RIDDLE 45 – BREAD DOUGH

Anglo-Saxon

Ic on wi ncle gefrægn     weaxan nathwæt,
þindan ond þunian,     þecene hebban;
on þæt banlease     bryd grapode,
hygewlonc hondum,    hrægle þeahte
þrindende þing     þeodnes dohtor.

RIDDLE 45 – BREAD DOUGH – Bertha Rogers Translation

I heard of a thing     that grows in the dark—
it breathes, blows from within,     lifts up its hat.
There was a bride-girl     who boldly lay hold
of that body without bones.     She cradled it,
handled it.     That daughter of a prince blanketed
the wheezing creature     with her own coat.

~

There are 95 of the Anglo-Saxon Riddle Poems from the Exeter Book, which are about 1,000 years old. The above appears translated and illustrated courtesy of Bertha Rogers.

Bertha Rogers’ poems have been published in literary magazines and journals and in several collections. Her latest collection, Heart Turned Back, was published by Salmon Poetry Publishing, Ireland. Her translation of the Anglo-Saxon epic, Beowulf, was published in 2000 by Birch Brook Press; her translation of the Anglo-Saxon riddle poems from the Exeter Book, Uncommon Creatures, Singing Things, is out now.

Outside Looking In

As I stand on the outside looking in
At a man having nothing to lose
Spending his days recalling his past
Leaving him totally confused

Thinking of a time when life was great
Having money, love, and fame
The sudden drop of a dime
These things all faded away

Recalling a time he had no worries
His days spent just having fun
His days now spent worried about family
Missing his precious son

You see this man made some choices
Now Regretting them every day
Because these choices he made
Have now taken his freedom away

When on the outside looking in
Things are always much easier to see
But to me they’re so hard to accept

For this man which I speak of is me

Texas native Scott Wade produces his unique images formed in dust in a way that few could. With his love of art being linked to his father being a cartoonist, and his curiosity to create imagery from the dust of his hometown he has developed a style all his own.

What was it like growing up in Texas? What did you love most about that?

I’m an Air Force brat, and moved a few times when I was very young, but was lucky enough to be at the Air Force Academy from age 5 – 13. That was a real treat, living in the foothills of the rampart range of the Rockies, camping, backpacking, skiing, climbing. I moved to Texas at age 13 in June, and thought I’d moved to Hell. But it wasn’t long before I fell in love with the amazing Texas Hill Country, which I’ve called home ever since.

Do you think your father being a cartoonist himself encouraged you to pursue what you do? What would you say is the most important thing you learned from him?

My dad was definitely an influence, but despite our mutual love of cartooning, as an artist, I’m very different. My dad had this beautiful, flowing hand. His penmanship was a work of art, and his drawing was effortless. I’ve tried to develop that, but have never come close. I’ve had more training and been exposed to more fine art technique, but I still envy my dad his incredible gift.

Who are some of your influences?

I’ve had so many influences it’s hard to name. I’m continually influenced by everything I see. I love many of the impressionists, a lot of indigenous art, many Renaissance artists- Rembrandt, Michelangelo, Leonardo, Romantics, like Waterhouse. I’m a huge Andy Goldsworthy fan. I try to appreciate everything- I fail sometimes. Not generally a big fan of purely conceptual art; I want art to affect me viscerally, and while intellectual stimulation is fine, it’s just not enough for me. Art speaks in its own language, so if it can really be said in an essay, maybe it should just be said in an essay.

Is it easier to work with the dust of your native area than in other places? Which dust seems to work best?

I love the dust that comes from the dirt roads in the Hill Country. It is known as road base, or caliche, as the locals sometimes call it. Crushed limestone gravel and clay; it makes a fine dust that billows up behind vehicles on dry days that coat the rear windows with fine layers that make a wonderful “canvas.” I lived for 20 years on a mile and a half of the stuff, and the cars were always dirty. nowadays, I generally prep vehicles for events with a light coating of oil to make the dust stick, then blow a finely powdered mineral (usually a clay or other mineral purchased at a ceramic supply) with a blow dryer to simulate the “natural canvas.” One can’t always count on dry roads and dirty cars…

When did you first get the idea to start creating such complicated pieces of art?

