q. i. f.?

I’m lounging alone on the screened-in back porch at S.’s dad’s place a few hours outside New York on a Sunday morning, browsing books, smoking an early pipe and on my third cup of coffee. (No one else is up yet.) The house — a 1950s ranch-style out-of-town place now long his and his wife’s home base, where S. spent a good deal of her teens and twenties — is packed with books. All the rooms — bathrooms, basement rooms, hallways included — have full bookshelves. It’s a writer’s haven. I have a bio of Hannah Arendt pulled from the guest room and a Penguin Graham Greene, from a stack of Penguin Graham Greenes in the basement, in front of me on the coffee table I’m propping my feet on.

wait, there’s more.

Darrell Reimer, my internet friend of a decade or so (and one person of a very, very few whom I can pretty much count on to check in here, so that this infrequent writing sometimes feels sort of like a series of letters), remarks in his last on the evocative power of what in the first Star Wars film was a fleeting scene rich — characteristically, for Lucas — in perfected detail. The image that flashes by on screen is a mounted gun that must have been modeled on the Germans’ extraordinarily versatile, much feared and admired ‘88’. These days, I can’t note such a thing without thoughts turning to the infatuation with military machines that I grew up with — that the guys who created the look of Star Wars undoubtedly grew up with — and from there to the War, our great war, as lens on history and tradition in the ‘worldview’ I inherited. I think about this a lot. It’s behind a good deal of my half-serious ruminating on the American comic-book superhero, certainly.

wait, there’s more.

Over the weekend I took a look at a recent interview with Tonči Zonjić, a youngish artist working on, among other things, one of the Mignola titles these days. This bit toward the end, in a longer reply to a question in which the interviewer (also a working comics artist, I gather) expresses preference for ‘comics that are about something more than just light entertainment,’ caught my attention:

I mentioned that it feels like there’s a gap in the middle of comics — simple, ‘normal’ stories, drawn realistically. Outside of Jaime Hernandez’s Love & Rockets stories, or things like R. Kikuo Johnson’s Night Fisher, there aren’t many of them. Probably because it takes a lot of effort and skill to create somewhat less noticable comics. And they’re not really all that simple in the end. But I often wonder why people don’t aim for that. Whenever anyone does it well, like Glyn Dillon did recently, everybody goes nuts! That would be an interesting field to explore.

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It’s been kind of tough for me in New York since coming here in December, a rough introduction (owing in part, but only in part, to unrelenting ‘polar vortex’ winter) to living and working in this city of cities. And I don’t love it here to begin with; didn’t come here in pursuit of any New York dream; have a hard time, really, understanding why so many see this ‘here’ as a destination of choice. My failure to be attracted to the great metropolis is something I guess I’ll have more to say about in time. At the moment, though, I’ve got to share a sort of ‘New York, new normal’ incident that I’d have to be a pretty hard case not to get a kick out of or feel some gratitude for, three months in.

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Writing this from the New York subway — leaning against one of those ugly painted steel columns on the boarding platform at the moment. In a few minutes I’ll be getting on the G to return from my new employer’s office in Brooklyn to the room I’m renting in Queens, which takes an hour, give or take, depending on how you do it and whether the trains are on schedule.

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Last night I arrived in New York City not for a few days’ visit, as on other trips up to see Susannah over the last two years, but to stay. I start work at Build With Prospect, a worker-coop design/build firm in Brooklyn, on Monday. Performance-oriented builders being rare animals and small-business building companies that are also worker co-ops being rarer still, there’s a good deal more to be said about this employment move. But that’ll wait; that’s really ‘Work Notes 2015,’ and I haven’t covered 2014 yet. The thing to be remarked on here is becoming a New Yorker. I don’t have much to say about it, though. I haven’t got my head around it in the least. Not sure I entirely believe it’s under way, let alone that I should know what it means. Lord knows I never looked at New York as a site of arrival until very recently. I’d never even visited the city until two years ago (almost exactly, this weekend) when I came up to meet Susannah for the first time, though I’ve lived a short few hours’ drive from all this all my life.

Anyway, here I am.

It’s not exactly news now, of course, but I’ve only learned with release of the first issue today that there’s a new H.B. series. (Being drawn by a first-rate artist, too.) This series is noteworthy particularly in that it seems set to pick up with story material never thoroughly developed in the twenty years these characters have been in print, presenting H.B. once again as American superhero fighting monsters, now in the middle rather than at the end of the twentieth century. How about that? I can’t help taking it as a little bit of a challenge to find the thread of my occasional thoughts on the subject and return to them. It’s going to be some months before I read any of this new stuff, probably, since I don’t buy until issues (in digital form) go on sale. But I’m basically interested in what Mignola’s raised or suggested with what he’s already done, anyhow, more than in what he’s going to do next. There’s plenty to talk about as it is, without new material. This new material definitely is a nice prod to get back to it, though, if I can find the time.

Noting here a two-week-old article in the NYRB about the Jew-caricature in medi­eval Europe and its connection to evolving Christian tradition.

In accord with the new devotions, artworks had just begun to portray Christ as humbled and dying. Some Christians struggled with the new imagery, dis­comfited by the sight of divine suffering. Proponents of the new devotions criticized such resistance. Failure to be properly moved by portrayals of Christ’s affliction was identified with ‘Jewish’ hard-hearted ways of looking. In this and many other images, then, the Jew’s prominent nose serves pri­marily to draw attention to the angle of his head, turned ostentatiously away from the sight of Christ, and so links the Jew’s misbegotten flesh to his misdirected gaze.

The author, Sara Lipton, teaches history and Judaic studies; I gather she’s been working on the story of the development of anti-semitic imagery for a long time. The article seems intended to introduce her new book Dark Mirror.

This would be a fine occasion, obviously, to pick up again with what I started in May, but I don’t have time for it now. Hope to come back to it in the new year, perhaps.

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I’ve achieved, or suffered — a question of interpretation, there —, a nice diversity in work taken on this year. This will be the year that stands for the failure of the several previous years’ efforts to channel myself in a single field by jumping aboard the old new green economy. Or the apparent failure of those efforts, let’s say. I don’t think it amounts to failure entirely.

For the present post, I’m going to keep things easy and look back at a project from spring. Last year, I helped a friend with one of his air-sealing & insulation jobs on a house outside Washington, D.C.; I was there to cut the access holes where his crew went into attic spaces to work, and to patch up the holes with dry­wall afterward. While we were there for that job, the owner asked about hav­ing a closet built into one of the attic spaces we were accessing. So I went back in spring and did that. It was a nice little project with a bunch of parts — sort of a micro-remodel. And a real functional improvement to the home to boot. In a hun­dred-year-old house, too! Call me crazy, but I like old-house work.

wait, there’s more.

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