I got a notice the other day that Harlan Ellison’s Last Dangerous Visions was finally being published. So I just now ordered a copy. I kinda figured it would take his dying before Last was ever published. It’ll be interesting to see their take on why he never got it out.

It was originally announced for publication in 1973. Over the decades, like the Flying Dutchman, Last Dangerous Visions had become a legendary ghost book. Sightings would occasionally be reported but eventually all were found to be mirages. This lead to more than perpetual fan disappointment. The writers who submitted to this collection did so on the basis of how fantastic the previous two were, and they gave Ellison their best stories…never to be seen again due to the contract they signed preventing them from publishing elsewhere before Last Dangerous Visions was published. Ellison eventually, so I’m told, released some of them from that contract after decades, but it created a lot of bad feelings. Not that Ellison was ever afraid of creating bad feelings. But some of those writers have since died.

I have the first two volumes and I’m really interested to read what’s in this one. Finally. But even more so to understand what the hell happened.

I should add to this, something I posted on Facebook that I neglected to post here after Ellison passed away, about why I like the works of Harlan Ellison, “controversial” and infuriating though he could be. This is the closing narration from the Twilight Zone version of Paladin Of The Lost Hour, a story that’s also part of his Angry Candy short story collection. It is a story he said, capped his preoccupation with themes of friendship, ethics, courage, responsibility, and the gaining of wisdom.

“Like a wind crying endlessly through the universe, Time carries away the names and the deeds of conquerors and commoners alike. And all that we were, all that remains, is in the memories of those who cared we came this way for a brief moment. A blessing of the 18th Egyptian dynasty: ‘God be between you and harm in all the empty places you walk.'”

That could pass for a good epitaph for Harlan Ellison. Yes I’m quite sure he earned much of the anger directed at him in his life, but also the love. None of us are of a single weave of thread. And those of us who have walked in those empty places knew after we’d read him, that we were not alone. He walked there with more bravery and clarity than most of us could bear, so we could find our way. He could stare down Nietzsche’s abyss, and the abyss would blink first.

I have been called “a piece of work.” Perhaps. But there’s another word for it. It’s a word that feels really pretentious to call myself. But I am an artist. Given what Stephan Fry said even so…

Oscar Wilde said that if you know what you want to be, then you inevitably become it. That is your punishment. But if you never know, then you can be anything. There is a truth to that. We are not nouns, we are verbs. I am not a thing – an actor, a writer – I am a person who does things – I write, I act – and I never know what I am going to do next. I think you can be imprisoned if you think of yourself as a noun.
— Stephen Fry

This is truth. So maybe artist is just one of the verbs I go by. But notice all the verbs he goes by are arts. I am an artist, and not simply because I create art…

art·ist / noun

a person who produces paintings or drawings as a profession or hobby.

a person who practices any of the various creative arts, such as a sculptor, novelist, poet, or filmmaker.

I would add something to this. Something about you produce art so you don’t go crazy. Something about you do it because you have that inner compulsion to do it and you can’t not do it. Vincent van Gogh so I’m told, once said he painted so he wouldn’t go mad. I know that feeling even if not to the degree he felt it. And to that I would also add that you have that need to get it out of you, whether or not you have an audience. You would do it if you were alone on a desert island. You would do it alone on a desert island if you did not have any of your artist’s tools, because you would make tools out of whatever you found on that island.

This is me. There was a time when I became so depressed at seeing what was coming out of me…my second attempt at finding love failed miserably because I’d crushed on a straight guy…that I stopped completely because I just didn’t want to deal with my feelings anymore. But it’s not so easy. You can’t stop yourself…

One way or another it comes out. I was doing volunteer work for a gay BBS and while creating login scripts and programs to help out with some of the work I’d signed up for, I discovered there was beauty in the relentless machine logic of computer code, and it was a kind of beauty that didn’t get into my broken heart feelings. It was mostly a left brain enchantment, all logic and elegance of form. I dove into it. And that led to a well paying career as a software engineer that I worked for just over thirty years before retiring. Then, part way through that I stumbled onto the Hopkins student fair grounds while they were setting up the rides and something inside me reawakened, and I got out my camera again after nearly a decade. I rediscovered my other art media…painting, drawing, cartooning. I am a graphic artist, mostly. For a while I felt whole again.

