Bagging it

lunchbagJack takes a lunch box to school but when he goes to summer day camp, his carrot sticks, cookie and sandwiches (unvaryingly: one salami, one PB&J), travel along in a brown paper bag. At one point, maybe it was last summer or the summer before, Patti asked me to write his name on the bag. Soon this became a ritual and each morning after breakfast I would do more and more elaborate calligraphy to identify his bag.
Then I started making up panels from super hero comics and printing them on the bag with my ink jet. This year I alternate between dip pen hieroglyphics and watercolors and gouache (which look great on the biscuit brown paper).
When I first came to America at thirteen, I got my first lunch box. I think I picked it out myself, a Scooby Doo model. It wasn’t long before my classmates started to snicker and then openly deride me for my cluelessness.
Before long, I’d gotten the message and began to brown bag it. No name or watercolors.

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.

Desk Job

my-deskIt’s taken me months to get around to cleaning my desk. I’ve just chucked things into the back of it, and they’ve accumulated in tectonic layers. I have a general sense where important things are and can root around in the heap and eventually find them. There’s a letter rack back there on the left and my drawing book, watercolors and favorite pens tend to be stacked somewhere on the front left. My color theory homework tends to be somewhere in the back right, there are second-string pens unsorted in cups and jars somewhere in the back and my Wacom tablet’s there too, I think. My passport is in one of the top drawers and the charger for my camera is probably in the second drawer from the top, underneath. The other 90% of the stuff is just an undistinguished mass. Loads of things have just disappeared into the swamp unlabeled, un-databased, unremembered, and I forget they ever existed.
I’ll take some or even most of the blame. Other factors: Patti’s desk tends to accumulate junk at a far faster rate and regularly disappears under the enormous pile like the Collier Brother’s dining table. The other factor is that my cool teak 1950’s Swedish desk is just to damned small. It’s just 40″ across . Once my laptop is opened and room cleared for the mouse, I have barely enough room to plant my elbows on either side. It’s basically impossible to draw at, so I use my lap and balance my paints on the corner.
Before Jack was born, we went shopping for a house in the country, an idle sort of thing, with no real conviction behind it. The place I remember best was an early 19th century place that belonged to an 80-year old widow, somewhere near Connecticut. Her husband had been an illustrator and we were shown into his spectacular studio with loads of room for drawing tables and easels and leather chairs and various tables still set with his cans of brushes and pens. It had an enormous floor-to-ceiling window, a good twenty feet high, looking out into the garden and the forest beyond which flood the studio with light.
I mentioned that memory to Patti a few months ago (it had prompted me to write an essay called “Art Supply porn” ) and she though that maybe we could do something to give our own apartment more of that feeling. After all, we rarely have people over to sit in all of our arm chairs and eat at our dining table maybe once a month. Most of the time the place is piled high with half-finished projects and games and musical instruments and stuffed dead animals. The decor is still pretending we have some sort of normal life we never actually had. So one of these days we will move out credenzas and knicknacks and move in drawings tables and flat files and the like.
In the meantime, I have to deal with this reality. So I set to straightening my desk on Sunday morning. I sorted drawings projects into individual manilla envelopes, labeled some boxes and files and sorted through the papers I didn’t toss, and uncovered a handful things I would have bet money that I’d never owned or even seen before:
– A Superman-in-chains rubber stamp
– An unopened 2 oz. bottle of black sumi ink
– A badge from the Webelos with three woven ribbons studded with 12 pins depicting a car, a ghost, gears, the constitution,a palette, a swimmer, a mountain and various other doodads
– My grandmother’s hammer/tool kit
– A pin from a Peruvian restaurant called Bajo el Puente
– One left brown glass eye in a case
– A box of linoleum carving tools
– The Speedy Stitcher® sewing awl
– An unused box of 24 Conté crayons
I used the last item to draw an ‘After’ picture. I don’t think I’ve used them before. A little smudgy but they have a distinctive chalky feeling I quite like. I sprayed the whole deal with stinky fixative afterwards, hoping that would keep it from mucking up my journal and my nice clean desk.

