said, Here am I, my son. And he said, Behold the fire and the wood: but where is the lamb for a burnt offering? And Abraham said, My son, God will provide himself a lamb for a burnt offering: so they went both of them together.

Isaac is asking to be educated; where is the sacrifice? Abraham replies with an answer that is no answer, “God will provide himself a lamb for a burnt offering.” The statement is true — God will provide the offering, though not in the way Isaac thinks. The statement is even more true — God will provide the offering, and exactly in the way that Isaac thinks. But the truth swallows itself. The answer is an irony when the reader sees it the first time, and a different irony when read through again. It does not so much cancel out as freeze; it conveys knowledge, but the knowledge it conveys is indeterminable. The point, in the end, is not what Abraham says, but that he says something — and “so they went both of them together.” Abraham teaches Isaac, God teaches Abraham, God and Abraham and Isaac teach us, and what they teach is a story of sacrifice; that there can be no sacrifice without a story. Isaac is bound before he is bound; his education delivers him to Abraham.

It was early morning. Everything had been made ready for the journey in Abraham’s house. Abraham took leave of Sarah, and the faithful servant Eleazar followed him out on the way until he had to turn back. They rode together in accord, Abraham and Isaac, until they came to the mountain in Moriah. Yet Abraham made everything ready for the sacrifice, calmly and quietly, but as he turned away Isaac saw that Abraham’s left hand was clenched in anguish, that a shudder went through his body – but Abraham drew the knife.

They turned home again and Sarah ran to meet them, but Isaac had lost his faith. Never a word in the whole world is spoken of this, and Isaac told no one what he had seen, and Abraham never suspected that anyone had seen it.

In this passage from Fear and Trembling, Kierkegaard imagines a different end of the Biblical narrative, an untold amendation. That untold amendation is silence — “Never a word in the whole world is spoken of this.” Kierkegaard’s poetry creates a loss that has no trace except the poetry; the words serve solely to mark the words that are not spoken. Isaac’s education is that his education is violence; the point of the knife separates language and meaning. The story is that the story is violence; it is Kierkegaard’s left hand that is clenched in anguish, his body that shudders, his right hand that draws the knife, and his word that is spoken to never be spoken. Innocence is sacrificed to art for the sake of some other; a God who does not speak in this text. The lack of speech is the story; a absence beneath which lies a secret. And that secret is no secret, an other that is no other.

If [Abraham] were to speak a common or translatable language, if he were to become intelligible by giving his reasons in a convincing manner, he would be giving in to the temptation of the ethical generality earlier referred to as that which makes one irresponsible. He wouldn’t be Abraham any more, the unique Abraham in a singular relation with the unique God. Incapable of making a gift of death, incapable of sacrificing what he loved, hence incapable of loving and of hating, he wouldn’t give anything more.

Derrida in The Gift of Death is here teaching us about Abraham. What he is teaching us is that there can be no teaching about Abraham. When Abraham becomes comprehensible, he ceases to be himself; he becomes a general Abraham. He might as well, then, be Isaac, who can give no gift of death, who sacrifices nothing, who cannot even be said to love or hate, for if his love and hate do not figure in the words of the story, where are they? Or he might as well be Derrida, who is paraphrasing Kierkegaard expanding on the Biblical story, and whose love and hate and faith and lack thereof disperse like smoke, a sacrifice of nothing to no Other. We don’t know Derrida or the meaning of Derrida, but we know his teaching. If he were to become intelligible by giving his reasons in a convincing manner, he would be giving in to the temptation of the generality. Then he might as well be Isaac, who has only the secret which Kierkegaard gives him, a gift of death which is nothing but Kierkegaard speaking.

And the angel of the Lord called unto Abraham out of heaven the second time. And said, By myself I have sworn, saith the Lord, for because thou hast done this thing, and hast not withheld thy son, thine only son; That in blessing I will bless thee, and in multiplying I will multiply thy seed as the stars of the heaven and as the sand which is upon the sea shore, and thy seed shall possess the gates of his enemies.

Derrida notes that God swears here by himself. What he promises is a repetition of the covenant he promised Noah: as Derrida says “a terrifying sovereignty, whose terror is at the same time felt and imposed by the human, inflicted on the other living things.” The gift of death multiplies; to offer nothing is to reap a story, another self made of words and desire. God says Isaac is “thy son,” Abraham’s love and Abraham’s seed . The sacrifice is the sacrificer. It is that which says, “Here am I.” When there is not Isaac, there is Abraham, or Kierkegaard, or Derrida, or me. Someone must ask, where is the lamb? How else could the answer be the answerer and the knife? Education and art say that Isaac was brought down from the mountain. But something was sacrificed there, a lamb or a ram. Or rather a nothing, a thing with no voice. God speaks for it. Then He devours its heart.