Maybe being a bit older by then allowed me to work with my feelings and make art again. Also, I was part way into strike three and it had not yet come undone, so there was a new allotment of hope there. Now I’m 70 and at a crossroads feeling hopeless again and not wanting to do art anymore because I hurt so much inside. But I know I will eventually.

So this is the essential thing to know about me, noun or verb: I am an artist.

And the thing about that is, if you have a thin skin, we really can’t be friends.

Because I’ll either piss you off or weird you out. I won’t mean to, I won’t want to, but it’s like that scene in the movie The Adam Project, where Big Adam played by Ryan Reynolds asks his younger self (it’s a time travel movie) played to perfection by Walter Scobell, “Do you ever have a thought and not let it come out your mouth?” I’m 70 years old now and I’m only just getting the hang of that. It mostly goes into my artwork, but sometimes it does just come out of my mouth or it’s something I do or something I’m wearing or something I’ve done with my hair that you just think is weird.

I am an artist. I will occasionally say and do some very weird shit. I’m pretty solidly Chaotic Good on the chart, but that’s my tribe.

I am not the sort of person who provokes for the sake of provoking. To make me deliberately insult someone they have to really Really get on my nerves and even then I’m more likely to just walk away. I was raised by a single divorced Baptist mother and there is a lot of morality baggage that comes with that, some of which I still very much appreciate and live by, some of which I still struggle with (I really should have learned to dance). But though I might initially appear to you as some sort of middle class quiet kind of guy, not very adventurous, not given to extremes (except for that long hair), I am an artist. I will occasionally say and do some very weird shit. Not that I think it was weird when I said or did it. If anything I might have thought you would appreciate it. 

If that is going to bother or offend you then maybe just keep your distance. Even if I am sending signals that I’d like to get closer. No…especially if. 

We tend to wear our hearts on our sleeves (if you’re any sort of regular reader of this life blog you know what I’m talking about here), and that makes them easy targets, even if you don’t really mean to stab. And the thing about that is we also wear the scars on our sleeves (have you been reading my blog?). Hell, we take them out and make art with them. Some of my best art is stuff I made from the scars. Nearly all of my art photography is off of some bleeding part of my heart. This is how we deal with the weight of our lives. Normal people just drink. Well…we do that too actually.

The fact is a thin skin does not pair well with an artist.

(This post is mostly for a certain lieber Deutscher. Yes I was talking to you. Mostly.)

I’ve said elsewhere here that I couldn’t make it professionally in the arts because I never had the kind of focus it take. Case in point: just a few days ago I was all about my art gallery, and now it’s pretty much back to the photography.

I have two routes I use for my morning walks, one of which is to zig-zag through the new “luxury” rowhouse development nearby, where the container factory used to be. That development has been a muse ever since they started building it. Today on my morning coffee walk, while going through one of the narrow alleyways between the rows, I saw the sort of slightly cloudy, sun streaked sky overhead I love to work with, and just then it was making that narrow alley look really interesting to my photographic eye.

I had to have that shot. But at that moment all I had was the iPhone. Olay…it can can do a good job with my art photography, I have lots of examples. So I snapped off an iPhone shot just to get it. Then I hightailed it back home and got the Petri out.

I see now I haven’t written about this here, but probably on my Facebook page and I was neglecting this blog. But some time ago I found a Petri FT for sale on one of the used camera sites, that looked to be in very good condition. So I bought it for its nostalgia value to me. The Petri was my first SLR camera, simple and affordable to teenage me, and it opened a new world to me artistically. Now I could precisely compose to the frame in the viewfinder, because now I’m looking through the same lens that will take the photo. It was what you see is what you get, and I could be as specific about composing a shot as I wanted to be. Plus, you could change lenses from wide angle to telephoto, and no matter what lens I had on it I was still seeing exactly when the film saw when the shutter opened. You just don’t get that with any other sort of camera.