I had often drawn funny faces with my fingers on our constantly dirty car windows. Over time, I became curious about trying to get some variation in the line and possible some shading. I began to use sticks I’d pick up off the ground, and brush lightly with the pads of my fingers for shading. The ah ha moment came when I had a chewed up popsicle stick in my mouth and pulled it out, looked at it, and tried using it like a brush. It was very cool. I went into my studio, grabbed my brushes, and started experimenting. This was about 2005. The first piece I did was “Mona Lisa/Starry night,” which proved to me that this was a medium with great possibility.

Did it take a while to get the hang of the brushes? What actually goes into creating one of your pieces?

It did take a lot of experimenting with the brushes and other tools to gain some mastery. You’re removing the light dust to reveal the dark shadow inside the car. It takes a very light touch to achieve some of the lighter values, and a lot of control for gradients. My process is usually to “pencil in” the basic layout with a sharpened stick. I typically work top to bottom, since the dust falls downward. I use a selection of fan brushes, but often start with a light, 2” – 3” brush for “blocking in” the basic darker areas. I sometimes use a big, soft stipple brush for skies, when there’s a landscape in the image. As the piece is nearing completion, I’m refining the shadows. Dust is filling in the previously worked areas as work is continuing, so that gives me a chance near the end to refine lines, deepen shadows, and basically achieve more value range, and more or less fine-tune the image.

Is there any particular way to preserve your work?

No. On the cars I prefer to keep the work impermanent and let the rain wash the image away. I have done a few pieces that are more permanent, a couple on glass with another piece of glass in front, inside a frame, and one on a car door we got from the junk yard, for a gallery piece to support the Texas Breastfeeding Coalition. But the transience of this art form has helped me to understand how to appreciate and let go, to see life as an ever-changing journey. And that the length of time an artwork exists, doesn’t have anything to do with it’s quality.

Do you enjoy seeing people’s reactions to what you do?

Oh yes very much! Of course, my wife, Robin, gets to see most of those, as I’m usually focused on the work. But It is very fun to talk with folks about the work whenever I’m creating the pieces in public, and the reactions are almost always very positive. With the exceptions of a handful of grumpy older folks, it is all smiles.

How does it feel to be doing something you love?

Personally, I hate it. Just kidding, who doesn’t like to do what turns you on? There are things about doing the work commercially or in public that can be stressful or just not fun, but mostly, it’s a blast.

Which pieces have been your favorites so far?

The next one. Always my answer to this question (thanks, Frank Lloyd Wright). But there are some I’ve done that I really like. Laurel and Hardy, Hylas and the Nymphs, The Marx Brothers, Desert Dust, Steven and Albert, Food…those are some of my favorites.

Do you have any dream projects you’d most like to create?

Yes; I want to do this on an office building, or some building with huge amounts of glass. Like a 40 stories tall dirt drawing. That would be very cool. And maybe a scene from a new movie on the limousine that’s dropping of the stars at the premiere?

Are there any little known things about you that your fans might be surprised to learn?

I know some folks think this is my main gig, and have seen many comments for years, to the effect that I must have too much time on my hands to be doing this. Actually, I have a full time job as the Senior GUI Designer at a company in San Antonio; I play a few times a month in various bands- been a bar band drummer for 40 years; and I design sets for my local community theatre. I have 2 cats, a dog, a wife, and a 21 year old daughter. So there (smiles).

What would say is key to a life well lived?

Love as much as you can. Do what you’re inspired to do. Have fun, but be aware of others. Do your best.

Is there anything you’d like to say before you go?

Thanks for your interest and support. All the best to you and your readers!

For more on the works of Scott Wade please see: Scott Wade’s Dirty Car Art: Dirt Is Beautiful.

“Canto d’amore” by Leonardo Bistolfi

The first love wards off the specter of a world inhabited by rusty winged adults with collapsed dreams, whose automated arms open before you but no longer close. It takes the place of worldly theater, of a societal lie, of a future with deserted temples and a wrinkled forehead. Curtain. Give way to the sun. To all the rising suns.

The light is here, with her.

She reveals herself to my gaze naturally, the way spring unveils the blueness of sky or the gold of your skin. She slowly removes makeup, masks and ornaments, and gives me a vision of herself bewitched, of herself bewitching: she adores me and I unlock her.

Sprung raw from a virginal flame, passion takes us whole under its animal breath: the sun sparks impale our bodies galloping in a crash of oceans.

We reign in this world where the beloved becomes everything, the only face of what is faceless, this shoreless elsewhere suddenly offering itself bare: we reign as servants of the first heartbreak given over to the fervor and dictatorship of our eighteen years.