Grid

The members of Everyday Matters, the Yahoo!group, have been working on an interesting project. Take a page, divide it into thirty squares (pipaudstudio created a Word template you can download here), then do a drawing each day in one of the squares. After a month, it will be filled with a rich quilt of art. No matter how lame any one of the drawings is, the overall result will be beautiful. As the month ended, some of the participants have been uploading their work. It’s very interesting and inspired me.
Patti signed me up to contribute a piece to the auction at Jack’s school, a watercolor of the school. I carved my page up and got to work.

ps-41-picture

Hellhounds on my Trail

helhounds

“Context is everything that isn’t physically contained in the grooves of the record. It includes your knowledge that everyone else says he’s great: that must modify the way you hear him. That he was a handsome and imposing man, a member of a romantic minority, that he played with Charlie Parker, that he spans generations, that he underwent various addictions, that he married Cicely Tyson, that he dressed well, that Jean-Luc Godard liked him, that he wore shades and was very cool, that he himself said little about his work, and so on. Surely all that affects how you hear him: I mean, could it possibly have felt the same if he’d been an overweight heating engineer from Oslo? When you listen to music, aren’t you also ‘listening’ to all the stuff around it, too?”—- Brian Eno

When I was thirteen and we had just come to America, I had never heard of drugs. I may have had some vague sense of them from the adult novels I read but they were very abstract. In Pakistan, in Israel, they just hadn’t been in my sphere of reference. I imagine my mother and stepfather smoked dope, it was the ’60s after all, but not around me.

A few months after I started in eighth grade, they showed us a black and white anti-drug film during morning assembly. The film began with the protagonist, a young Puerto Rican kid smoking some pot with his buddies on an abandoned car. Late he was introduced to coke, and finally to horse, smack, H, and became a junkie. He ODed twice, the final time in the shower.

That night I woke my mother and step father up at two a.m.

“I can’t sleep, I told them. Waking up my insomniac mother was about the most dangerous and forbidden thing I could do, but I was desperate.

“What is it?”

“I think I’m a junkie.”

“What?!” they both leaped at me, frothing.

My stepfather grabbed me. “Where did you get the stuff?”

“I don’t know!”

“Don’t lie to me, boy. Who’s your dealer?”

“I swear,” I started to cry.” I think I’m such a junkie, I don’t know it.”

I told them abut the film, and how my imagination had me convinced that I could be leading a split double life, one in which I was a nerdy hundred point bookworm with a faint moustache, the other in which I was a stone cold junkie.

“Go back to bed,” my stepfather said. Clearly I was going to get no sympathy.

All of which is a long way of telling you why I was sort of anxious when Russell, our guitar teacher, urged me to buy “Jimi Hendrix: Blues” to listen to with Jack. I have studiously avoided any sort of psychedelic, heavily distorted bluesy rock and roll classic rock for thirty years, ever since the scene in that black and white 16 mm. film in which the young Puerto Rican does coke for the first time. In the background, a portable gramophone is playing some sort of shrieking, wailing guitar track and that sound has been linked in my mind with the spiraling descent into oblivion ever since.

But the fact is, we are learning a lot of blues these days and Hendrix was the god so I had to check it out.

First off, the guy is unbelievably good. Once I had a beer and read the liner notes a few times, I steeled myself and hit play. Hendrix had enormous facility and seemed to know every sound the guitar could possibly make deep in his marrow. He’d been playing since he was five and had probably had the guitar in his hands most of the time since. His playing has incredible variety, eccentricity, and expression. I won’t try to explain here why but suffice it to say, though his playing is so far away from anything I can do, listening to that album was enormously inspiring and just made me want to play, any old way I can. More though, it made me want to draw, strangely enough, I pull out my dip pen and attack the page, drawing mad dogs. The dip pen seemed the most appropriate, the most out of control weapon to use to spray ink around, like a living thing in my hand, the stroke widening with my clutch, then backing off into spirally tendrils, squealing then whispering, throbbing and choking, like Jimi’s guitar.

I haven’t fully overcome my hard rock phobia. It is very deeply wired into me. But I am able to overcome that anxiety well enough to really listen to Hendrix and more importantly to feel it, to surrender to it and to be moved by it. Jimi said: “Blues is easy to play, but hard to feel.” Well, he made me feel it.