When I first got the second hand Petri I ordered I took it to Ocean City New Jersey for an ultimate nostalgia trip. OC became one of my photographic muses back when I was a teenage boy, and it still is. Many of what I consider my best shots from that period were taken with the Petri. Back then I could not afford its native 28mm or 135mm lenses, so those were third party compatibles from Soligor and Vivitar. Now I can, and that is what I shoot with on that camera.

Last summer I took the Petri with me because, perhaps irrationally, I wanted that example of my first SLR camera to see and photograph the land of my birth. I bought it back home to Baltimore still loaded with some Tri-X Pan I’d taken to California with only a couple shots on it. So I had the roll to finish. It still had the 28mm Petri lens on it. I put a red filter on that and gave the camera a fresh battery. Fortune smiled on me and the sky was still pretty interesting when I got back to the rowhouse development and that narrow alleyway, and I finished the roll pretty quickly.

That makes 7 rolls of Tri-X I have waiting for me in the darkroom. I have another partial roll of Tri-X in the Canon F1N that also came back from California. I finish that and it’s an even eight which works out for the four reel tank I have. Still have three rolls of 120 NeoPan 100, three or four of 35mm NeoPan 100 out of the Leica, and five rolls of Agfa Copex to develop when I can mix up some H&W Control developer.

Obviously my inner compass has swung back to the cameras. So it goes…

I’m doing episode #36 of A Coming Out Story in a different style from the rest of the series…kinda like how I did it with the “Conversation With God” story arc, where I used a lot of grey tones instead of my usual cross-hatching.

There’s a panel I finished this morning of me walking across the railroad tracks behind what was the old Radio Shack building, and I did a bunch of stuff with it I’d never done before, and made up a lot of new tricks for accomplishing certain textures and such. The lighting is harsh because I’m walking into the setting sun, low on the horizon, and it really pops out in a way nothing else I’ve done on the story does. I wasn’t sure why I was spending so much time and effort on it other than the tracks were an important part of my life there and that was a shortcut to Congressional Plaza that I walked often that doesn’t exist anymore. I wanted to do a piece of my history justice.

But looking at the finished panel I think I see how it works in the story. There was a meaning there that must have been working on me subconsciously and it’s about what this episode is about, and actually the entire story. This is me stepping across a boundary that cut between my neighborhood and that of almost all my friends back then. The old kid from the other side of the tracks stereotype. I’m a gay teenager walking from one world into another. From denial to…I dunno…something else…something much Much better…but still pretty iffy given it was 1971.

That R. Crumb comic page nearly everyone knows titled, Keep On Truckin’…which he called “the curse of my life” and “that stupid little cartoon” because it’s been so ripped off and commercialized…that’s actually his riff on a 1936 song by Blind Boy Fuller titled Truckin’ My Blues Away. Each panel in the comic has a line from the song, and a Crumb drawing of various city folks strutting along to the tune. It was a fun little comic and I am truly sorry it caused Crumb so much grief when the rest of the world seemingly just appropriated it. But that happens to artists when some random little thing they do suddenly clicks in the mass conscious. At least he finally did get his copyright back on the artwork.

When I thought to do my own take on Randy Newman’s You Can Leave Your Hat On, I decided to do it in the spirit of the R. Crumb comic, with each panel containing a line from the song and some artwork to go with it, but not an exact rendering of the song, just letting the artwork bop along with it. And I am making Amazing progress on it now. A big part of that is self acceptance of the fact that I’m not a fast worker, I can’t just dash out a drawing, and that I am a hunt and peck draftsman and that is how it will always be. And so I’m finally adjusting my work habits and expectations around all that, instead of trying to be something I am not because I believed I should be that or I wasn’t any good. Also, that I need to walk away from the work periodically and come back to it to see it with fresh eyes, and see what is right and what needs more work.

