Anyhow: things might be a bit quiet here on the blog. Work is picking up, I'm entering the final stages of the novel (thank fuck), and my attention is fixed on those.
Remember Anna Brown's art show:
If you have a blog that you can spare the promotional click on, I'd appreciate it. There should be copies of 26lies at the event that you can get her to sign as well.
I never thought Anna got the praise she deserved from 26lies, which was perhaps due to how much of it looked like me. But the book only ever worked because Anna's art was able to convey the multi-layered nature of the narrative--mixing not just one separate storyline, but thematics on identity, nationality, and so on and so forth, to carry all the different strands until the very end, where the final images in the book provide the resolution.
One of the cool things about Nowhere Near Savannah, however, is that I think it shows what Anna can do a lot more strongly and prominently. My favourite thing is watching Anna's use of facial expressions. A little twist of the lips, a shift in how the eyes are done, and it's so telling, so complimentary to what the panel wishes to convey, be it either humour, sadness, or anger. Really, it's pretty easy to write that someone's face changes, or that something should be funny, but it's a lot harder to draw it (which, I might add, is an interesting thing about comics: it's a lot easier to write them than it is to write a piece of prose, simply because the layering, the perfection, the attention to detail, the layout of your paragraphs and all, does not need to be so right in a script). I don't want to down play what I do in these things, but when I tell you that the success of them is due to Anna, I'm not selling myself short, I don't think. I can come up with any old shit, really, but to make it work?
Well, that's the trick.
I keep hassling Anna that I'm going to do an interview with her for this blog, and I reckon I got to get my act together and stop being a lazy cunt about it.