Flipping back through the previous 2 volumes of Bonnie Jo Campbell comics, I was struck by something Bonnie said in conclusion, that she wrote her stories to inspire compassion in readers, to make them care about the marginalized folks that she most often writes about. She wants her characters to be seen, especially those types of characters who we often don’t really see.
Big Joanie is the kind of person that it’s easy not to see clearly, to dismiss for being big and fat and ugly, with bad skin and bad hair, and in the case of most of the men in this story, to sexually objectify because, not in spite, of her lack of conventional attractiveness. “Circus Matinee” puts us inside of Big Joanie’s head, where we can see her being overlooked and objectified and we get to see her reaction to it. She’s used to it. She accepts it. She anticipates it.
But also, because it’s all she’s ever known, it’s all she ever expects.
This is the story of a moment. The tiger is out of its box, and now, so is Big Joanie. In that moment, she chooses not to obey, not to remain sightless as she has been made in the past, as the hapless, sexually objectified mistress in the cheap seats remains in the moment. Big Joanie says “fuck you” to men who tell her what to do and what to see. When Big Joanie chooses to see, the reader can’t not see her. We’re cheering for her.
The tiger and the snow cone pictures came out pretty well. The feet in panel 2 remind me of drawing Carl Betcher’s feet in “Multitude of Sins” from Mothers, Tell Your Daughters. I felt gross about drawing young Big Joanie in panel 5; in my first draft she was fully dressed, but that doesn’t reflect the text and doesn’t make sense. I left her the one pant leg, small comfort. Big Joanie’s face is based off the actress Dot Marie Jones, who always turns in the kind of performance that does make you look, and see. The adulterous businessman in panel 4’s face is based off convicted felon and poster boy for casual evil Martin Shkreli.