Hiatus

rooftops2

The western view from my southern balcony. Drawn at the end of a hard day.

It’s about seven years since I started drawing in earnest. In the first couple of years. I went through periods of immense enthusiasm and others of frustration and despair. Eventually drawing just became a thing I did. Not a job, not a hobby, just a healthy habit … like flossing. Days, even the occasional week, went by when I didn’t draw but I always settled back into the groove,
In 1999, I started a job that consumed me. Consumed me like a boa consumes a bunny. Eventually my marriage, my parenthood, my health, my instinct for self preservation were all swallowed up like Laocoön. One of the first victims was drawing. It always seemed there were more important things to do with my time. My brain was constantly roiling with anxieties, pressures, plans, demands, ideas, schedules. So much of what I learned and chronicled in Everyday Matters was locked into a steel box and buried in the attic of my mind.
After four years, I mustered the strength to escape. And soon after, I thought of drawing again.
However, I found myself in a real Catch-22 bind. I was in the process of trying to reinvent my life, to reinforce the things that had mattered to me most in my life and also to push into new creative areas. But my fear of my own cramped and crippled state was holding me back from trying. My self-esteem was low, my faith in my own abilities depleted. At first, I was anxious to even pick up my pen. But I forced myself to try anyway. The fact that my book was coming out, a book that described a me I was afraid I wasn’t any more, embarrassed me into trying.
Much to my relief, I found that I could still draw. Sure, I was a little cramped and my ability to concentrate, observe and relax were shaky, like an invalid rising from a long bed rest. But with a week or so, I started to feel like my old self again. Within a month or so, I was moving into new territory. Today, almost two years later, I see that my growth curve is back on track.
Fear is our greatest enemy. And yet it is a product of the very mind it binds. As such, it can be beaten by will — if the will is on the side of health and development.
I am never going to abandon drawing again. And even if I don’t draw for a day, a week, a month or even a year, I know it is always there for me. I can go home again.

Summer Time Blues

I have been working fairly hard since coming back from vacation and, between that and trying to wedge in some drawing (and absolutely hating my ultra-expensive-from-the-tube watercolors as opposed to my tried-and-true Grumbacher set) and not doing enough guitar practice or going to the gym or telling my wife that I love her (in fact, she left yesterday morning to fly to Los Angeles for the Poseidon Adventure convention ( don’t ask) and various new book matters including signing my new contract and gearing up the Change Your Underwear publicity tour (apparently, I’ll be on CNN morning news, Good Morning America, Today Show , etc. after Labor Day), this blog has moved to the back of the pack. So, sorry about that.
A propos of nothing much but the fact that it’s summer and I’m working, I’ve been thinking about summer jobs I had as a kid.

cowMy first summer job was when I was eleven, and wanted desperately to be a veterinarian. I got a job working for the town vet (this was in a small Israeli town called Kfar Saba) who worked in the pound and the adjoining slaughterhouse. My job was basically to clean out cages and feed the dogs and cats but I also helped out where needed. I remember the sickly sweet smell of the gassing room and the stiff dog limbs sticking out of garbage cans in the back.
Someone once brought in a skinny dog that was entirely covered with shiny green ticks. He looked like a bunch of grapes and we had to shampoo him and pour kerosene on him then shampoo him again; slowly the ticks dropped off, squirting his blood onto the cement floor. A week later, the dog joined the others in the garbage cans in the back.
I was as ghoulish as any prepubescent boy and loved to hang around the slaughterhouse. The cows would be herded up a ramp and would meekly follow the cow ahead until they got close enough to smell the blood of the abattoir. Then they would raise their heads and roll their eyes and try to back down the ramp or climb over the rusting railing. One could have painted a line on the floor to mark the point at which they all realized their fate.
Once inside, men converged up on each cow and shackled their hooves. Motors mounted to the ceiling raised the shackles on chains and the cows would soon be dangling upside down and then lowered into a long metal tub. A board was put under the cow’s head and a rabbi stepped forward to slit her throat. To be properly kosher, the knife had to be so sharp that a piece of paper dropped onto the blade would be cleaved in two.
Next, the shackles were removed from the dying cow’s front hooves and the motor would hoist her up to be dressed by the butchers. A minute or two after crossing the imaginary line, the cow would be unrecognizable, a side of beef.
Occasionally I would help out in a two-story shed behind the slaughterhouse. Cow intestines were brought in by the barrelful and we would slide them through v-shaped boards that would squeeze out the contents into gigantic metal sinks, leaving us with empty sausage casing. The cow shit would run down to the first floor and into a cart tethered to a balding donkey. Without looking over his shoulder, the donkey knew when the cart was filled and would then trudge out of the shed and across the courtyard to a deep pit. He would back the cart against a pole upending the contents into the stinking pit. Then the donkey would trudge back to its post in the shed.
One afternoon, the rabbis discovered they had unwittingly processed a pregnant cow. I was called in to haul the purple fetus away and carve it up. The dogs ate it with relish, untroubled that the meat wasn’t kosher.
The vet’s thirteen-year-old son would occasionally hang around the office, snacking and picking his cavernous nostrils. One day, he announced that his father didn’t like me ‘ as a person. I was so upset by this first ever job review that I never returned to work. The vet called my parents, who were a little horrified by my daily descriptions of my job, and they decided for me that it was for the best that I spend the rest of the summer playing marbles and swimming.