I don’t know if I’m ready for Hot Tuna or the Black Sabbath or Megadeath or all those other bands I ran from in my youth.But I did discover that in the end, Jimi is just a more joyous, exuberant, fuzzy and wah-wah version of Miles. And I dig Miles.

Overcoming your preconceptions is damned hard but it’s the only way to grow. I grew a little this morning. In fact, my pants are hard to button.

Why do I do it?

adrian2

At six, it was universal. We all drew, and painted, sang and sculpted. We were all architects and actors, potters and dancers. It was innate and natural.
I lived around the world as a child, in Lahore and London, in Pittsburgh and Canberra, studied at St. John’s and on a kibbutz. I could quickly fall in with any other kid and we’d pretend to be mountain climbers or scientists, we could build forts out of sofa cushions or turn a refrigerator box into a theater. I wrote and illustrated books. In a school play, I played a dog that saved a family from their burning house. I had an alter ego, Roger Watford, an English lord who smoked a pipe and carried a sword. I made pirate maps, soaked them in tea for verisimilitude. I wore my Halloween costume year round.
Twenty years later, I wore ties. I drew only when doodling on the phone. I never went to galleries or museums or playgrounds. I watched golf on TV.
I was not an artist any more.
When I was a eighteen, I wrote a college application essay on why I felt that writing rather than drawing was the more appropriate and useful medium of expression for me. It came down to a simple equation. Artists starved. Writing was useful in all aspects of business.
Princeton had a painting department. I assumed that its members were lazy, unwilling to take on a proper major or to attend a real art school. Architect students worked notoriously long hours. Fools, again. At best, I’d heard, they’d make $30 grand a year.
By twenty one, I’d become cynical, rigid and unimaginative. I was ready to get to work.
I had talked myself out of going to art school because I believed that the only way to make a living would be to be a ‘commercial’ artist which seemed horribly compromised. My experience working for a local paper had led me to believe that journalists were mere observers rather than participants. My friends who went into investment banking were total sellouts. Three months after graduation, I fell into advertising. It was a job, and got me out of my parents house.
For the next twenty years, it was what I did. I was “creative”. Noun, rather than adjective. In Harper’s, I read an essay that concluded ‘Creative people in advertising are artists “with nothing to say.” It seemed apt.
The advertising profession is divided into creatives and account people. Creatives are divided into art directors and copywriters. I was the latter and yet I drew more and better than the art directors I worked with. I had endless opinions about the visual side of the business but I was adamant that I was a copywriter. I would not be judged as a visual person. I was not an artist.
Despite all the meetings I sat through, all the product I moved, all the concessions and compromises I made, the urge to make things could not be completely quashed. First of all, I made ads. I worked with photographers and directors and editors and composers to make polished little 30 second turds. We all threw ourselves most fervently into these productions, being adamant about the tiniest things, the shade of blue of a models blouse, the placement of a comma. We would fall on our swords all the time, so intent were we to assert our creative will.
This inner artist plagued me like homosexuality must plague those still in the closet, I would jam it down, insisting it was impractical, that I was not good enough, that it was a huge waste of time and then that creative urge would pop its head out somewhere else
I was not a painter (though I did paint at home, balancing huge canvases on my dining room chairs because I would not commit to having an easel).
But I was not really a Writer either and stopped writing the fiction I had pumped out in school.
When I was twenty three, I wrote a play and some producers started to raise money to put it on. We did a reading and Kevin Bacon played the lead. I did nothing to help. The production grew until the plans were to try to open it Off-Broadway at the Henry Miller theater, then on Broadway itself. I stood by. Eventually the plans grew so big, they collapsed. I did nothing to revive the play. I’m not sure if I still even have a copy.
Three different times, I bought myself a keyboard and set up music lessons. Each time, I sabotaged myself after a week, missing practice and lessons because I was so busy at work.
I designed and built the furniture for our apartment out of birds’ eye maple. But then told myself we could afford to replace it at Ikea.
I got a book contract to write a book of highly subjective funny essays about New York bars. I wrote 250 pages but then my editor left the house. My new editor wanted to make changes. I refused. The book faded away but I held on to the advance.
I would come home and cook, hand grinding spices, rolling out raviolis, shopping for months for the perfect knife, making elaborate dishes that I would eat by myself, standing over the sink. I worked hard on what I wore, scouring vintage stores for hand made suits, collecting hundreds of ties, dressing and redressing myself to get the look just so.
