Monday, December 2, 2013

A Snark's Christmas in Wales

THE HUNTING OF THE SNARK by Lewis Carroll, a graphic novel by this artist, and explained here, page by page, panel by panel, squiggle by squiggle … right now we're in Fit the Seventh

A sudden outbreak of paranoid Orientalism has overwhelmed every drop of precious ink spilled upon this stanzel. Where once we saw pleasantly buffoonish Snark Hunters disporting themselves against a backdrop of English garden parties and nursery room labyrinths, we are now confronted with the raw animal passions of … well, animals.

The role of animals in Marxism is only lightly touched upon in academia but thanks to our cunning stratagem of employing Karl Marx to play the role of the Banker in this GN version of the Snark, it's about time we put an end to all that sort of thing.

As always, it was the Italian supra-surrealist Alberto Savinio who first grasped the essence of the animal-proletariat's dilemma:

Totemism is a sign of the dignity animals once enjoyed, a testimony that the earth was once a paradise. But the memory of this paradise grows more and more dim.

Paradise is precisely what both capitalism (the Banker) and Marxism (Karl Marx) promise all humans foolish enough to check in their brains at the door whenever invited to warm themselves beside any sort of comfy, warm mental fire.

And what was Orientalism for the Victorians but just more of the same? A paradise peopled by commodified humans regarded as monkey-like primitives (the worst sort of totems) until they clapped you inside a Bandersnatch's basket.

Go ahead and threaten them with your mass-produced, rationalist's forks and hope and smiles and soap but it's just as you feared: ask not for whom the bell tolls, it tolls for thee, just as you feared …


The ultimate Christmas gift for the Adventure Time fan
… my original art for the cover/interiors of the NYT-best selling Adventure Time Encyclopaedia (2013, Abrams) … on sale at The Beguiling. This original art is unlike any other contemporary inking you’ll see: resembles copper-plate engraving on Japanese rice paper … extremely tight and delicate line-work floating above a translucent matrix … crosshatched like a dollar bill but TIGHTER, RETINA-CRUSHINGLY-TIGHT … no pro-white, no scraping. Just pure “mathematical”, psychotropically linear eye-candy. There's more description at The Beguiling's blog …

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