I find that I am at my best when I let my work habits align with my nature and that I can push myself to get it right if I align my work habits with how my brain tackles a problem. It’s okay to be a hunt and peck draftsman. It’s okay to take my time on a drawing if it’s having a difficult time coming together. It is important to not accept less than the best I can do. I have to look away from my drawing board periodically or I stop seeing the whole for that one part of it I’m struggling with. Once I did a drawing of a seated barefooted figure, and I didn’t notice until I saw the finished strip on the computer screen that I’d drawn them reversed left/right. ACK! See…I drew him with his legs crossed but I put the feet where they would have been if his legs weren’t crossed. I didn’t notice the mistake I was making while I was making it, because I was so focused on getting the feet right. ACK! I fixed it in the computer but it’s still like that on the original artwork. This is what happens if I don’t take short breaks from the drafting table and then come back to it with fresh eyes. If I give it enough time and sweat the thing I want to happen on the drawing board eventually does happen. It’s okay not to hurry it.

The great political cartoonist David Low once said of his workflow that each cartoon took three days to do: two days spent in labor, and one day spent removing the appearance of labor. Herblock did a cartoon every day for the Washington Post for decades and his best was every bit the equal of Low’s. We’re all different in that way. You work what you got.

Film is not dead: Demand soars for vintage cameras in developing trend

After fading in popularity, film photography is seeing a major comeback fueled by younger generations and social media. NBC News’ Gadi Schwartz takes us inside the developing craze with a story shot entirely on film.

If this means my favorite films and papers are coming back…good. But I doubt that. There’s more expense to starting up production again than any of the manufacturers would probably want to bear. But I would produce way more silver prints if I could have my beloved Agfa Brovira back in all its grades.

I never left film, though I adopted and have used digital since the first user level cameras were marketed. Digital has a place in my workflow, especially when I’m a working photographer on a news event or a wedding (or a class reunion like a few weekends ago!). But my art photography is almost exclusively film, and that almost exclusively black & white. If the objection to film is it can’t be as precise a representation as digital can with the latest and greatest digital cameras, then what of black & white photography. What of 2D photography? What of still photography at all. Reality doesn’t stand still and it isn’t 2D and we perceive it in color. By that measure my Tri-X Pan images are pretty far removed from reality. Why do I hold onto it, especially since it’s a lot more work than digital? Because it works for my art.

Marshall McLuhan famously said the medium is the message. But Picasso said it better: Art is a lie that makes us see the truth.

Well…the artist’s truth.

Black & white film has always worked for me as an artist. It lends to the image exactly the right “tone” for the feeling I’m trying to get out. I know what I’m doing with it. Whether I do it well or not is another matter. But I know what I’m doing with it. There’s a lot of reasons why someone would enjoy working with film. For me it’s a need. I never stopped.

I’ve been noticing this resurgence in film photography for quite a while now, and waiting for it to fade away again. But it keeps getting stronger, if the prices of film cameras are any measure. Now if I can just have my Fuji Neopan 400, my Kodachrome and my Agfa Brovira back. Oh…and Pakosol. And H&W Control film and developer. And how about Kodak Panatomic X…

Because they bring a measure of unselfconscious joy and beauty into the world…and we can’t be having that.

I’ve written before about how many years ago Montgomery County allowed you to go read your school records…basically everything your teachers wrote about you for the other teachers and administrators to see. So I went and looked and there wasn’t much there I didn’t expect to see. But what did tickle me was my first grade teacher who Did Not like me or mom one little bit wrote that little Bruce “takes excessive interest in personal art projects.“

I had two art teachers who got me, and they encouraged me and that really helped a lot. But some teachers when they see the slightest hint of artistic interest have some sort of allergic reaction and do their damnedest to kill it in a kid. I suppose so they don’t have to see how stone cold and dead their soul is.

