Trapped in Amber

I’ve been thinking lately about perfect moments. There those events in your history that aren’t weighed down by the stresses of life. You can start your day anxious and cranky, and you could end your day depressed and disappointed, but in the middle, time stands still, and everything is as it should be. I’m almost fifty, and I have so many.

I can remember with clarity my first kiss (in the back of a GATE van, fist-bump), even if I can’t remember the reason we were in Albuquerque, or the fact that I figured out shortly after that I didn’t even like this person. I can recall what she was wearing, and the fact that she had to make the first move before I noticed.

I remember walking by a canal in Florida with my parents, who were married forty-four years by this point and were still holding hands. I recall the yellow-green of the grass, the fence to the left, and trees in the near distance.

I remember Newcastle chasing me through the apartment until I jumped onto the bed, and he joined me, and we snuggled together on the green sheets.

There’s so many.

I have a favorite. It’s stuck with me for over twenty years because it was perfect. It’s an unremarkable moment, and I feel safe in assuming that all of my friends, including Facebook friends, experience this. There was something about this time, though, that didn’t fade.

In January or February, 2003, I had spent the night at my girlfriend’s apartment. We had known each other as long as we’d lived in New York, but we were still in our honeymoon period. Work beckoned us, so we bundled up and walked to my subway station in the cold and snow, surrounded by drifts of dirty ice. She lived on 210th Street, so the trains were all elevated, so we hid from the precipitation under the tracks, with the painted girders. Casually, she kissed me goodbye before heading off to her own train.

And that’s it. That is the moment that sticks out to me the most. I remember the black belt of her black coat and her debutante gloves. I remember the leopard print lining of her hat. I remember her hand on my heart, a gesture she made a lot with me. I remember that it was the most natural thing in the world.

She had kissed me goodbye before, but something had changed. This time I felt like I was an important part of her life, not just some guy. She seemed a little more relaxed. And for the first time, I felt like I was good enough for her. She and I had dated twice before this, and we felt hopeful that the third time would be a charm. There was a lot of hope in that kiss. We were really good friends, even before we started dating (again), so there was comfort.

The third time was not a charm. A few months later, I had a depressive episode and broke up with her over the phone. We stayed friends, though not as close as before, and then we became really close again long-distance. Unfortunately, I was cut off from most of my friends during my marriage, so we drifted apart, and our current lives are about as opposite they can get. I don’t expect she even remembers this because it was so mundane. It was my moment.

Why is this my favorite memory? I think it was the intimacy of it.

So many lifetimes later, I will always have that moment, that kiss in the snow, when everything was perfect.

With a Single Step

I have a lot of vestigial dates on my calendar. For example, September 13 will always be the birthday of my ex, Andrea. I make a note of it every year, despite that she will never speak to me again. May 7, the day after my dad’s birthday, belongs to a high school best friend who grew up to be odious. These are people I no longer have a relationship with. But that’s the past. On the rare occasion I make a new friend, I can’t remember when they were born.

Other dates that have no relevance for me are April 30, which is my wedding anniversary. December 13 is when she served me divorce papers. Her birthday is March 23, but I can safely say that I haven’t noticed it the last five times that day has passed. August 22 (today!) is the twentieth anniversary of when I left New York.

In 2004, I was miserable a good half-to-two-thirds of the time. This was mostly because of my untreated, undiagnosed mental illness, and also, I was really lonely. Kate was the solution to this because she was, at the time, my soul mate, and she was opening her home to me. The resulting adventure was epic.

Was it a good decision? Well, Kate treated me like her property. She convinced me that all my friends were insane and that the only ones I could trust were hers, all of whom turned their backs on me following the split. (Some of them pretended to be “neutral” while actually being Team Kate. These are the people I think the least of.). She convinced my doctors and me that I was incompetent and couldn’t take care of myself. She tried to create a rift between myself and my family.

On the other hand, she was the biggest cheerleader of my art. She bought me supplies I still use and encouraged me to start my own art business. (She wanted to make greeting cards, which I did not enjoy.) She hired me a personal trainer, and for five years, I was in great shape. (You can’t tell by looking at me now that I used to run 5Ks for fun.) Most importantly, she was a champion of my mental health, and the only reason I can function at all is because of her.

In addition, she turned me into a Mac person, she expanded my flavor palette, she took me around the world, she taught me to be more financially responsible. She brought Newcastle and me together. I dressed better when I was married. I feel like I was more of an adult back then, even compared to now.