At sixteen, I went to work at the McDonalds that had just opened on Court Street, rotating through all of the jobs in the restaurant. I worked the grill making Big Macs and burgers, twelve at a time during the lunch rush, toasting and dressing buns, searing frozen patties and stiffing them all into Styrofoam clamshells. Every few hours, I would scrape down the grill and then slide out the steel grease traps and carry them through the back door and into an alley. I would pry open one of the three steel oil drums that stood in a cloud of flies and dump in the grease and chunks of burnt meat. A seething bed of cream-colored maggots floated on the entire surface of the liquid within and would converge quickly on my offering. The smell was thick and alive and I would frantically slam down the lid.
I worked the register too, filling bags for sullen customers and praying that my register drawer would balance at the end of the shift. I made French fries, my arms slowly roasting under the heat lamps, my grill-burns stinging under showers of salt. Every week, an 18-wheeler would pull up to the curb outside and I would have to empty it contents into the freezers in the basement. I would pull a case of frozen burgers out of the refrigerated truck, carry it across the scalding July sidewalk, then down the stairs and into the store’s freezer, then up the steps, back out into the heat, into the frozen truck, back and forth, forty times. It was like training for a Rocky movie or the Iron Man triathlon.
The job I dreaded the most was working the lobby. The first part wasn’t too bad ‘ I pushed a little broom around and emptied the trashcans every ten minutes or so. I would drop the full bags through a steel door marked ‘rubbish’ and into a chute that dropped through to the basement. But twice a day or more, I would have to go downstairs and gather up everything that had come down the chute. This included all the bags I had dropped but also all the detritus that customers, confused by the sign on the chute door, had tossed down. Half eaten burgers, cups of ketchup, sodden French fries, dirty napkins, and diapers floated in ankle deep greasy water. All of this mess went into the trash compactor in the corner. Sometimes, I was so overcome by the smell and the vileness that I would rush over and throw up into the compactor, push the button to compact it and continue working. When I was done I would have to wrap wire around the bale and muscle it out of the compactor.
One day the owner took me a side and told me that since I was the only white employee, he had decided to send me to McDonald’s University to train to become a manager. I explained that I still had another year of high school to go and he told me I could get a GED later. I told him I was flattered but my parents had their hearts set on my going to an ivy league college. He looked at me like I had crawled out of one of the oil drums in the alley and told me to go down and compact the trash.
The next summer, after senior year, I worked in a record store. It was the summer of ‘78 and hald the albums we sold were the soundtrack to Saturday Night Fever. More modest hits that summer: George Benson’s Breezin’, Steely Dan’s Aja, and Fleetwood Mac’s Rumors.
I spent a lot of time studying the bins of records and soon knew the inventory cold. I developed a roster of regular clients who would come in on Fridays after work and they would usually walk out with a half records I’d recommended.
There were two phones next to the cash register and Peter, the owner was adamant that I not answer the white one. Occasionally, by accident, I would. The callers would invariably say they would like to ‘order a limo’. Whenever I passed such a message onto Peter, he would be irritated with me and tell me not to answer the white phone again. Other wise, our relationship was decent and he would give me occasional spot bonuses when I he saw me moving a lot of merchandise to my regulars.
Towards the end of the summer, Peer took me aside and asked me about my plans. I told him I was going to college. ‘Forget that, man,’ he said and told me that he would make me an assistant manager if I stayed. Besides the various girls who worked the register, I was the only employee so the promotion didn’t seem reason enough to cancel my plans to go to Princeton. ‘Come on, man,’ he hissed, ‘ I didn’t go to college and look at me now.’ I thanked him for the tutelage and again blamed it all on my parents. They had their hearts set on me going to an ivy league school. Peter glared at me and told me to get back out front.
The next morning he gave me an assignment. He had a wall covered with steel milk crates packed with records and he wanted me to move to his apartment, I spend the better part of the afternoon lugging them across the street and up to his fourth floor walkup. Halfway through, I realized that I would probably only be working for him for an other day or two and that if I quit now I could stop this back-breaking work.
Peter was in his bedroom with the door closed. I knocked and he said, ‘Don’t come in,’ so I went back to moving crates. After three more trips, I knocked again. ‘I need to talk to you,’ I said through the door.’ ‘Don’t come in!’ Three more crates. ‘Listen, Peter, I have to tell you something important.’ I said and turned the doorknob. Peter was sitting on his bed, which was completely covered by hundred of joints. He had a machine on his lap and was in the middle of rolling another one. Apparently this was the true nature of Peter’s ‘limo’ business.
‘Why’d you come in?! You’re fired,’ he roared. ‘I came in to quit,’ I said. ‘Well, you can’t because you’re fired! Just finish moving those crates.”
I went back to the store, selected copies of all my favorite albums and left the crates where they were.

