The volume of notes and sketches far outweighs that of the final artwork, which is itself just the final expression of that whole evolutionary process. It's a long time in restrospect, albeit not unusual for picture book illustrators, but I don't think about it much when I'm actually doing. It takes as long as it takes. Do you have to become obsessed before you can make it your own? I don't really think about making things 'my own'. If anything, a particular idea or feeling owns me, which I guess answers the obsession thing. I often refer to paul Klee's metaphor of the artist as a tree, drawing stuff up through the roots to slowly process into leaves.
Year of the, rabbit : Denver Museum of Nature science
What attracted you to the project - it couldn't have been the money! You got that right - i'm too scared to calculate how much I make an hour on these essay things! I guess Rabbits offered the potential for some really sustained inventiveness, more so than any other commissioned work i've so far encountered. There was a lot of creative freedom, with both editor (Helen Chamberlin) and author pretty much handing me a license to do whatever I wanted. The only constraint was this very simple text with a minimum of descriptive content, much less anything visual; 'The rabbits homes came many grandparents ago, they made their own houses, they ate our grass' and. Enormous potential to construct an entire universe from first principles, both conceptually and visually. The subject of colonisation has itself also fascinated me for some time, not simply as a political issue, but as an event of utter aesthetic strangeness where two very different worlds collide. And Im very interested in the way normal things can also be seen as abnormal. Thinking about a particular historical subject is one such point of departure, the past being a strange place open to interpretation, which affects how you see the present. What kind of time frame was involved from manuscript to final delivery of artwork? Probably about seven months (off and on with more than half that time spent thinking, drawing, reading and just looking around with the book in mind.
Centzon-totochtin facts report and figures. Name : centzon-totochtin, pronunciation : Coming soon, alternative names : drunken-rabbits, location : Aztec Mexico, gender : Male. Type : deity, in charge of : Inebriation, god of : Drunkenness, celebration or feast day : Unknown at present, good/Evil Rating : good, quite approachable. Popularity index : 23690. Rabbiting on: a conversation about, the rabbits, the following interview was originally published. Eidolon magazine in 1999, shortly after publication of the book. The interviewer is Nick Stathopoulos, a long-time friend and fellow artist and illustrator based in Sydney. The rabbits represents a watershed in your work. It also represents a massive commitment of time, effort, and dedication well beyond any financial remuneration.
I" judy collins: "i've always thought that Richard was just breaking through into some greater perception of himself and other people when he died. He knew there was someone at home inside his wildly imaginative head, and he was starting to come into contact with it, to let it out." Return to essay. How many rabbits do you usually see after drinking seven pints of Tequila? These tipsy bunny deities were distilled and brewed by husband and wife alcoholic team. See the entry on, pulque for more info. GodNote: Sorry this Centzon-totochtin article is a bit short. We have sent our Data Dwarves off to find more nuggets of information.
This interview is available on this website. 13.) "The Writer as Cameraman." Long Time coming and a long Time gone. New York: Vintage, 1991. The judy collins Songbook. New York: Grosset dunlap, 1969. 185; and baez, joan. New York: dial Press, june, 1969.
How old was the oldest rabbit in the world
New York: Random house. 36 of the dell paperback). Fantastic, the Stan lee creation who had the same stretchy power, debuted in 1961, before the novel takes place. Urban Spacemen and wayfaring Strangers: overlooked Innovators and Eccentric Visionaries of '60s Rock. San Francisco: Miller Freeman books, 2000. "The good Fortune of Stone." Reprinted in Long Time coming and a long Time gone,. 151 of the dell paperback).
10.) Robert Christgau, "Folking Around village voice, june 26, 2001,. 11.) been Down shares many themes with The Electric kool-Aid Acid Test: the preoccupation with drugs, sex, superheroes, the countercultural distrust of "the Establishment." Gnossos' urge to depart from society, conflicting with his awareness that one always has to return to that society, finds its. Kesey never fulfilled his determination to "go beyond acid" because society's pruderies got to him first and put narrative him in jail. Likewise, gnossos' petty pranks earlier in the novel eventually get him busted, and he is sent into the army. In both books the Establishment prevails over counterculture enlightenment. The theme of exemption also handbook arises in Electric kool-Aid; see page 35 of the bantam edition.
For further criticism on this novel, see the literary Criticism page. Footnotes:.) Bluestein, gene. "Tangled Vines." (a review of Thomas Pynchon's Vineland.) The Progressive. 54, issue 6,. 2.) coover, robert,. "Nothing But Darkness and Talk?
Writers' symposium on Traditional Values and Iconoclastic Fiction." Critique. 31, issue 4,. Been Down so long It looks like up. New York: Random house, 1983. The randon house and Penguin paperbacks are both reprints of the original Random house edition, but the dell paperback was an entirely different typeset. Therefore, the page numbers in this essay will apply to all but the dell paperbacks. New York: Farrar, Straus and Giroux, 2001. Long Time coming and a long Time gone.