I honestly think that leaving New York twenty years ago was the best decision I could have made at that point of my life. It was when I took the first step to being an adult. It was when I packed up and chased true love. It was when I was brave. That’s why I remember August 22 every year.

The Giving Tree

Prior to Sunday, Oscar and I were living in Nicole’s apartment, formerly our apartment. I stayed there for two weeks, and Oscar stayed a week longer than that. The problem is, Henry has been really depressed and crying all night since Newcastle and I moved out, so she was thinking of getting him a kitten. But she wanted to practice with someone old enough to defend himself.

Oscar and Henry did not get along. When the former first showed up at the latter’s, there were some really bad fights, so Nicole’s boyfriend cobbled together a gate to keep them apart, but they could get used to each other. They called it the DMZ. Oscar could jump on top of it without much effort. They could be in the same room together, and on my first night, they snuggled up on opposite sides of my lower legs and we all slept together.

His last week there, Oscar finally had the Surgery That Dare Not Speak Its Name, and I walked him to the vet in a backpack. I couldn’t watch his reaction, but he was quiet, and I think that’s a good sign.

But now we’re home. Nicole’s apartment is 850 square feet, mine is 435. I’d love to take him for a walk, but on the rare occasions I don’t pass out from blood loss and get him into the harness, his feet stop working. His motto is “Death from above!”; but he doesn’t have a lot of heights to aspire to.

I don’t want Oscar to get bored. I play with him a few minutes periodically. I talk to him, I let him sniff whatever’s in my hand, I scratch him behind the ears whenever I see him, I open my window in the middle of a heat wave. I don’t want him to get bored. I bought him a new cat tree and backpack. The tree arrived today, it took me over an hour to assemble it. It’s the perfect height to loaf out in front of the window. On the lower tier, there’s a ledge that’s perfect for hanging out with Dyad while he’s working.

Unfortunately, I have to get rid of the old one. Until January, I’ve never lived alone in my life, especially when it came to Newcastle. I’d never made a big purchase for my cat, the love of my life. It came from our joint account when I was married, and Nicole and I split expenses for the cat. So the first thing I bought was a tree for Newcastle. It was not a tall one, for an old man, but he never used it anyway.

Newcastle only lived alone with me for six weeks, and he never used it. Sometimes he’d get into the hammock that was the same height as my desk. Even if I wasn’t looking, I knew he was there. He was my anchor. Since then, Oscar enjoyed the hammock a lot whenever I was working.

I hated throwing the tree away because it’s the last monument I had to him. But I got a new kid, and I’m buying presents for him now.

* Oscar is in this picture.

Frisky Business

As you may know, I’m ace, or asexual. Some may find this hard to believe because I’ve had my fair share of sex in my life, but there is a pattern. I tend to be more randy when I’m manic, and when I’m baseline or depressed, I’m not interested. I’m still drawn to sexiness, but I don’t want to have sex. Asexuality is a scale, and I fit on it somewhere.

Anyway, that’s my way of saying that I’m apparently going through a manic period. This means delusions of grandeur, snap decision-making, irresponsible spending, a really short, hot temper, and I start remembering sex fondly again. As a result, I started getting a little frisky with some of my drawings. I’m still seeing all the errors, but I’m happy with most of these.

Art to Art

I’ve been feeling really self-conscious about my art lately`. I’m continuing to draw, almost compulsively, and paint or color, because I like the act of doing it. Unfortunately, I am not that crazy with the results.

I obsessively catalog and curate my art, going back almost as far as I’ve been drawing, which was 1998. I started out sketching in lined notebooks or whatever I could get my hands on, and I was so proud. I was drawing stick figures and bodies with no faces, and to me, they were as classic as a John Singer Sargent. Unfortunately, those notebooks are all lost to history. The first sketchbook where I started drawing faces was given away as a wedding gift to someone who would appreciate the symbolism of it. That’s the first six months of me making art.

The earliest drawings I have digitized are from 1999. They’re of Sean, Lisa, and Eugene, characters from a short story I wrote in college and the sequel I was working while I was figuring this out. I still write and illustrate these characters constantly.

Twenty-five years later, I continue to feel pride in these sketches. I can’t always say the same.

Recently, I skimmed through thousands of digitized drawings and picked only the ones that sparked joy, which turned out to be about six hundred. As I was paging through, I saw countless bad drawings that are making me ask myself who I’m fooling.