waitressAfter my freshman year, I got a job working for my congressman, the Hon. Fred Richmond. Fred had been arrested a couple of years before for soliciting a young boy but, in a style that would seem very out of place today, admitted his guilt, did his time, apologized to his constituents if he’d embarrassed them and the following year was reelected with a huge majority. I was his assistant press secretary, writing press release on how appropriations were being spend in the district and inserting various ridiculous things in the Congressional Record: “Mr. Chairman, the 14th district of the great stat of New York would like to acknowledge 23 years of productivity from the Waldman Tool and Die plant on Nostrand Avenue….”
The next summer I became an intern in the White House. My joke about the experience is that Jimmy Carter lusted after me, but only in his heart. I worked for National Security Advisor Zbigniew Brezinski and occasionally helped out in Vice President Mondale’s office. The coolest thing about the job came each morning as I pushed past the tourists, waved my pass and strutted through the huge iron gates.
Despite the glamour, it was a shitty time. Each night I would take the bus way up north to Chevy Chase and sit in my rented room listening to my landlord scream at and then mercilessly beat his children. I was restricted form the main part of the house beyond my room and so I cooked on a small electric plate and washed my dishes in the bathroom. It was the summer of ‘80n and Carter was getting whooped in the polls. All of the political appointees were busy updating résumés and so I had only career bureaucrats to learn from. I spend most of my time in the White House library writing a paper on the War Powers Act that described how the president could commit troops to battle without congressional permission. This was during the Iranian hostage crisis and when the helicopters that Carter had secretly sent over the border crashed into the Iranian desert, my project tanked.
I decided to leave my internship but my mother and second step father were adamant: I was not allowed to come back to New York unless I had a paying job lined up in advance (I didn’t know it at the time but they were in the last months of their marriage). I was furious and decided to stay in DC and get a job.
I went to Georgetown and walked into the first French restaurant I saw. I was interviewed by the owner: “Have you any experience?” (I lied). “Do you speak French? “(Mais, oui) have you a tuxedo (I’d brought mine to DC in anticipation of the State diners I’d be attending). I started the next day, poured an entire dish of Boeuf Bourguignon on a patron’s Chanel suit and was immediately dismissed.
The next day, I went to a French restaurant on the other side of Georgetown. Same questions. with one addition: Where have you worked? I mentioned the place I’d worked the night before but not the terms of my departure. “Tres bien!” said the owner. ”That’s my cousin!” As he dialed the other restaurant, I slunk out the door. The following day, I was hired as a busboy at a Spanish restaurant. After lunch, the all Chinese kitchen staff asked me what I planned to do until the dinner shift. “Come with us!” the dishwasher said magnanimously. He had just bought a Camaro from the other busboy who had acquired a new Corvette from the waiter. I discovered their secret at the racetrack where they turned my $12 in lunch tips into $200. Clearly, I was onto a good thing.
Back at the restaurant, I discovered some sticky politics. The Maitre d’ who’d hired me was th partner of the chef who had been absent during the lunch shift. It turned out they absolutely loathed each other. When the chef discovered I’d been hired by the maitre d’, he fired me on the spot.
My next job was at a sandwich and ice cream store. I worked my ass off and ate all my meals for free at the restaurant. I didn’t speak to my mother for the rest of the summer and ignored her letters. By Labor Day, I had put aside $600, all in one dollar bills which I packed in to a suitcase and took back to New York. When I arrived home, my mother and stepfather asked me where I had been. With a dramatic flourish, I unlocked the valise and flung the contents into the air. “I’ve been making money like you told me to!” I cried, gesturing to the shower of green. They weren’t terribly impressed by my gesture.
The next summer I had one more restaurant job, this time at the chic River Café at the the foot of the Brooklyn Bridge. It was celebrity hangout of sorts: I peed in the urinal next to John Belushi and watched a waiter perform the Heimlich maneuver on Elizabeth Taylor’s escort.
Once a month or so, this mobbed-up guy would come in with a thick wad of bills and announce to the maitre d’, “I’ve got sixteen large on me. Help me spend it.” He sat with the stack at his wrist, tipping every member of the staff that came by. Each time he flicked his cigarette, a busboy would present him with a fresh ashtray and he would reciprocate with a fifty dollar bill. He even went into the kitchen and tipped the dishwashers and the sous chefs. By the time the night was through, his stack was gone. He thought he was big man. We thought he was a dick.
Our shifts would sometimes stretch from lunch till 4 am and the restaurant soon became my whole world. I was buddies with the Chinese busboys who would sleep on metal shelves in the pantry, nesting on the fresh linen. They lived together, squirreled away by the dozen into tiny walk-ups in Queens, and saved every penny they earned. After a couple of years, they planned to return to the Mainland to open restaurants of their own. My pal Phillipe was the valet and I would nip out when I could and we pile into a Rolls or a Bentley and cruise the BQE.
Tokoyama-san was the sushi chef and he would make me secret spicy tuna. One hot afternoon, as I worked on the outside cocktail deck, he made me a bowl of sashimi which I stashed under the bar. I would return to pick at the snack, not noticing that the raw meat had spoiled in the August heat. Soon I had a near hallucinogenic case of food poisoning and didn’t eat Japanese food again for a decade.