From Beyond Elsewhere by Gabriel Arnou-Laujeac (White Pine Press, 2016), translated from the French by Hélène Cardona

~

Le premier amour

Le premier amour conjure le spectre d’un monde d’adultes aux ailes rouillées, aux rêves effondrés, aux bras d’automates qui s’ouvrent devant vous mais ne se referment plus. Il prend la place du théâtre mondain, du mensonge citoyen et d’un devenir aux temples déserts, au front ridé. Rideau. Place au soleil. À tous les soleils levants.

La lumière est ici, avec elle.

Elle se révèle à mon regard naturellement, comme le printemps dévoile le bleu du ciel ou l’or de votre peau. Elle retire lentement fards, masques et parures et m’offre la vision d’une elle-même ensorcelée, d’une elle-même ensorcelante : une elle-m’aime et moi aussi.

Jaillie à vif d’une flamme virginale, la passion nous prend tout entiers dans son souffle animal : les étincelles du soleil parcourent nos corps au galop dans un fracas d’océans.

Jaillie à vif d’une flamme virginale, la passion nous prend tout entiers dans son souffle animal : les étincelles du soleil parcourent nos corps au galop dans un fracas d’océans.

Nous régnons en ce monde où l’être aimé devient tout, l’unique visage de ce qui n’a pas de visage, cet ailleurs sans rivage qui soudain s’offre à nu : nous régnons en serviteurs de la première brûlure, livrés à la ferveur et à la dictature de nos dix-huit ans.

Excerpt from Plus loin qu’ailleurs by Gabriel Arnou-Laujeac (Éditions du Cygne, 2013)

~

Gabriel Arnou-Laujeac is the author of the acclaimed Beyond Elsewhere (Éditions du Cygne, 2013). He has been published in numerous anthologies of short stories and poetry, including Petite anthologie de la jeune poésie française (Éditions Géhess, 2009), Le livre de la prière (Éditions de l’Inférieur, 2013), and literary and philosophical journals, notably Les Citadelles, Poésie Directe, Littérales, Polyglotte, Recours au Poème, Testament, 3è Millénaire and L’Opinion indépendante. He contributed to the book Irak, la faute, with Alain Michel and Fabien Voyer (Éditions du Cerf, 2000). He graduated from Sciences Po and holds a Master’s degree (Fondements des Droits de l’Homme). He also studied philosophy and Eastern poetry.

Hélène Cardona is an award-winning poet and actor, author of Dreaming My Animal Selves (Salmon Poetry), Life in Suspension (Salmon Poetry, 2016), Ce que nous portons (Éditions du Cygne, 2014), her translation of Dorianne Laux, Beyond Elsewhere (White Pine Press, 2016), her translation of Gabriel Arnou-Laujeac, and The Astonished Universe (Red Hen Press). She holds a Master’s in American Literature from the Sorbonne, taught at Hamilton College and LMU, and received fellowships from the Goethe-Institut & Universidad Internacional de Andalucía. She co-edits Dublin Poetry Review and Fulcrum: An Anthology of Poetry and Aesthetics. Publications include Washington Square, World Literature Today, Poetry International, The Warwick Review, Plume, Irish Literary Times, Los Angeles Review & more.

For more information on the work of Fred Larucci please see The Art of Fred Larucci. An interview is also available at:

https://theoriginalvangoghsearanthology.com/2014/11/22/an-interview-with-fred-larucci/

Abraham Lincoln

He was an orator of ear-erecting stature. A human cycopede, if you will, and never prone to babblement. As is often the case, his achievements fell into regard only after-wise. His detractors, a doggle-tailed scruff of scoundrels and fopdoodles. Hugger-muggers, bent upon, we would soon learn, the annihilation of The Great One. And so practiced in the art of sheep-biting and illaqueation that they might be regarded as real men only in a nuncupatory sense of the word—with consciences, collectively, thin as packthread. Decidedly, unworthy of a single quadrin. Destined only to muffle and fail. The Great One loved to obequiate—or obambulate amongst his loyalists—whatever the situation might require. And yet, his enemies were anything but jackpuddings. They were odious. Gastril-oquists, mocking him from the wrong side of history.

