The vulture Nekhbet, who'd one possessed my gran (long story); the crocodile Sobek, who'd tried to kill my cat (longer story); and the lion goddess Sekhmet, whom we'd once vanished in hot sauce ( don't even ask) - page 9
Man is too near all kinds of beasts,--a fawning dog, a roaring lion, a thieving fox, a robbing wolf, a dissembling crocodile, a treacherous decoy, and a rapacious vulture.
In 'True Grit,' we had a vulture, a trained vulture... that was a pain and that was - even by vulture standards - probably a stupid vulture, and that was frustrating.
I've eaten lion, leopard, crocodile, python. I don't recommend lion. It tastes exactly like when a tomcat comes into your house and sprays. Snake and crocodile are great - a cross between lobster and chicken.
Kill off the sacred bear. Kill off the ancestral crocodile. Kill off the myth-wrapped tiger. Kill off the lion. You haven't conquered a people, or their place, until you've exterminated their resident monsters.
The hardest part is telling one's story. Once the story is on the page, the rest will come.
Before I knew that a man could kill a man, because it happens all the time. Now I know that even the person with whom you've shared food, or whom you've slept, even he can kill you with no trouble. The closest neighbor can kill you with his teeth: that is what I have Learned since the genocide, and my eyes no longer gaze the same on the face of the world.
Whom do I write for? I write for the story. Each story, it seems to me, knows best how it should be told. As I once put my ear to the railroad track, I listen now for the voice of my story.
I'm trying to read/edit my story as if I have no existing knowledge of the story, no investment in it, no sense of what Herculean effort went into writing page 23, no pretensions as to why the dull patch on page 4 is important for the fireworks that will happen on page 714.
It's always a long goddamn story. Every time you ask anyone anything really important, it's a long story.
One of the remarkable qualities of the story is that it creates space. We can dwell in a story, walk around, find our own place. The story confronts but does not oppress; the story inspires but does not manipulate. The story invites us to an encounter, a dialogue, a mutual sharing. As long as we have stories to tell to each other there is hope. As long as we can remind each other of the lives of men and women in whom the love of God becomes manifest, there is reason to move forward to new land in which new stories are hidden.
It's all a question of story. We are in trouble just now because we do not have a good story. We are in between stories. The old story, the account of how we fit into it, is no longer effective. Yet we have not learned the new story.
Once you're into a story everything seems to apply-what you overhear on a city bus is exactly what your character would say on the page you're writing. Wherever you go, you meet part of your story.
I have a zillion bottles of hot sauce. I love Trader Joe's jalapeno. The whole right side of my fridge is filled with hot sauce.
Child,' said the Lion, 'I am telling you your story, not hers. No one is told any story but their own.
A book is a story, even if it's non-fiction, and once I've read it, I have the story with me inside my head always.
When I'm writing comics, I'm also visualizing how the story will look on the page - not even always art-wise, but panel-wise, like how a moment will be enhanced dramatically by simply turning a page and getting a reveal. It requires thinking about story in a way I never had to consider when I was writing prose.