MemoryLane.com

plfrank
This morning someone interviewed me and asked me how long I’ve been on the Internet. I wasn’t sure. My first online experience was in 1983 or so with a thing called The Source, a sort of online community not that different from out Yahoo Group. As for the Web itself, I had several different kinds of sites pretty early on. To track them down, I visited an amazing site called the Wayback Machine which has archived the entire internet (there are some broken links and stuff but you get a good snapshot).
At the beginning of 1998, I built a quite cute website for disabled people called curbcut.com: (the wheelchair accessible entrance to the internet) whose mission I described this way. Curbcut.com was pretty huge back in the day when the Internet was a lot smaller. I got millions of hits and the bulletin board was very active. This was the first time that a lot of disabled people could freely chat with each other and share information and stories. Eventually, the site was harassed by hackers and then other similar communities cropped up so I shut it down after a year or so.
Then I set up the first of several personal sites It’s interesting to see oneself in the rearview this way. Even though it was just seven years ago, I wasn’t the me I am today, really (don’t they say that every seven years you completely replace all the cells in your body? So in a way I am a completely new person, cellwise). I obviously thought of myself as a frustrated writer in those days and had posed several short stories. I also had some terrible reproductions of some dreadful paintings. I have no idea who if anyone ever looked at this site. Nor why I am bothering to tell you about this today.