It can cut you like a knife, if the gift becomes the fire… 
-“Maniac”, Michael Sembello

This came across my Facebook page the other day: Excerpts of a letter Rudolf Nureyev wrote to the dance community about his own life as a dancer, while dying of AIDS. He’s writing about dance, but it’s how it is for anyone who pursues an art form.

I can see so much of my life in this. But I never had the one single passion. It’s always been a tug of war between modes I had to learn just to let the seasons come and go as they pleased. One day it’s the cameras calling me, other times it’s the drafting table. I can’t force one or the other. It just has to be what it is in the moment.

Sometimes I just want to walk alone with my thoughts and listen to the earth around me, or the city. N.C. Wyeth said to walk in the world and soak it all in, but don’t forget to squeeze it back out every now and then. Yes.

But I never had that maniacal single minded focus that gets you the spotlight. It doesn’t matter. Read this and you know without doubt that Nureyev would have danced had he never got the spotlight and that’s how it is.

We don’t always get to earn a living doing the thing. Very few get the spotlight. So it goes. You work in the fields because that’s life. You dance because your heart must.

It was the smell of my skin changing, it was getting ready before class, it was running away from school and after working in the fields with my dad because we were ten brothers, walking those two kilometers to dance school.

I would never have been a dancer, I couldn’t afford this dream, but I was there, with my shoes worn on my feet, with my body opening to music, with the breath taking me above the clouds. It was the sense I gave to my being, it was standing there and making my muscles words and poetry, it was the wind in my arms, it was the other guys like me that were there and maybe wouldn’t be dancers, but we swapped the sweat, silences, barely.

For thirteen years I studied and worked, no auditions, nothing, because I needed my arms to work in the fields. But I didn’t care: I learned to dance and dance because it was impossible for me not to do it, it was impossible for me to think I was elsewhere, not to feel the earth transforming under my feet, impossible not to get lost in music, impossible not not to get lost in music using my eyes to look in the mirror, to try new steps.

Everyday I woke up thinking about the moment I would put my feet inside my slippers and do everything by tasting that moment. And when I was there, with the smell of camphor, wood, tights, I was an eagle on the rooftop of the world, I was the poet among poets, I was everywhere and I was everything.

I remember a ballerina Elèna Vadislowa, rich family, well taken care of, beautiful. She wanted to dance as much as I did, but later I realized it wasn’t like that. She danced for all the auditions, for the end of the course show, for the teachers watching her, to pay tribute to her beauty.

Two years I prepared for the Djenko contest. The expectations were all about her. Two years she sacrificed part of her life. She didn’t win the contest. She stopped dancing, forever. She didn’t resist. That was the difference between me and her.

I used to dance because it was my creed, my need, my words that I didn’t speak, my struggle, my poverty, my crying. I used to dance because only there my being broke the limits of my social condition, my shyness, my shame. I used to dance and I was with the universe on my hands, and while I was at school, I was studying, arraising the fields at six am, my mind endured because it was drunk with my body capturing the air.

I was poor, and they paraded in front of me guys performing for pageants, they had new clothes, they made trips. I didn’t suffer from it, my suffering would have been stopping me from entering the hall and feeling my sweat coming out of the pores of my face. My suffering would have been not being there, not being there, surrounded by that poetry that only the sublimation of art can give. I was a painter, poet, sculptor.

The first dancer of the year-end show got hurt. I was the only one who knew every move because I sucked, quietly, every step. They made me wear his new, shiny clothes and dictated to me, after thirteen years, the responsibility to demonstrate. Nothing was different in those moments I danced on stage, I was like in the hall with my clothes off. I was and I used to perform, but it was dancing that I cared about.

The applause reached me far away. Behind the scenes, all I wanted was to take off the uncomfortable tights, but everyone’s compliments and I had to wait. My sleep wasn’t different from other nights. I had danced and whoever was watching me was just a cloud far away on the horizon.

