A Quote by Lynda Barry
In my writing class, we never, ever talk about the writing - ever. We never address a story that's been read. I also won't let anyone look at the person who's reading. No eye contact; everybody has to draw a spiral. And I would like to do a drawing class where we could talk about anything except for the drawing. No one could even mention it.
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Drawing is more fun to me than writing. I think it's interesting to talk to different cartoonists about how those activities work for them. I'm a very writerly cartoonist. I certainly spend more time on the writing than I do on the drawing, even though the drawing, of course, is very time-consuming.
It wasn't that I wanted to be an artist. But when I took my first drawing class with the painter Doug Ohlson, I could never finish a drawing.
The experience that I had in Paris I could never have ever again in my life. This is when I grew up as a young man. I was independent. There was no one there to talk to; I didn't even want to talk to anyone. I started to write about what I was experiencing, and I had no choice, so I was never scared.
I never, ever talk about writing to anyone at all.
Even as a kid in drawing class, I had real ambition. I wanted to be the best in the class, but there was always some other feller who was better; so I thought, 'It can't be about being the best, it has to be about the drawing itself, what you do with it.' That's kind of stuck with me.
Even as a kid in drawing class, I had real ambition. I wanted to be the best in the class, but there was always some other feller who was better; so I thought, It cant be about being the best, it has to be about the drawing itself, what you do with it. Thats kind of stuck with me.
I would be in class, and we'd talk about influencers and brand deals, and my face would pop up on the screen and they'd start talking about me! They had no idea that I was sitting in the class. I never wanted anyone to know.
Somebody's always getting me to come lecture to their writing class, and I don't talk about writing at all, I talk about the business of making a living at this racket.
I could never, ever talk to my father. I really loved him, but we couldn't talk about anything together. There was this really British thing that being even remotely emotional was absolutely verboten.
I could not do what I do, and teach a class, and never miss a deadline, never be late for anything if I was a lush, OK? I would really love to read a piece that said, 'He is not a lush.' That would be fabulous, it would be a first, I could show it to people and say, 'Look!'
When I was still in prep school - 14, 15 - I started keeping notebooks, journals. I started writing, almost like landscape drawing or life drawing. I never kept a diary, I never wrote about my day and what happened to me, but I described things.
Of course, an English aristocrat might have some contact with the staff downstairs and could adequately say a thing or two about inter-class dramas unfolding in the household. But something less parochial might be harder to come by. This is relevant because stories about the divisiveness of class are by definition stories that straddle class boundaries. A story about a miner in a mining town is not obviously one that speaks to the divisiveness of class. In other words, class doesn't just divide us in the world but it also divides us in the stories we're presented.
Reading was like an addiction; I read while I ate, on the train, in bed until late at night, in school, where I'd keep the book hidden so I could read during class. Before long I bought a small stereo and spent all my time in my room, listening to jazz records. But I had almost no desire to talk to anyone about the experience I gained through books and music. I felt happy just being me and no one else. In that sense I could be called a stack-up loner.
I grew up in the midst of poverty but every black kid that I knew could read and write. We have to talk about the fact that we cannot educate for critical consciousness if we have a group of people who cannot access Fanon, Cabral, or Audre Lorde because they can’t read or write. How did Malcolm X radicalize his consciousness? He did it through books. If you deprive working-class and poor black people of access to reading and writing, you are making them that much farther removed from being a class that can engage in revolutionary resistance.
I am trying to represent design through drawing. I have always drawn things to a high degree of detail. That is not an ideological position I hold on drawing but is rather an expression of my desire to design and by extension to build. This has often been mistaken as a fetish I have for drawing: of drawing for drawing’s sake, for the love of drawing. Never. Never. Yes, I love making a beautiful, well-crafted drawing, but I love it only because of the amount of information a precise drawing provides
'What It Is' was based on this class I've been teaching for 10 years - I wanted to write a book about writing that didn't mention stuff like story structure, protagonists, and all those things that we know about only because they already exist in stories.
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