The Way

5th-ave-and-16thI was talking to my friend S. last night while Patti cooked salmon. It’s been a while since we’ve gotten together. S. is a lawyer but he works in the entertainment industry and his boyfriend is a composer so S. is always surounded by others’ art. For the past decade or more, S. has been talking about changing his life so he could do something more creative.
Last night he told me he had hired a career coach to help guide him in a new direction. When S. told him his personal narrative, the coach pointed out how much of S’s story was intertwined with the opinions of others. S. wants to be a good boy but is afraid that doing something creative will jeopardize the opinion others have of him. It’s a familiar story.
One of the suggestions I made to S. was that he buy a copy of The Artist’s Way by Julia Cameron. Everyone has heard of this book and many people own unread copies. I’m not much of a self-help book kind of guy but I can say, without equivocation, that the contents of this book changed my life. The cornerstone of the program are the Morning Pages, a discipline that requires you, almost immediately after waking each day, to fill three pages with whatever words come in to your mind. These words are not meant to be read by anyone, not even by you. Yet they give you a chance to skim the crapoff your mind, the doubt and self loathing, the apprehensions and obstacles, and begin each day with a creative act.
I take issue with parts of the book. I think it assumes too much that most people had lousy, oppressive childhoods that sapped the creativity out of them and forces the reader to confront these issues, whether they are central or not. I think it also assumes too much that one’s goal is to become a professional creative person, rather than just infusing one’s life with art. But these are small caveats and so I urge the book on many people.

Almost none of them take me up on it.

My mum did. Like me she has gone through the course several times on her own. Since incorporating the program into her life, she has moved away from here market research business and written a screenplay, a novel, a memoir, and created her wonderful art form, Leafages. She has been invited to speak to many groups on creativity, had one woman and group shows, and her work sells from coast to coast. She even teaches a workshop on The Artist’s Way in her home, spreading the truth that anyone can become more creative to others.
I am not, as a rule, a joiner. Nor am I a believer in much. So please take what I say with a healthy dose of salt. Still, whether you begin this program or another or invent one for yourself, I’m fairly certain that you will find that when you give yourself permission to be creative, your life will change. You will either leave or transform your job. You will open yourself up to new people. You will develop new relationships. You will find that serendipity plays a very active role in your life. You will worry less and appreciate the universe more. You may not lose weight but you’ll enjoy food more. Your body may not look better but your taste in clothing will improve. You may not become wealthier but money will matter less. You may not improve your health but each day will matter more.
As for S., he’s a very nice man, enormously intelligent, and I’m sure his brain will eventually grant him permission to find his calling. As the Buddha said, “There is no way to happiness. Happiness is the Way.”

Class 5H

5hDear Class 5H, Hazelwood Junior School, London, UK:
I am so very happy to hear that you enjoyed my book, Everyday Matters, and that you are now keeping journals of your own. I was blown away to see how good your drawings and writing have gotten already.
I can only imagine how happy I would be if I had been writing and drawing in a book ever since I was your age! Your drawings are excellent and you seem to be taking your time and really studying what you are drawing. That’s the key: take your time, relax, enjoy yourself and don’t worry too much about how it all comes out. Keep doing that on a regular basis and you will become great artists (not that you aren’t already).
Now to your questions:

What do you like about your drawings?
I like the act of drawing itself, the calm careful way I can sit and empty my mind and let my eyes drift over an object and my pen glide over the page until I am done and then I look and am surprised to see what I have made.
I like having drawings I’ve made to look back at, to remind me of another time and place. Sometimes I walk down the street and say, “hey, I know that building, I drew it three years ago, it was sunny afternoon, I was on my way home from the store, I hadn’t eaten lunch yet, and I was going to go see a movie with my family right afterwards.” It’s like running into an old friend.
I like drawing really complicated things like engines or detailed buildings or dogs with lots of hair.

How old were you when you started your sketchbook?
I guess I was about 39 or so. Now I’m 43. Really, really old. I have some of my hair, all of my teeth, and am still able to hold a pen without shaking much.

Do you enjoy living in New York?
I really do. I was born in London (Elgin Crescent, Notting Hill Gate) then I lived in Pakistan and Australia and Israel and I came here when I was thirteen). It’s a very interesting city, full of life and things to draw. There are great parks and museums and shops and we are near the ocean and something is always going on. We have thought of living in other places but we’ve never found a place as perfect for us.

Was it hard to become an artist?
I worked hard at drawing until it came easier. I try to find new ways to draw, study what other people do, play around with new kinds of art materials, draw new sorts of things.
It was hard to think of myself as an artist. I had to wait until other people started calling me one. When I was little I thought it would be really hard to be successful at it and so I decided not to go to art school. I wish I had started earlier in life but I really enjoy making things.