I’ve drawn pictures as recently as last week I would be mortified by if someone else saw it. Even as I’m getting better with basics like hands and anatomy (I’m still trying to get the hang of hips), I draw mostly stinkers. There are dozens of pictures of Lisa crosshatched with red, blue, green, and black pens, and only four of them are worth looking at. (Almost) everything I drew between 2015 and 2020 was so bad, I quit drawing altogether.

I didn’t start drawing again until the end of 2022, when my coworker saw a self-portrait I did in 2020 (one of the few good ones I did) and would not let me say no to her request for a portrait of her own. This time, I bought a cheap sketchbook and a mechanical pencil and started from scratch.

Look, I have no idea what the hell I’m doing. I have no training. I have two anatomy books that are useless to me because that is not how I learn. I read How to Draw Comics the Marvel Way. Every breakthrough I’ve made is met with a backslide, and I can’t seem to stop that from happening. I’m self-taught, and it shows.

I look at the comic book artists I take inspiration from, and they don’t make mistakes. The penciller doesn’t make one hand bigger than the other. The inker doesn’t lean too hard on their brush and make one line really thick. The exception to this is my idol, Matt Wagner. In his 1983 series, Mage, you can witness his evolution, issue by issue, as he gets better by doing it.

This inspired me to start drawing comics in 2002. I figured out how to do it by doing it. It’s how I learned to draw in the first place, and it’s the most satisfying way for me.  

I’m not going to share as much art as before. A lot of what I’ve already shared is a huge mess, and I’m really embarrassed about it. I’m also not getting as much engagement over social media, so I’m seeing that as a less and less productive way to spend my time. If there’s one that really knocks me out, I’ll share it. Otherwise, I’ll turn the page and try again.

Noir Favorite Things

A while ago, I started listening to podcasts, and I soon learned that some really talented people were doing old-timey radio shows. I quickly zeroed in on writer and voice actor, Gregg Taylor and his baby, Decoder Ring Theatre, home of the superhero adventures of Toronto’s Greatest Champion, the Red Panda and my favorite, Black Jack Justice. Set in the fifties, the show is about a Private Detective and coffee snob, Jack Justice, and his partner, Trixie Dixon, two-fisted Girl Detective.

Taylor is an enormously talented writer. The styles of Red Panda Adventures and Black Jack Justice, as well as the anthology plays he does are wildly different. The tone between episodes of a single show will veer out of control. Black Jack Justice has had episodes that leave me laughing aloud on the train or episodes that break my heart with the injustice of it all. His dialogue is spot on, and I wish I could pull out a few quotes to share.

I picked up a couple of his novels when I was a reader, and his conversational style in the shows translates perfectly to paper. He’s been a big inspiration to me, as a writer and as an artist, so I did this little piece a while ago.

Tooting my own Horn

Evidently, farting is funny. There are fart jokes in ancient Roman murals. We all know who Shakespeare is because 60 percent of his writing was baffling language, and the other 40 percent were fart jokes your English teacher had to explain to you. Fart jokes are mighty.

I don’t understand the appeal, to be honest, though I think it may be the taboo nature of farts, mixed in with “there but for the grace of God go I.” Farts smell really bad, and there’s something funny about being people being disgusted.

Some people are really proud of their farts, and some people don’t ever admit to having them. But the fact is, we all fart. Kim Kardashian farts. And since it’s a shared experience over the world, a vocabulary is going to be built around them. And that brings me to my question.

You know how some farts just explode, real attention-grabbers? Other farts are the opposite, hissing out of your anus with nobody the wiser. The problem is, these are also the most fragrant, so what do you call them? Silent-but-deadly? This is the one I hear the most. I understand the appeal of the gag, where it’s like a ninja of discomfort, but it’s not as good as the other one. I learned of this one in middle school, and I loved it for its sheer poetry: silent-but-violent.

I never hear it anymore, even though it is the superior of the two by every means. Silent-but-deadly describes poison gas, but silent-but-violent knocks you around a bit, gives you a bloody nose. And it rhymes.

When you were a kid and the scent of a microwaved dead skunk marinated in used gym socks comes from the bowels of someone in this room or elevator car, what do you call it?

Silent-but-deadly?

Or silent-but-violent?

Meet Gretchen

Gretchen West is a former intern at a sleazy New York City tabloid who graduated to fotog. She’s a bombshell, she doesn’t have an insincere bone in her body, and she’s actually a really good photographer. She balances out her good points by being really obnoxious. She is a gum-chewer, a belcher, and a knuckle-cracker. She can unleash a silent-but-violent at will. And her laugh. Oh, God, her laugh.