Rabbits as Pets
But when reading the first few novels of faulkner we have the more successfully executed genius of later novels to cast a clearer light on the tentative, gestating ideas of the earlier work. We can compare the existing poems and stories, the lyrics, the music itself; we can comb through the liner notes and other scraps we may find, read all the available biographical information and root out the cherished memories of his slogan friends. But we will never see a full maturation of his genius that might have reflected something back upon this first tentative novel. He went to jesuit schools, attended an ivy league university on a scholarship, excelled both in the humanities and the sciences, established a reputation both as a writer and a musician, influenced a whole generation of dulcimer players, spun several folk styles together to create. He bridged the vita activa and the vita contemplativa; he celebrated life and yearned for death, and died at the age of 29, two days after this novel was published. (15) Just as his potential was incalcuable, so must the more shadowy nooks of his novel remain unfathomable. Douglas cooke brooklyn, 2001.
His fault, then, lay not in being oblivious to the chauvinisms and flaws of Gnossos and his age but in spending too much time creating the scene before leaving. Been Down so long was intended to be a bildungsroman, a coming of age novel, and not just a party novel. As a document of its time, been Down so long does not succeed quite as well. (11 there are many other themes in this complex novel that I have not even addressed here, and many aspects that I still do not understand, many allusions to pop culture, literature, science, and math that I just don't get. Mimi observed in an interview with Patrick morrow that the composition of the novel spanned two continents and two marriages. (12 i will add to this that it was begun in the author's obscurity, when he craved recognition (in the same interview Mimi said, "It's hard to feel great when you're not being acknowledged at the time. (13 a further complication in the novel's genesis is that one of its major innovations, the use of illustrations to portray episodes that would only be alluded to in the text itself, was rejected the by the publisher. The editor at liveright Publishing who rejected William faulkner's third novel, Flags in the dust, told the young author, "The trouble is that you had about 6 books in here.
Gnossos embraces his delusion of exemption as a way of protecting himself from further harm. He fears demons, monkeys, all manner of bad omens which he seeks to avert by superstitious rituals, such as the mediterranean apotropaic ritual of clutching the testes. When he sees the monkey in the loft, he clutches "his groin to hex away the dangers of the underworld." (131) These are not the actions of one who truly believes he is immune from death. Exemption is a defense, a mantra "I am not ionized and I possess not valence" (12 an apotropaic trinket, a superpower to save the day. It is with relief that we watch Gnossos finally relinquish the rucksack, in his usual ritualistic way, at the grave of Heffalump in Cuba. The rite of passage into manhood seems long overdue, after his pre-novel travels, the death of Simon, his brush with the clap, and the death of Heffalump. There are perhaps too many mini-resolutions in the novel, too many epiphanies, too many karmic adjustments rather than one big, cathartic, aesthetically satisfying climax, and along the way we have to put up with too much of Gnossos' posing and pointless partying. As a result, many critics have overlooked the complexity and significance of the novel altogether, dismissing it as an outdated effort now useful only as a document of its time.
But sanity for Gnossos would lie somewhere between the untroubled, patly-defined life of Gunsmoke junkies and the nervous energy of the perpetually moving target. Gnossos' deathwish is a yearning for quiescence, for the quelling of his conscience. Herein lies the protagonist's central conflict. He went in quest of something real, but he has found and seen things of such terrifying reality that he needs to numb himself. He anesthetizes himself through drugs, through his posture of coolness, through masquerading as superheroes and other heroic figures of myth and history, and most significantly through his declaration of Exemption. Iv.) Exemption, the delusion of exemption derives from some harrowing experiences in Gnossos' travels. He almost died in the frozen fruit snow of the Adirondacks while pursuing a wolf; he witnessed an atom bomb explosion in Las Vegas; and watched someone being tortured by pachucos in New Mexico. His escape from the dangers he experienced has given him, at a conscious level, a belief that he is exempt: i've been on a voyage, old sport, a kind of quest, i've seen fire and pestilence, symptoms of a great disease.
Rabbit the, right Pet for you
(9 in, been Down so long, Gnossos translates part of literature the poem into English at a frat party: "Dear to me is sleep. While evil and shame endure, not to see, not to feel is my good fortune." (30). Here is a translation of the entire passage: "Dear to me is sleep, and dearer to be made of stone. While evil and shame endure, not to see, not to feel, is to me a good fortune, therefore do not wake. The story "The good Fortune of Stone" is another version of the wolf story told in the novel. The near-death experience recounted in both versions of the wolf story must have touched him profoundly, and this, combined with his feeling of guilt (vergogna may have given him the conflicting impulses of a deathwish and a feeling of exemption, two impulses which, it seems. Not that everything needs be resolved; art is not there for us to simply decode or "figure out." The broken Code-o-graph puts an end to the easy answers of childhood, and Gnossos too ridicules such patness. When Pamela says, "Must you be so cryptic?" Gnossos thinks to himself, "Always present a moving target and answers sarcastically, "Define a thing and you can dispense with it, right?" (39).