How do you draw objects and people that are moving?
It’s a little hard. The trick is to keep your eye on the thing that’s moving you’re your pen on the paper. It’s like climbing a mountain. Trust yourself and don’t look down a lot. Sometimes I just watch for a while and draw little snips and details. Then I use my imagination to fill in. If the conditions are really horrible and I must draw this thing for some reason, I take a bunch of pictures with my digital camera and use them as reference.

Do you practice drawing an object before you draw it in your sketchbook?
No. My journal is just a record of what I’m doing, so everything goes into it, warts and all. I rarely can be bothered to draw the same thing twice and I think I would lose spontaneity and fun if I did a practice sketch. If it’s ugly, well, too bad.

Does your son want to become an artist too?
Right now he wants to be a drummer. I am trying to raise him with the idea that it’s okay to be an artist but he is also a good writer and handsome. Maybe he’ll be a supermodel. Or a professional video game player.

What kimd of objects do you find easier to draw:
Eggs. Nails. Naked ladies.

Do you find it hard to add to your sketch book every day?
Sure. Sometimes I do many drawings in a day. Sometimes I don’t draw at all. At one point, I didn’t draw in my sketchbook for a couple of years (sad years). I find it’s like going to the gym. Once I start doing it again I wonder why I stopped but sometimes I’m just not in the mood. There are periods when I force myself to do it and my drawings tend to be sort of crappy at first but then they get better and then I forget that I was forcing myself to do it. I think the trick is to find reasons to keep it interesting. Draw weird collections of things. Go to interesting places. Show your stuff to other people who will tell you it’s great and encourage you to do more. Stay disciplined but don’t be mean to yourself about it. And try not to write in your journal how bad you think a drawing is. It makes the drawings feel bad.

Well, class, it’s been fun chatting with you. Keep drawing. Remember that in the time you play one level of Nintendo or watch one cartoon or pick one nostril, you could do one drawing. And soon you will all be in the Journal making Hall of Fame, be world famous, get stopped by people in the street for your autograph, have a line of pens named after you, and live a richer, happier life (well, at least the last one).

Your pal,
Danny Gregory

How are you?

hypochondriaToday my hypochondria is in remission but I never know quite when it will flair up. I was a little light headed yesterday and assumed I had internal bleeding, a cerebral aneurism, a tumor. Today, I feel fine but I’ve gone through this so often. Mild symptoms metastasize in my mind into full blown and incurable diseases. A tickle, an ache, a twinge and I am polishing my obituary.
In one of the surprisingly few books on the subject, I read that hypochondria is called “woeful imaginings” and I wonder to what extent it is a function of the strength of one’s imagination. I like to think I am a particularly sensitive person, more likely than most to zero in on the normal changes my body undergoes. That sensitivity, bolstered with sketchy medical knowledge, blooms into obsession as I check and recheck my self, comparing my observations with the old wives’ tales and half read articles in my cerebral database.
Maybe it’s hereditary. When I was a kid and the evening news would run a preview, threatening us with a story on the latest cure for pancreatic cancer or a mysterious new epidemic in Central Africa, my Mum would grab for the remote and zap whatever might infect our imaginations with fresh material to obsess over. It must have worked –she’s in perfect health and her father is still alive and well and 94.
Or maybe it’s just a subconscious excuse to fill idle time with self-indulgence, narcissism, and other attractive traits I already know I possess.
A lot of hypochondriacs run to the doctor with every symptom. But I have a different form of the disease which causes me to avoid doctors altogether, fearing that if they just catch a sight of me they’ll immediately identify a half dozen fatal end stage diseases. Ironic, considering how much time I’ve spent in hospitals with Patti.
A year ago, I summoned enough courage to have a physical. It was terrifying but I experienced near orgasmic release when I received a complete clean bill of health. Since, I actually managed to take a severe case of melanoma in for the doctor’s opinion. He diagnosed it as poison ivy and released me to my fate.
Hypochondria is pathetic, a joke. For doctors, it’s just a waste of their time and energy. People who don’t suffer from it have no clue how tenacious and debilitating it can be. Medically, it is essentially an unstudied malady and the only current treatment is a healthy dose of antidepressants. The only permanent cure, it is said, is far worse than the disease: to actually contract something real and deadly serious that will replace the writhing of one’s imaginations. It’s just a variation on the old joke about the hypochondriac’s epitaph: “See I told you there was something wrong with me.”
But, I’m fine.
Really, I am.
Why? Don’t I look fine?