Robert Nazarene founded Margie/The American Journal of Poetry and Intuit House Poetry Series where he was the recipient of a publishers’ National Book Critics Award in poetry. His first book of poems is CHURCH (2006). A second volume of poetry,Puzzle Factory, is new in 2015. His work has appeared inBeloit Poetry Journal, Crazyhorse The Iowa Review, The Journal of the American Medical Association, The Literary Review, The Oxford American, Ploughshares, Prairie Schooner, Salmagundi,  Stand and elsewhere. He was educated at the McDonough School of Business at Georgetown University.

Debra Christofferson has appeared on shows such as NYPD Blue, The X-Files, Grey’s Anatomy, and American Horror Story to name a few. She is likely best known for her role as Lila on HBO’s hit show Carnivale. She can currently be seen on the Nickelodeon series 100 Things to Do Before High School as well as in the television film, A Deadly Adoption, and will soon appear on the Sundance Channel series Rectify.

As someone who was raised in a small town in the Midwest and had the chance to enjoy life on the farm, how do you think your early beginnings there have influenced you to be who you are today?

Actually, we lived in town; my grandma lived on the family farm and my dad farmed the land and raised cattle until recently. He has worked from dawn till dusk nearly every day of his life, which set the example of good, honest, hard work. When I see my dad’s passion for the land, I see the same passion in myself for acting, and the same work ethic. I give 110 percent to anything I do, and once I set my mind to a task, I work very hard to accomplish it to the best of my abilities.

What was it like to appear on American Horror Story when you did? Why do you think that show has such mass appeal?

American Horror Story was a terrific experience. I was so fortunate to work opposite the extraordinary Jessica Lange and with the wonderful Bryan Rasmussen, who played my husband. The scene that we did was rich with emotion, and to observe Jessica work, and interact with her was a delight. The appeal of the show comes from the fact that people just love to be scared, and the show capitalizes on that. Many of my friends are huge AHS fans, and were thrilled that I was going to be on the show, wildly speculating as to the horrors my character might commit. I rather enjoyed the fact that my storyline was normal, comparatively.

Can you tell us a little about 100 Things To Do Before High School? Is that a role you enjoy?

100 Things is a very well-written half-hour comedy about three middle-school kids checking off their bucket list of things to do before they move on to high school. Everyone is incredibly talented, and we have a blast working together — really and truly, that’s not just “Hollywood-speak.” My character, Lunch Lady Natasha Villavovodovich, is a formidable, dour, no-nonsense Russian with a thick accent, and I adore playing her! When I first auditioned, it was for one episode, but on my second day of shooting the creator of the show, Scott Fellows, pulled me aside to tell me about a scene in an upcoming episode he was writing for my character. Talk about “welcome to the show!” I ended up doing five episodes in Season One, and it looks like the Lunch Lady will be back for Season Two. I can’t wait!

How does it feel to be able to portray a different character with every role? Do you enjoy getting to be such varied types of people?

I love being a character actor; the more varied, the better I like it. I relish the opportunity to bring life to a completely different type of person than I’ve played before. And the highest compliment I can get is that someone didn’t recognize me in the role. Then I’ve really done my job in creating something that is believable enough to have its own existence, apart from me, and yet me.

What about A Deadly Adoption? What was it like to work with the cast in that film?

It was all very “hush, hush” initially, and I had to sign a confidentiality agreement as soon as I was cast, so I wasn’t allowed to talk about it at all until the official publicity came out. Someone actually leaked some info about it before everything was in place, and there were faux denials issued. Will (Ferrell), Kristin (Wiig) and Jessica (Lowndes) were all very personable and a treat to work with. The first scene I shot was with Kristin and Jessica, and we three immediately fell into an easy camaraderie. When Will came on set for the second and third scenes, I half-expected some silliness, but he was the consummate professional. We were on a tight shooting schedule, so there were no high jinx or messing around, we just did our jobs. They couldn’t have been nicer, and even took a few pictures with me, although personal cameras were banned from the set for confidentiality reasons.

Do you prefer working in light hearted roles or the darker ones?

Even though I’m probably best known for dramatic roles, I prefer comedy. It’s so rewarding to make people laugh, to forget their troubles, if only for a short time. I love working with the timing of things, the physicality, and the precise wording and inflection to get the biggest laugh. And, it makes me feel good. However, I also prefer complex characters, and generally the darker the role, the more complex. Truthfully, though, I’m an actor who loves to work. Make me an offer!

Do you ever miss the stage? Any plans to work in theatre in the future?

