And did you further know what I am applying to myself right now?
This one started out as an extra page for the American Salvage book, a little introduction to the history of and academic discourse about comics that could explain the project’s intellectual value, but I could never figure out the last panel, how to bring it full circle or tie it in to the rest of the material. Like, where was this narrative going? Was there any joke in it? And how many copyright violations did I dare produce?
In for a penny…I drew all the licensed characters. I believe that this comic constitutes fair use but you know fair use is only for people who can afford lawyers.
Tonight I just decided to draw something for the last panel. I don’t know if this comic succeeds in saying what it wants to say, but at least it’s finished.
Bonnie Jo had the idea for a comic about the origins of American Salvage, and she sent me about 6 sentences, one per panel, and then we sort of bounced the script back and forth until it worked for both of us, so this is actually the first true collaboration we’ve done in 2 books. The other 31 (thirty-one!) comics I’ve written about her work didn’t really involve any direct communication or feedback during the process. So this was fun. I love memoir.
The dog in panel 5 was named Rebar, and he only had 3 legs. The picture of me in panel 6 is totally recycled from the last book. The donkey in panel 4 is the only donkey I drew for American Salvage, while Mothers, Tell Your Daughters is full of them. American Salvage, on the other hand, features many more drawings of blood and weapons.