What does not kill me makes me stronger

Two years ago, the manuscript of what was to be “Everyday Matters” was lying in a drawer. At the time, it was pretty much like the book that’s in stores today but it was called simply “A New York Diary”.
In late January, 2002, I had lunch with a friend who had just published a monograph of his work. He encouraged me to pick a list of publishers who had made books I liked and just send out my manuscript. “Invest a hundred bucks in copies and stamps and see if anything happens,” he urged.
So I made a list of thirty publishers and over the next few weeks, filled the mail with manilla envelopes. It took a year for twenty six of them to get around to sending me rejection letters (I’m still waiting on the last four).
This morning, inspires by my 24 hours of nausea, this morning I took out the file of letters and present some edited selections from the nicer ones:

rejectionsputnamAlthough, my efforts may seem futile they weren’t. I believe by making the effort, I set wheels in motion that through twists and turns caused my life to change, books to come out, this dialogue with you to happen.
Destiny is hard to seize. It’s impossible to control every step you will take. But by doing, by making, by generating energy, you cause things to happen.
These letters hurt me when they arrived. But they didn’t stop me. Though I felt like I was facing an endless monolithic wall, I finally found a toe hold and climbed into the Promised Land (a scary place where feelings of rejection continue to abound. More on that some other time). It’s not just because I am brilliant and devilishly handsome. I think it’s primarily because I kept beavering on.
Now… what do you have in a drawer?

Dear Danny:

I’ve been lucky enough to get lots of email from visitors to this journal. These are some of the interesting questions I received over the past month:

When did you start to draw? I mean, did you ever draw when you were younger? Or try to draw? — Katharine

This is a tricky question. If I show you an example of how I use to draw before I let myself have permission to make drawing a habit, and you say, "well, that’s pretty good. I could never do that." then it’ll be raw meat for all those innner critics out there, just chomping to trash your drawings. Or you might just say, "Hold on, this guy sucks! What the hell am I listening to him for?" (Right answer, by the way).
So let me put it this way:
I’ve always doodled in symbols: cartoon heads, cubes, grids, etc. and over the years I’ve done a half dozen lame acrylic paintings. But everything changed when I developed the habit of truely seeing and of recording, deliberately and carefully and without preconception, what I saw on paper. As I have mentioned here and in my book, that is a very different thing from doodling. But if you’d still like to see some typical doodles and promise not to get thrown by it either way, go for it.

O no… you can’t take away "25 books"! — Katrine

Noooo… we NEED the 25 books! — Serena

Oh, okay. here it is: the return of 25 Books.

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I would like to start drawing/sketching/doodling. Do you have recommendations for paper/pencils etc for a beginner — Alan

My tools change all the time. I love to experiment and playing with materials is part of the fun for me. Generally, the only pencils I use are colored ones and I never erase my lines no matter how ‘wrong’ they may seem at the time. I urge you do to do the same. Try out different pens till you get something you like. It should flow smoothly and feel good in your grip. I like Sakura’s pigma micron pens, also Faber Castell’s PITT artist pens, and my new beloved Staedler pigment liners, but there are many other good choices. As for paper, I like to buy heavy bond paper, in sketch pad form. It’ll hold up to all sorts of abuse, ink, paint, markers, without bleeding and it feels solid and good. It also makes each page feel important, somehow.
Frankly, though, you could use a ball-point pen and a sheet of copier paper. The main thing is to begin, have fun, get hooked and then branch out. Don’t worry about posterity, readers, mistakes, etc.

My husband could not locate your book in B&N in Manhattan on Monday. THEY said they had quite a few copies and then three people could not find a single one. We ordered it from Amazon instead. — Melly

Bastards. It’s a part of the massive conspiracy to keep journal-making an obscure hobby instead of an awesome power that will take over and transform the world. Barnes & Noble loves to shelve my book in the New York section. Look for it there or take some form of political action.

I don’t know who you are! Stop emailling me! Take me off your fucking list! — Ganesh

I’m not sure who Ganiesh is either. He won’t be joining us in future discussions.

Was wondering, do you ever sign your books and sell them yourself or should I just follow the link from your site and buy the book on Amazon? — Myra

The most efficient way for you to get a copy of Everyday Matters is via Amazon or by badgering your local bookshop. If your really want, though, I’ll gladly sign it for you. And please let me know what you think of the book when you get it.