From that moment my life changed, but not my passion and need to dance. I kept helping my dad in the fields even though my name was on everyone’s mouth. I became one of the brightest stars in dance.

Now I know I’m going to die, because this disease doesn’t forgive, and my body is trapped in a pram, blood doesn’t circulate, I lose weight. But the only thing that goes with me is my dance, my freedom to be.

I’m here, but I dance with my mind, fly beyond my words and my pain. I dance my being with the wealth I know I have and will follow me everywhere: that I have given myself the chance to exist above effort and have learned that if you experience tiredness and effort dancing…if we pity our bleeding feet, if we chase only the aim and don’t understand the full and unique pleasure of moving, we don’t understand the deep essence of life, where the meaning is in its becoming and not in appearing.

Every man should dance, for life. Not being a dancer, but dancing.

Who will never know the pleasure of walking into a hall with wooden bars and mirrors, who stops because they don’t get results, who always needs stimulus to love or live, hasn’t entered the depths of life, and will abandon every time life won’t give him what he wants.

It’s the law of love: you love because you feel the need to do it, not to get something or to be reciprocated, otherwise you’re destined for unhappiness.

I’m dying, and I thank God for giving me a body to dance so that I wouldn’t waste a moment of the wonderful gift of life.

Yesterday I joined up with some co-workers for an after hours get-together at a local place I hadn’t been too, largely because it’s a nitch brewery and I am not a beer person. In fact, every time I see one of those online things that asks, “What is something everyone loves that you can’t stand?” the first thing that pops to my mind is beer. But this place was easy to get to from Casa del Garrett and I was curious if they served food and snacks too (which they do…pizza mostly) and so I went. Luckily, they also served some very nice non-alcoholic boutique soda.

It went well until as often happens with this particular group of co-workers, mostly youngsters compared to approaching my 70s me, they began to ignore me whenever I attempted to contribute to the conversation. Not subtilly either. So I got up and left. This let’s just ignore weird old aging hippy Bruce effect from these particular co workers is a Big contributing reason why I’m retiring from Space Telescope at the end of this year.

But it happens in other context too, and for years I’ve just let it happen and blamed myself for being, at least in person, a boring old fart. But this time I looked at what was happening critically. They were drinking, and I was not, and what I saw was an older man, politely trying to hold up his end of the conversation, listening to what the others were saying (they all had interesting things to say, interesting perspectives coming from mostly younger folks some of which were new to living in Baltimore), and waiting my turn before speaking up. And what was happening is that one person in particular would just jump right in and start talking over me, and the rest would follow. 

I allowed this sort of thing to happen for ages…I’ve never been very socially confident to begin with. When you’re raised by two Baptist ladies, one of which hates your guts because you have your father’s face, you don’t enter adult life equipped with a whole lot in the way of social skills. Coming of age during a period when gay teenagers had to hide for their own safety added another layer to that. So whenever I get talked over, I usually just shut up.

One nice effect of growing old and finally admitting it is that you stop caring about a lot of things you used to. It becomes easier to shed baggage the closer you get to the end of the road. You finally start to see that you just don’t need to keep hanging around places don’t respect you. This time, I just got up and left. But I left with a dark cloud hanging over me.

Luckily, I’ve planned a quick trip with my cameras to somewhere else for the weekend. I’ll be boarding the train to Richmond soon, taking the F1N and the Leica and some film and a few filters. I’ve made reservations at the place near the old train station, where I was hanging out with my cameras last weekend, and discovered a fantastic restaurant/bar/cigar bar called Havana59. The entire area gave my cameras something to love and I expect having more time to explore it will do the same.

I’ll be alone with my camera. Somewhere I can be alone with my feelings, and I can hear myself thinking, and explore the world I see with my cameras, and get my feelings out of me, and I am not being silenced.

Surfing my blog archives from a particular time in my life, I came across this one that describes it abstractly, and yet perfectly. 