Someone gave me a harmonica and I kept it in the shower where I would play it till the pipes ran cold. Whenever someone in our family had a birthday, I would develop elaborate themes to my presents and print my own wrapping paper.
I saw every movie that came out, hundreds a year, telling myself it was part of my job and tax deductible to boot, I watched them intently, memorizing camera placements, noting editing techniques, the names of key grips.
I made my girlfriend elaborate hand made gifts. I wrote and illustrated books for her, even epic poems. I convinced my boss to let me have a laser printer in my office, and then worked behind closed doors to print my books on special papers, to make slip cases and design my own type. I would finesse each piece over and over, readjusting the kerning, the leading, till it was perfect. I worked for months on each item, a single edition of one book. I was doing it for my love. But I didn’t deal with the fact that I was doing it because I had to.
Long before we became parents, I made intense home movies, costuming Patti and driving her to interesting locations. I drove her in a car I had bought simply because it was beautiful, a 1962 Mercury Monterey that was 18 feet long and two tone, cornflower blue and white. It was completely impractical, far too big for Manhattan and I rarely drove it but I polished it and reupholstered it, a gleaming feast for the eye.
Fade out.
Another decade passes. I am married. I have gained a son and thirty pounds.
My career has continued to climb. I am at the top of my field, running the creative department of an agency.
But I am suffocating.
I am under enormous pressure to make other people produce creative ideas. Money is inextricably wound up in everything. All our efforts are judged and harshly.
I slowly came to realize I have been leading a false life for so long, that I am not who I am pretending to be. I have been using my ability to make things purely in terms of how it will provide money to my family, There is no joy in the process. The things I make are completely at the behest of others, I am making advertising campaigns for investment banks, for people who sell weapons systems, for chemical producers and management consultants. I am making more money than ever have and yet I fell completely bankrupt. Nothing I do is for me. I am bitter and insomniac.
A few years before, I had found one outlet that meant a lot to me. I had begun an illustrated journal and had become quite good at drawing the little things I encountered every day. I took a class in bookbinding and learned to make my own journals. For a while, it was a great escape. But then I’d stopped that too. My position as creative director meant there was no time for such things, for the folderol of making things that did not contribute to the agency’s bottom line. I locked my journals away and for five years I focused exclusively on my job, twelve hours a day. My wife grew distant but I didn’t notice. I had no friends outside of work but no time for them in any case. Whatever little burblings of creativity used to have, that I channeled into cooking and fashion and gifts was 100% channeled into servicing clients.
The camel’s back finally broke.
Through my job I started to meet some of the top graphic designers, people like Stefan Sagmeister, Woody Pirtle, Paul Sahre, and as I talked to them, I found myself admitting how much I hated what I did, how lost I felt. I was supposed to be their client but I treated them like mentors. I so envied their lives, making all sorts of things for people, working on their own projects, committing themselves to social change, turning down work if they felt it was wrong, living on a fifth of what I was making and seeming well rounded and complete. Finally one of them suggested I get back to my journaling. Hesitantly, I did.
I let art back in the door and suddenly the walls started to crack. Within a month, I had a book contract. A few months later, I had a second, this one to publish my illustrated journals. Before long, I had an agent and was no longer a creative director.
Instead, I was me.

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.”

Helluva Town

nyjournal1A few years ago, we decided to take a vacation in New York. Yes, we live in New York but we’ve never been tourists here. So we went to the Whitney biennial and the Cooper Hewitt triennial, the Museum of Natural History, a Woody Guthrie show at the Museum of NYC, the Queens museum, the Hall of Science, the Bronx Zoo. We went to the top of the Empire State building and the Easter parade and heard music and ate in touristy restaurants.

What made it really special is that we kept a family travel journal. We recorded everywhere we went and how we felt about it. We took pictures and did drawings, we drew maps and made collages of souvenir stuff. The most avid journal-keeper was Jack and he was just five.
I’d like to write some more about travel journals in the future because I think they not only record your journey, they help to define it as you’re doing it.
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