Stitches by David Small (how to deal with eyes)

One of my students sent me a link to the ten best graphic memoirs, according to Time. David Small's book, Stitches, was included. I find graphic memoir (graphic "literature" in general) fascinating,. (There's that  annoying question of whether anything created in the comic strip format can be considered LITERATURE, to which I say hell yes, but that's another post.) Many have commented about how writers contain the unconsainable within the tight frames of comic, and how useful tha can be-similar to using tight poetic forms as scaffolding for what is huge, frightening, or unapproachable.

I was engrossed in Stitches, for many reasons, and I look forward to reading Small’s books for children. One particular greatness of Stitches was Small’s use of eyeglasses to obscure eyes. In the book, his elders who wear glasses usually have blank space behind the lenses, so their eyes are unavailable, erased, hidden. It’s not until crucial moments in the drama, when truth is being told, or when the character is suddenly vulnerable, that eyes are depicted. This is one of the things that graphic literature can do so beautifully–adding visual layers to the storytelling that cannot be done with words alone.

Among some pieces of wisdom I’ve been given by writers and teachers (and give, now, to my students) is to take care when writing about eyes. I’ve included this advice in a handout I give to students. The following may sound overly dogmatic, and in the whole document I do discuss how rules can (and often should) be broken, if broken well and with foresight, but sometimes it’s necessary to remember:

USE CAUTION WITH EYES, FACES, AND FACIAL EXPRESSIONS

Be careful when you are describing how a point of view (POV) character looks, unless the person is looking in the mirror. However, it can be a cliché to use a character looking in a mirror just so the writer can describe the character’s appearance. Showing a POV character’s face (reddening, for instance) can sound stiff and inauthentic. If you are going to describe how a character looks, focus on more interesting details beyond the data that would be listed on a drivers’ license (hair color, eye color, height, and weight) unless those details are integral to the story. And these glimpses of characters should come naturally from the story, lest they feel pasted on to assist the reader imagine how the character looks. (Readers like to use their imaginations!)

Another note about eyes

You can get into trouble when depicting ANY character’s eyes doing things, and describing facial expressions in general. Eyes and faces, in real life, do convey nonverbal messages, but it’s difficult to translate these things into prose. Be aware of how you do this, if you choose to do this. It’s often better to let the actions and dialogue of your characters illustrate their inner states of being, rather than description from the outside. It’s always good to be careful with the actions of eyes, for instance “his eyes followed her across the room,” because such descriptions, if taken literally, can draw the reader out of the story.

Reprinted with permission of Rebecca Kuder.
Original post: http://rebeccakuder.com/2012/05/14/stitches-by-david-small-how-to-deal-with-eyes/

GEEK LOVE 

by Katherine Dunn 

Al Binewski inherited his family’s circus during troubled economic times. Not many people could splurge on a show for their family even after the Great Depression. The old familiar acts of the Binewski Fabulon were not enough to draw the crowds anymore. 

Al’s new wife, Lily the geek, was eager to help recast the circus as a must-see exhibition. Together, they devised a plan to grow their attractions using their love for one another. They tinkered with pharmaceuticals and mild poisons during Lil’s various pregnancies in order to produce mutated offspring that were guaranteed to bring in revenue.

Four of their experiments survive and grow up as the beloved Binewski children. The albino hunchbacked midget, Olympia, is the narrator of the story. Her twin sisters, Elly and Iphy, are Siamese twins connected at the hip. Her brother Arturo was born without arms or legs, only hands and feet like flippers. And last, boy Chick, has a specialty all his own. In the shelter of a circus, these children grow up accepted, even respected by the other workers and performers. And their parents teach them that their shapes make them highly prized.

Not surprisingly, this acceptance is at odds with what the Binewski children experience beyond the circus grounds. Laughter, sometimes horrified expressions, people staring without consideration. But the children have a core acceptance from their parents and loved ones, so they believe the outsiders or “norms” are the real freaks. 

The story develops those beliefs during the revitalization of the Binewski Fabulon. Over a period of years, each Binewski sibling discovers his or her humanity in how they react to the outside world. They learn to relate to the “norms” in their own way, causing conflict with the rest of the family. One Binewski discovers how to twist the reactions of his crowds to profit, and becomes a manipulative and abusive public figure. He attracts a cult following who mutate themselves using surgery.

Katherine Dunn’s narrative abilities are superlative, so even if you’re not the circus freak type, it’s worth a read. I consider Geek Love one of my all-time favorite books. Check it out.

generously reprinted from Denny Russell's blog:

http://w0rdbomb.blogspot.com/2012/05/geek-love.html