October 5, 2006… I can see there how it really hit me in a very deep place that hadn’t really been disturbed in a long, long time. There are negative connotations to the word “disturbed” that some of us, usually of the artistic persuasion, recognize aren’t necessarily the case. To be disturbed is usually not a good thing, but sometimes it is an illuminating thing. Revelations happen. Not always nice ones. But it grows you inside. Once you see that, then you find yourself pursuing it from time to time. And people think you’re nuts. And you don’t really care anymore. That day, I was disturbed. And it was amazing.

This came across my Facebook stream just now…

Why I have cameras. Why I have pens and charcoal and brushes and canvases and paint. Thank goodness I found my language early on, or I’d have gone mad long ago from the pressure of feelings I had no words for.

Why I know myself to be an artist, as pretentious as that sounds. I’m not doing any of it for the recognition…I’m actually lousy at getting recognition. If nobody ever saw a single new piece I did, I would still do them, because I have to get it out of me, in this particular way. I have a bunch of stuff nobody’s ever seen, and probably never will. But I got it out and that’s all that mattered.

I’ve arrived at a critical point in my story…the part where I finally come out to myself. But it begins with a crucial bit of it I haven’t scripted yet, and which I am still having difficulty scripting to my satisfaction. Thus, the delay. Again.

I’ve bumped up to the part of my story where I and the object of my affections take things to the next level (so to speak) and actually begin talking to each other, as opposed to just gawking at each other. They say the difference between fiction and reality is that fiction has to make sense. In this case, I’m telling a story about true events, but in a cartoon form that’s hopefully humorous enough that all the gay teen angst and pain and sorrow is easier to digest. It was a hostile world I came of age into. You got a torrent of abuse hurled at you from every direction. And even when some corner of the culture was trying to be sympathetic to you, it was a rancid sort of pity you got. I hope by now anyone following my story isn’t wondering why we just didn’t start talking to each other about our feelings. As it turns out, we were both scared. His way of handling that and mine were different enough, and the cultures we were born to different enough, to make reading each other nearly impossible. So we drug it out for months and months.

But just in case anyone is still wondering, I hit on the idea of intermingling this part of the story with flash forwards of something that really did happen after the fact of my coming out to myself. As I’ve said repeatedly, the story I’m telling is one part things that really happened, one part artistic license, and one part fantasy. In this case, the thing that really happened was I was listening to a radio program where some self styled expert was talking about “the homosexual problem”. I wish I could remember the man’s name, or the title of the show, but it is too deeply buried in memory now. But I clearly recall the impact it had on me at that moment. Audiences nowadays might be repulsed at the shear ignorant bigotry of what the man was saying about homosexuals, but it was pretty standard fare for that period in America. Somewhere toward the end of his presentation, he said that the absolute worst thing a man could admit to, was being a homosexual.

That hit my stubborn nerve…ask anyone who knows me about my stubborn nerve…and I did something immediately afterward that lifted me up, and has sustained me ever since. At some point I really want to get the story to that moment because it’s actually the climax of the entire story, although there is still a lot that comes after it.

I decided to frame it as a series of passages from a book that I’m reading, authored by a self styled expert on “the homosexual problem”. I stole the author’s name from a panel in a cartoon the great underground cartoonist Howard Cruse did, titled Sometimes I Get So Mad… (You can find a copy of it in his collection Dancing Nekkid With The Angels). I emailed him a link to the finished first episode in the story arc, not knowing how ill he had become, and to my everlasting gratitude he once again complimented me on the story, and encouraged me to keep at it because of how important it is for us to tell our stories, because that is how we defeat hate. A few weeks later he was gone. I was, and still am, stunned. I cannot begin to tell you how big an influence he was on me. In a world where even underground cartoonists, sexually liberated though they regarded themselves, were often ignorant, bigoted and hostile toward gay readers, most of whom were either teens or young adults, Howard’s cartoons were lifesavers for many of us. 