Did you hand-write the text in Everyday Matters or use a font?  I’m curious because your handwriting is fascinating to look at.  If you’ve managed to make your own font, I’d be interested in downloading or purchasing it… or just admire it from afar.  I really like your handwriting. — Wileen

While I hand wrote large parts of my book, the opening pages were primarily set in a font based on my own handwriting. It helped to distinguish these big blocks of text form the rest of the higgledy-piggledy stuff and stopped my publisher from asking if we couldn’t just set the whole thing in type. I find it ironic that an English teacher would admire my handwriting — when I was in high school, I was always getting in trouble for illegibility!

What do you use to color in your drawings?  I have been wanting to color in some of mine in my moleskines but I don’t want to mess them up. —Joe

Although I am not a moleskine user any more, I used Tombow brush markers, colored pencils and occasional patches of ink. The pages are water resistant so they’re not friendly with many paints. But don’t be afraid to experiment; it’s part of journaling. Even if you screw up a page you can always write about the experience!

Did you do a little Photoshopping on the color lay-in (of your Martha Stewart Piece), maybe? If so, how’d you like the experience? – Karen

I hated it.
I rarely work this way and regret it when I do. I did random sketches on location and made notes. Then I came home and scanned the pages and built my layouts in Photoshop, then printed them out, wrote in the captions, rescanned the calligraphy and laid it back in. Then, I colored the whole thing on screen because I was rushed. The colors are insipid and vague and didn’t come from observation. The computer makes me fussy and wooden. I also hate having the ability to undo things and to mechanically work with transparent layers and I hate using a Wacom tablet instead of a pen and I hate working vertically instead of flat on my lap. And I also hate the fact that it exists only in 72 dpi form on line. I hated it. Hate.

I was just curious as to how you get such great resolution on your drawings whenever they are posted to the web. — Jon

I scan my book at 75 dpi. Then, in Photoshop, I adjust the curves so the whites are white, the blacks are black, and the colors look right. Then I use the ‘Save for Web’ function, and boil it all down to a medium quality, JPEG 650 dpi wide. Then I mutter a brief prayer to St. Twain, the patron saint of scanning.

I’d stopped drawing and printmaking when I started a new career, but have since rediscovered journalling through your book and website…I discovered, yesterday, that I had inadvertently left my journal on the subway. What did you do when you left your journal on the plane? — Michelle

Maybe the pain of losing your journal was meant to remind you of all the days you lost when you weren’t making things. Don’t lose any more! As for some practical advice: put your name and number in future ones!

Patti's problem

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Patti and I were discussing her journals and scrapbooks a few days ago and, for once, I was able to give her some useful advice. Her dilemma: she collects all sorts of clippings and pictures and cards and souvenirs and stuffs them between the pages of her book or into an envelope, waiting for the rainy day that she’ll stick them all in and make something beautiful. But it rarely arrives, so the piles of ephemera grow bigger and more daunting, like a corner of the Collier Brothers’ apartment, until the whole thought of tackling the project is more than she wants to deal with. Why is it so hard to move from the collecting phase to the making phase, she asked me.

I think it comes down to a matter of purpose. Why do you want to assemble this stuff? What are you going to say with it? Is it just there because you collected it, because it seemed interesting or pretty at the time, but has long since lost its significance? Souvenirs shouldn’t get amnesia. It’s more important to have a point, a vision, a story to tell than it is to use all the materials you have. But most important of all is to just get started and make something.

I have lots of different kinds of art supplies, but I never sit down and say, well, I’d better make sure I use everything that’s in the box. I also usually don’t sit down, thinking, I haven’t use my burnt umber Caran d’Ache pencil in a while I really ought to. No, I just have a glimmer of an idea, look at my materials, and gravitate towards one pen or another.

A variation on Patti’s problem I encounter in others: “I haven’t written in my journal for so long, I have months of catching up to do, It’s too overwhelming, I’ll wait till another day.” It’s the same impulse that’ll make you put off going back to the gym or breaking up with your lousy boyfriend.
The only solution is to express something, anything. Turn over a fresh page and just do something about procrastination or dread or laziness or … You don’t need to record every single moment of your life. Just record one, in a careful and heartfelt way and the rest, all interlocking, will string along with it.

These are your enemies: procrastination, self doubt, obligation, perfectionism, judgmentalism. Now, depict them in your journal and you’ll already have them licked.