Parenting in the 70s

I would like to start working on comics again, but it’s been so long, between Newcastle’s final days in February and Oscar moving in in April, that I’m concerned I won’t be able to restart. I’ve been spending my weekends at the coffee shop, drawing little lots of little fully rendered sketches, hanging out with Oscar, etc., that I can’t bring myself to return to my half-penciled page.

So I did a one-page short, set in 1977, starring my parents and their kid, who only likes to play with toys if they can kill him.

I Want to Take his Face … Off

We all know who Nic Cage is. He’s a dangerously unhinged actor who had a pyramid constructed to house his remains. When you see him screaming, “Not the bees! Not the bees!”; it’s easy to forget that this guy won an Oscar. He is a genuinely good actor, but he owes a lot of money to the IRS, and will take any job he can get.

Nicolas Cage is weird. He named his son Kal-El. He’s plenty weird onscreen too, delivering some of the most bipolar performances in movie history. You can see the same histrionics in the role that won him an Oscar on display when he dresses as a bear and cold-cocks a woman.

In Face/Off, one of his bigger roles, Cage plays a terrorist who switches faces with the FBI agent vowing to bring him to justice. He costars with John Travolta, who plays the FBI agent who switch faces with the terrorist he vows to bring to justice. And then the doves come out.

Face/Off starts out with a little boy, no older than five, getting shot in the head. It’s a John Woo movie, so no punches are going to be pulled. The next scene ends with a plane crash and gun ballet and someone getting flattened in a wind tunnel. This is the first eighteen minutes of this film.

John Woo had a long career in Hong Kong before coming to the US. The first time I saw Hard Boiled, I couldn’t get clips from it out of my head. The grace of the dives, the flash and crack of the guns. A baby urinating on the hero to put out a fire. Hard Boiled was a bloodbath, but sentimental, like all John Woo movies.

I haven’t seen all of his movies, but I have to say that Face/Off is in his top three (that I know about). With a Hollywood budget and stars, he shot a bloody gunfight around a five-year-old boy listening to “Somewhere over the Rainbow.” He ends the movie with a brutal gunfight in a church, followed by a high-speed boat chase that ends when their stunt men are thrown onto the beach. This was a bay seemingly made of napalm because everything blew up.

Face/Off seemed like the last few episodes of a long-running show. Agent Sean Archer and Castor Troy have a long history of failing to kill each other, and it shows. There are so many stories between them, I’m surprised a comic book company never got the licensing rights to do prequels. There are so many characters who have names and are given a personality who are in maybe two scenes, from Archer’s best friend, Tito to the agents at the FBI office, to Castor’s brother Pollax, to the vaguely incestuous Demetri and Sasha, who work with Troy.

Even though Nicolas Cage danced, grinned, and got a little pedo as Castor Troy, the movie is never more entertaining as when he’s John Travolta. When Travolta is Sean Archer, he has all the charisma of a sack of mashed potatoes in a toupee, but if there’s one thing he’s good at, it’s mischief. He plays Castor Troy like a sociopathic thirteen-year-old boy.

With John Travolta as the bad guy, Nicolas Cage gets to be the good guy. Where Travolta’s performance ranges from annoyed to angry, Cage brings in some real pathos. This war is weighing on both of them, and it shows.

John Woo’s career didn’t get any better than this. He made some more movies in America, to diminishing returns, including Mission Impossible 2, as well as Windtalkers, the movie about a Navajo Code Talker where the main character is a white guy. Eventually he went back to Hong Kong and has been making the kinds of movies he wants to make.

This was my favorite movie until it got dethroned two years later. I bonded to the moral grayness—when Travolta is Troy, he becomes a father and a husband, and when Cage is Archer, he steals and lies and commits great acts of violence. I was pretty convinced I was a bad guy back then, and it was good to see that you could be bad and do good things.

I also really dug the gun ballet, as well as the mythos, and the finest, as Jason Mantzoukas calls it, “kabuki acting.” I could talk about this movie forever, like how the Troy brothers are named after the Gemini brothers, but I won’t. I’m not qualified to say if this is his magnum opus. What I will say is that this movie was the work of a mad genius, and I salute you. If there’s one word you can use to describe John Woo, it’s sincerity. I think this is how he sees the world. I think that, most of all, is what I connected with.