I was hoping to push through a bunch of episodes using the device of flashing forward to my reading this book, with passages in it taken from actual publications by both homophobic and mainstream media. Alas, I’m bumping up against the reality of what happened, which is not a simple straightforward timeline of moving from gawking at each other to talking to the moment he put an arm around my shoulders and I went into the stratosphere. That was several months in the making and it was a very convoluted process that played out in our school hallways, the cafeteria, the gym, the Spring Fair (I’ve already flashed forward to that), and the library. It was fearful baby steps forward, then back again, then forward again, and then to some strange only in the early 1970s landscape where we could talk about everything but the lavender elephant in the room. Somehow I have to make a simple cartoon story out of it and I’m still not sure how to. But I’m working on it now.

Because this is such a critical part of the story I need to have a clear picture in my head of how I’m going to tell it, and that clear picture isn’t coming easily. I need to buckle down to it…just push everything else off the table until I get this right. When you see the next episode appear, hopefully in the next few weeks, you’ll know I’ve got it.

Then I need to just keep drawing it…

More progress at the breakfast table…

Whenever I do one of these I keep thinking about a cartoon R. Crumb did in “XYZ Comics” back in the day, that had a panel in it of him drawing (it looked like he was using an old Rapidograph) one of his sexy ladies (he had a very distinctive type of full figured gal he liked) with a caption to the effect that he drew to get the objects of his desire. But I suppose we all do that. Look at this…

This is the sculptor Luo Li Rong and one of her works. This isn’t just an artistic reverie on the female form. Check out some of her other work. That’s a muse. Those pieces of hers ache with desire struck awe.

I will never be near that good. But I have my muses. They keep me feeling alive.

It’s a profound misconception of artists, that we are by our very nature a humane and compassionate lot, understanding the human heart and soul in an intimate way, kind hearted and deeply reverent of the human status. In fact, we are simply ordinary people who have this urgent, consuming need to get out of us whatever feeling and emotion is within, however we can.

It boils within us…painters, musicians, writers, actors, dancers, sculptors, designers…chefs…

…flower arrangers…

…cake makers.

But we are just as human as anyone else, with every greatness and every cheapshit flaw known to humankind represented in the roll call of the famous and notorious. And all too often, all too often, what is deep within us that simply has to get out, is as brutish and ugly as human brutishness and ugliness can get. Yet, we can make it seem beautiful. We can make you believe.

We have served the angels, and we have served the dark demons deep in the human gutter, giving them everything within us we have to give as energetically and as passionately, because we can do no other. We have held high the human spirit, and we have praised the destroyers of civilization with equal passion. We can make the painful, bloody struggle for a better world seem not only worthwhile, but noble and awesomely beautiful, and we can with equal skill and artistry make the utter destruction of civilization also seem both noble and awesomely beautiful. Some of us gild the human heart in sublime light, while others of us stick knives in it, all with equal joy, each believing absolutely in the beauty of their work.

We are as human as anyone else. For better and for worse. Do not judge us by our talent. It does not make us special in any way.

Judge us by the muses we serve.

ETA Sunday, December 10…

One of the cool things about doing A Coming Out Story is I get to bring back to life for a bit my beloved Rockville as it used to be when I was a kid. This episode takes place in the Congressional Plaza that once was. I used to burn off tons of nervous energy walking from the apartments at Village Square West to Congressional and then to the Super Giant and Korvettes and back down Randolph Road to home. But even before then, when mom and I lived in Courthouse Square, the Plaza was a center of gravity. And to this day I have a fondness for that 1950s-60s stack stone treatment on the facades of the storefronts. It will always take me back whenever I see it.

And oh God…you don’t want to see what they did to it now. But that’s okay. I can bring it back to life as it was in my artwork…

In this episode I consult with a world renown and highly respected oracle for some insight as to what the hell is going on with me. Here’s some work-in-progress. I’ve got panel one of the tale pretty much done. The inks and dialogue in panels 2 and 3 are ready for lighting and texturing treatments. I do all my initial artwork in traditional media, but then I scan it in and finish it in Photoshop…