______________
This essay first appeared in Proximity Magazine #8, edited by Bert Stabler.

Robert Binks and His Art ( part 4 )

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Our look at Robert Binks and his work comes to a close, at least for now. My thanks to Noah for hosting us. I gather that a number of people have liked (or loved) what they saw here of Mr. Binks’s work. That makes me very happy, and it was splendid of Noah to provide the opportunity.

Later this year I plan to post images from the 20 or so other works that Mr. Binks has sent me. They include some wonderful items, so there’s more to look forward to.

The first three posts in the present series can be found here, and you can click here to see scans of the illustrations Mr. Binks did for the Ogden Nash collection The Old Dog Barks Backwards.

Above we see Mr. Binks in 1991, the year he retired as a staff illustrator at the Canadian Broadcasting Corp. The previous posts focused on his CBC work and his work as a freelancer. Today we’ll focus on his paintings and sculptures and the homemade greeting cards that he sends out to friends.

Mr. Binks wrote me:

I see very little difference between my private work and my professional work. I feel fortunate to have had the freedom to express myself in so many ways … I never want to work by a recipe and do things in the same style all the time — that would drive me bonkers. So, in my personal life as an artist, I will try anything.

Very true, so I’ll add just that all the works in this post are © Bob Binks.

 

First, the dickybird, a card Mr. Binks did during the mid-’90s. He writes: “the dickie bird quote takes me back to when I was a kid — having my photo taken.”

 

 

He says that using photos is nothing out of the ordinary for him. “If it helps the design I will use a photo to enhance the overall look.”

Now a charmer. The boy-and-turkey illustration was originally used for station breaks by the CBC, but Mr. Binks used it as a Christmas card in 2008.

 

 

I find that picture so comforting because it’s solid without being heavy. There’s the firm, dense line work Mr. Binks likes to do, and the composition is blocked together thru big, simple shapes placed in rows and columns. But the drawing is lit up by a gentle and understated color scheme that still grabs the eye: the lineup of orange, green and yellow against the brown, and everything placed against white. And the patterns created by the big, simple shapes intersect so that the right-angled grid that makes the picture so secure is lightened by the circles and big oval tucked inside it.

Add in the scene proper, a boy walking home in midwinter, and you have an effect that’s peaceful and secure instead of oppressive. It’s also a bit forlorn, given that the poor fellow is out there by himself.

Next, a card made strictly for private consumption, in 2000:

 

 

 

Where you see the white square, there should be a window hanging in the middle of the jungle. The card’s message, Mr. Binks says, is that “it is okay to do a little bit of daydreaming on your birthday.”

On making the card: “I used markers and luma water colors.  By adding white to the cerise color I get a wonderful   hot pink as in the jungle flower.”

And, from the late 1980s, a card like no other:

 

That’s Reagan, Thatcher and Gorbachev sharing space with Santa Claus.
 

 

The card was actually a cardboard wheel, with heads, shoulders and written mottos changing place whenever the wheel was turned.

Below we have “Cowgratulations,” a card Mr. Binks created in 2009 by photographing a sculpture and painting, also his creations, that he keeps on display in his dining room.

 

Cows pop up a good few times in Mr. Binks’s work. He writes me that the first was in “a black-and-white animation that I did for CBC around 1963 for a program called All About Toronto. The animation was about a cow that is threatened by the build up of the big city.” Two weeks ago we saw a CBC animation sequence Mr. Binks did in 1987 about a cow on the subway. Now we have “Cowgratulations.”

“They are a wonderful graphic symbol, taking you from the country to the city,” Mr. Binks says. He suggests that the cows may be his way of looking at rural life imperiled by industrialization.

More than that, he just gets a kick out of them. “I like them as a graphic object,” he writes. “I used eight cows to celebrate my 80th birthday party, each cow representing 10 years — why use flamingos when you can use cows? The party was on a farm in the country, my wife’s place of birth and childhood.”

Another addition to the cow lineup, from 2010.
 

 
“This 30 by 40 inch painting started out as an abstract of colored squares and rectangles,” Mr. Binks says. “It wasn’t going anywhere so I started to think of a cityscape — an ultra-modern city. I then started to think of the details — is the city real? — do we like our toys — cars, trains, etc.? And of course I had to put a cow in somewhere to break up the hard edge of the city.” He worked with acrylic paints and used stencil brushes to create a graded effect.

We end up with a sculpture that, like the painting and statue in “Cowgratulations,” takes pride of place in Mr. Binks’s home. “I have this wood construction — 12 inches high and 9 inches wide and 5 inches deep — hanging in the living room,” he writes.

 

 

Very funny! The composition is deft, what with the strong double vertical set off against itself — that is, the “I” versus the man’s body — and punctuated by the space between body and head. The statue has the same simple but involved charm as Mr. Binks’s illustration work but thrown into three dimensions. The effect makes for a fantastic sight.

And on that note I’ll sign off. My thanks to Mr. Binks for sharing his work. It’s been a great pleasure for me, and I look forward to doing another round.