I do miss being on stage. There’s nothing like a live audience to keep you on your toes, to encourage you, to let you know immediately if you’re not being honest. I had a chance to do a play this summer, but unfortunately my schedule didn’t allow me to do so. Hopefully I’ll get another opportunity soon.

How does it feel to see the film 1915 get such notice? For those who haven’t seen it can you tell us more about it?

I’m extremely pleased that “1915” is doing so well — it’s being seen all over the world. There is so much passion behind it, and everyone worked so very hard to get it out there. 1915 is a psychological thriller about denial — personal denial by each of the characters, and in the bigger picture, the denial of the Armenian Genocide by Turkey. The plot revolves around a theatre director staging a play to commemorate the 100th anniversary of the Genocide, and the cast and crew of the play exorcising their own demons and denial in the process. I play Lillian, an American actress who suffered an onstage breakdown on Broadway as a young star, left the theatre and hasn’t been on stage in years, but comes out of retirement to play an Armenian mother. I know, who’d have believed I’d get cast as that? I shot for three weeks at the Los Angeles Theater in downtown L.A., a beautiful old movie theater that opened in 1931 with the premiere of Chaplin’s City Lights. She was the last opulent movie theater built downtown, and though fallen into some disrepair, is still a magnificent structure. It was an honor to perform on her stage.

What can you tell us about your upcoming appearance on Rectify?

Ah, yet another confidentiality agreement was signed, so I’m afraid I can’t say much. However, I can tell you that Rectify is a brilliant character study about a man who was wrongly convicted of a tragic crime as a teenager and spent the next 20 years on death row. When new evidence comes to light, he is released and returns to his small home town. The series deals with how his family, friends and the townspeople react and relate to him coming back as a free man. It is fascinating, with exceptional acting and writing, and it was a real privilege to guest star on the show. My episode is currently slated to air August 6th on the Sundance Channel.

What do you like to do in your spare time when you aren’t working? Do you ever do much sword fighting still?

Unfortunately, I haven’t had a good sword fight in a while. Not for lack of trying — people in my neighborhood just don’t have the skills…or the equipment! I spend a lot of time in my garden and yard, some of which I recently tore out to be more water efficient. I’m now finding creative ways to reinvent my English garden to be drought tolerant. I do love a challenge!

Do you think society today places too much emphasis on the superficial and neglects the things that matter most?

Absolutely. Living in Hollywood it’s in your face every day. But tv, film, newspapers, magazines, the internet, Facebook, Twitter, etc. sends that out across the planet daily, too. Part of the problem is that so many people have their noses buried in their phones/iPads/laptops, whatever, that they don’t participate in the world around them. However, using those same devices, especially through social media and the internet, there are individuals and groups that are working on bringing about a shift in that focus, but it will take time and a great deal of effort, and a planet full of people who are actually willing to make that change.

What advice would you offer the women of tomorrow and of today in regards to self image?

There’s a commercial running right now where a woman comments, “2.4 million people in this city and only one me.” I think that says it all. You are unique in the Universe. Only you can give what you have to offer, so be the best you that you can be. Every facet, every strength, every flaw, every bit that is you. Bring it!

More on Debra can also be seen in her previous interview with Van gogh’s Ear at: https://theoriginalvangoghsearanthology.com/2014/11/07/an-interview-with-debra-christofferson/

James Dean & Marcus Winslow Jr. in Fairmount, 1955. Photo by Dennis Stock.

In tribute to the town where James Dean grew to be the great man he was, documentary filmmaker Michael Mathias pays homage the small town with great soul. The film Saving Fairmount: James Dean’s Hometown gives an in-depth look into wonderfully welcoming appeal of America’s most beloved small town.

The film can be seen at https://www.youtube.com/watch?v=SuZc1Cd8a6Q

For those would like to help preserve it with donations of any amount more information. can be found at http://www.mainstreetfairmount.org/.

Are you a native of Marion, Indiana or did you move there later on?

I’ve lived here my entire life. Small town life is something that you have to learn to love. I grew up dreaming about graduating high school and heading off to a big, hip city where everyone was a self proclaimed artist. I soon realized that wasn’t the life for me. I fell in love with the small town life. This is definitely home; I’m here for the long haul.”

What first led to your interest in filmmaking? Who were some of your earliest influences?

I’ve never really considered myself a “filmmaker”. I grew up with a father who was an art teacher. He was always encouraging me to create things. I think I got my passion for the arts from my dad. I really tried to figure out what type of artist I wanted to been seen as. A painter? A designer? A photographer? A musician? I eventually said “screw it”, and now I create whatever I feel inspired to create. I’m a musician, I’m a photographer, I’m a filmmaker, I’m a designer; in my view, these all run together.

What led you to create Saving Fairmount? What was it like to have the chance to film the individuals you did? Do you feel honored to have had the chance to capture them on film?

The Saving Fairmount project started when I was approached by Jim Hayes, the president of Main Street Fairmount, which is an organization dedicated to the restoration and revitalization of downtown Fairmount, IN. Jim had told me their idea of having a small video explaining the importance of the upkeep of the town that would help motivate people to not only donate to the cause, but also get involved. Two years later and it evolved into the film Saving Fairmount; James Dean’s Hometown. It was such an honor to interview all the people that we did. I have hours of unused interview footage that, hopefully, I can release in the near future as smaller videos on the subject of Fairmount.

Are there any specific moments that stand out most in your mind from this piece of work?

There were so many great things said by so many great people; It’s really tough to choose a single moment. I will say that we got extremely lucky with the footage that we shot of Nicky Bazooka. He died shortly after the footage was shot.

Nicky Bazooka

Why do you think the town of Fairmount is so endearing to people worldwide?

There’s no doubt that James Dean plays a huge part in the popularity of Fairmount, however, Fairmount has somehow maintained its classic small town feel for all these years. It’s not “gimmicky”, there are no amusement parks, people live there, it’s a real town. You can get your haircut in Fairmount, buy your groceries, stop at the hardware store, shop for appliances, and more; the weird thing is that all of those businesses are locally owned. There are no Walmart or McDonalds. And of course all the other reasons you can see in the film.

What do you think it is that keeps the town very much alive in spite of its rather small size?

Honestly, it’s the people. Not just the people that live there, but also the people that come there from all around the world. Fairmount doesn’t just belong to the people inside the city limits, it also belongs to the hearts of all the wonderful people that make the trip there from half way around the world. Those people get it. They understand the small town appeal.

James Dean in Fairmount, 1955. Photo by Dennis Stock.

Do you think James Dean would be amused at the whole thing?

I’m sure he’d be super cool about it. He’d probably light up a cigarette and smile.

What would you say is the most important thing you learned from this project?

I’ve learned more historical things about Fairmount than I can count. I think the most important thing I’ve learned is the importance of community. Whether an internationally known icon was born in your small town or not, make something happen. Be creative, and stay positive. If you want your town to look clean, clean it up. If you want your town to have a festival, start planning one. The smaller the town, the easier.

The Winslow Farm

Marcus Winslow Jr.

What do you hope the viewer takes away from this piece?

Of course, the viewer who has already made the trip to Fairmount understands the importance of the message from the film. The person that I’m hoping it really leaves an impact on are the people that are in the position that I was in. The people that live their everyday lives in a town that’s tiny and seems to have nothing to offer. I hope they wake up, like I did, and realize that life is what you make of it.

What projects are you working on at the moment? Do you have a dream project you’d most like to bring into being?

I’m planning a photo project involving portraits of small town individuals; Possibly printing a book. I love photographing people. Maybe some type of gallery showing?

Is there anything you’d like to say in closing?

It was an honor to be able to interview all the great people that I did; They’re all pieces of the puzzle. I’d also like to thank all the people who have supported this project or donated to the cause.

Michael Mathias

FOR THE ROSES

For Joni Mitchell

I think of her watching the
last rose petals on a
day like today, say deep
August, browning like
an old rubber doll
she might have left
in an attic in Canada.
I think of her pressing
skin against glass, a sense
of summertime falling,
that sense of fall
that  that Sylvia Plath
wrote of. Or maybe some
freeze frame of what
is going, moving on.
I see her pale arms,
sea mist velvet jeans
hugging hips that
never will not be boyish.
In the wind, gone
voices move close
to her cheek bones. In
this frame she could be in
a fancy 30’s gown. Some
thing is raw, some thing
is broken. It has to be
a full moon
etching black water.
She has to know that
from what is torn
and scarred, some
thing almost too
exquisitely beautiful
is already stirring,
some thing dark
as coal becoming
diamond, insistent,
dying to be born

Bob Lizarraga is known for his unique take on monsters. Mixing classic horror elements and caricature in a way that appeals to fans of all ages has led to his work for such iconic companies as Warner Brothers Animation, Universal Cartoon Studio, Comedy Central, Nickelodeon, and Famous Monsters of Filmland magazine to name a few.

What were you like as a child? Do you think growing up where you did gave you an advantage when it came to pursuing your interests at an early age?

I’ve always been thankful for growing up in California, and having a mother that liked horror movies! She used to watch them with me, so I think the atmosphere was “safe” for me to watch scary flicks. Plus, I found monsters and grotesqueries immensely fascinating. I wonder what I would have been interested in if it hadn’t been for TV, which had an abundance of weirdness!

Did you always have an active imagination? Do you think that comes in handy in your line of work?

Oh yes–  my siblings were much older than me so my imagination grew as I spent a good amount of time alone. I had many friends, but I also enjoyed my own company…

What first sparked your interest in horror? What was the first movie that really spoke to you? Do you remember what your first favorite character was?

My earliest influences were the movies on TV—they always played the Universal classics, and there were horror-show hosts as well. Crime stories and lurid Mexican melodramas were always on—one of my earliest drawings was a man under a white sheet with a bloody knife sticking out his chest. I saw that in some film. Thanks for not sending me away, ma!

Why do you think monsters have always held such appeal for the masses?

In my opinion, humans are fascinated with ALL aspects of living (and dying), and monsters and dark subject matter are needed to help gauge what is “nice” or “good”. Many cultures teach only the “good”, which of course makes the “bad” a tantalizing subject matter. Plus, some creative types just can’t resist a great grotesque visage.

Why do you think the horror films of the past seemed more substantial than the ones made today? Do you think it is fair to say that their characters had more personality than those found in today’s films?

I’m a bit biased because I grew up with the Universal monsters, for example, but yes, The Frankenstein Monster, The Hunchback, and The Wolfman all had pathos—they were trapped by their circumstances, or didn’t ask to be shunned by the villagers. Mr. Hyde, The Mummy, Dracula and even The Creature had human frailties, and were just trying to exist in much the same way a dangerous animal would.

Do you think with the passing of so many of the legends of Horror that the genre is going to suffer?

I’m not really sure- it all depends on who wants to carry the torch (heh) for what went before. I work a couple of conventions during the year, and it’s so cool to see up and coming young creators who really “get” what the old school horror was all about.

Are illustration and animation things you took up early on or did you develop that later on?

I always drew, but I didn’t really figure out what I wanted to do (creatively) until in my late twenties.

Who are some of your favorite artists?

Whoa–  it’s a LONG list! But I have to say the biggest influences on me were Basil Gogos, Mort Drucker, Jack Davis, (and all the MAD artists), Comic book artists like Jack Kirby (he drew great monsters).

When did you first know it would be your career?

What IS a career, anyway? (laughs)I love working in animation design, but not all those types of jobs allow for creative expression. So I “feed the ‘gators” by finding the time for my own brand of weirdness.

What advice would you offer others wishing to pursue the dream of working in the artworld?

Pursue your own creative expression (draw or paint whatever the hell you want) and if you’re lucky, people will hire you to do more. But we work to live, so remind yourself that the not-so-fun-jobs are there to carry you to the next chapter.

How does it feel to see your work being used by some of the top companies in the industry?

Its an ego-stroke for sure, and a validation of my work. I am in gratitude to those who feel my work has value…

How does it feel to be able to do what you love for a living?

It feels pretty good, thanks. George Burns said to try and love what you do for a living- he couldn’t wait to get out on the stage, and the icing on the cake was the money he made doing it.

What do you think is key to a life well lived?

What’s that saying? —“Living well is the best revenge”. I like that. Again, I try to make time for all aspects: art, entertainment, work, love, friends, fun.

What would you say is the best advice anyone ever gave you?

A wise old animation designer once told me “Don’t let the bastards get ya down”.

Do you have a dream project you’d most like to see come to completion?

Oh, man—so many. I’d like to do some short films, giant paintings, and throw a huge Halloween party.

Anything you’d like to say in before you go?

Just a big thanks for being interested in my work! Cheers~

For more information on the works of Bob Lizarraga, or to purchase prints or original works please see:

http://www.lizarraga.net/

http://www.boblizarraga.com/

http://boblizarraga.blogspot.com/