The Conqueror Snark

We're frolicking through yet another exegesis of my Snark GN …  deep in the anapestic bowels of Fit the Second …

And so, even the least of the Bellman's hopes shall be occidentally disoriented. What wind blew you hither, noble Bellman? Not the ill wind which blows no man to good. Nor that wind which is winding the watch of your wit; so that by and by it will strike.

I think this wind is what the learned scholastic Flann O'Brien would call the ultimate and inexorable and supreme pancake at the back of the whole shooting match, ie., omnium. And what is this omnium of this wind that we hear so much of on the tellyvision? It is the essential, inherent, interior essence which is hidden inside the root of the kernel of everything and it is always the same. The bane of Booja* and Bellmen alike, the curse of the drinking classes, this here omnium-wind is the wind of an indefinite divisibility.
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* The nominative plural of boojum is booja, this particular species of the genus Snark being neuter in nature — Snarkus boojum. The verb itself is regular, of course: booja, boojas, boojat, boojamus, boojatis, boojant; although the correct orthography should really be BOOIVM, BOOIA, etc. 

Heute zeichnen wir im Ernst!

We're frolicking through yet another exegesis of my Snark GN …  deep in the anapestic bowels of Fit the Second …

As the nurturing, endlessly comforting snows of Québec begin to numb our cerebella at chez snarque, we have ample time to reflect upon the old adage: good artists borrow; great artists steal (and never from the merely good artists). I've mercilessly looted the Belgians, French and Italians, so the inspiration for this stanzel will have to be purloined from the Germans.

Easier said than done, I soon discovered. Friedrich Nietzsche (The Bonnets) and Martin Heidegger (The Barrister) refused to countenance my scheme but Karl Marx (The Banker), that preternaturally prescient Protosurrealist, quickly came up with some snappy double-talk to justify my larcenous designs. He pointed out that crime is actually good for the likes of Lewis Carroll and his ilk (double-plus-good, in fact):

"The criminal produces not only crime but also the criminal law; he produces the professor who lectures on this law and even the inevitable textbook … the whole apparatus of the police and criminal justice … also art, literature, novels, even tragic dramas … he (the criminal) gives a new impulse to the productive forces."

That's pretty juicy stuff, say no more, Karl! Within minutes, my crack team of ninja-idiot-savant-cat-burglar-draftsmen had illicitly purloined and haphazardly reproduced this picture of a giant thumb lusting after his maternal walnut from none other than Max Ernst, the noted German surrealist and an echt bon vivant with the consummate Carrollian taste to die the day before he was born.

Of course, you, the dear reader, may ask: what's this picture got to do with a vessel being snarked in tropical climes? I can only reply: It's a fair cop, guv'nor!
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NB. Max Ernst's illustrations for the Snark are dadamax-loplop-good! One may wonder what Lewis Carroll would have made of them, but by using our Protosurrealist critical apparatus we can safely say: yes.

I, Snark!

We're frolicking through yet another exegesis of my Snark GN …  deep in the anapestic bowels of Fit the Second …

Eugène Delacroix pooh-poohed maritime disasters and English literature, both of them subjects dear to the hearts of this artist and Lewis Carroll …

"… I have been reading the story of a shipwreck by Edgar Allan Poe, where the survivors remain in the most horrible and desperate situation for fifty pages on end — nothing could be more boring. Here we have an example of foreign bad taste. The English, German and other non-Latin peoples have no literature because they have no taste or proportion … they drown one beneath a flood of detail that takes away all the interest."

Later that same evening, over a beaker of pure rainwater, he tossed off this observation:

"Lord Byron praised gin as his Hippocrene, because it made him bold … happy are they who, like Voltaire and other great men, can reach a state of inspiration on fresh water and plain living."So, you want fresh water and plain living with no details? Very well! Get on this sinking raft, Eugène! You did it for Théodore Géricault, you can do it for me! Down there in front, behind the Bellman with your arms outstretched and quit your whining, this ain't no alexandrine hémistichery — this here's Lewis Carroll! Tingle that bell!

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NB. I have increased the mineral content of Delacroix's head to compensate for his natural Gallic bouyancy and to highlight his affinity for impersonating an Easter Island moia.

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If you're still reading this far, I salute you and offer you some relief at last, a gallery of recent work for Adam Roberts and J.C. Valtat …  my (and the authors') homage to the Master, Jules Verne, and his original illustrators, artists such as de Neuville, Bennet and Riou, who laid the foundations of SF art. Plus, Adam and Jean Christophe's novels are both amazing, mind-twisting, print-and-paper equivalents of the Total Perspective Vortex. Can you handle them?

Lost in snarkish translation

We're plodding through yet another exegesis of my Snark GN …  deep in the anapestic bowels of Fit the Second …

Yet another shameless Magritte pastiche, and not the last one to grace these pages, I'll wager. Shameless — the 10th Muse of Protosurrealism!

Even more shameless — this insistence that the crew of the HMS Snark use the French language for navigational purposes when it is clearly evident to anyone who has ever been lost at sea that English is the natural language of confusion. This is easily verified. Stand on a street corner in any francophone city and ask a stranger: where am I? If necessary, pull at shirtsleeves and wave your arms, speak very slowly while pronouncing every phoneme at the highest decibel level.

I shall be observing you from inside the comfortable vantage point of a nearby bottle of plonk. Do not make eye contact with me or else — sapristi! Garçon, call the police, this crazy-man-anglais-cowboy-streetperson is bothering me!

Words, words, words … if only they had the decency to cover themselves up, like the Bellman & Company. They have no loyalty, they can't be bothered to mean anything anymore, they're shameless!
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NB. The champagne corks are popping and the mishti's flowing in Shillong and Mumbai … my wife's mawsi (aunt), Parveen Sultana, has just been awarded the Padma Bhushan by the Indian government. If time permits in your busy day, take half an hour to enjoy her artistry, you will not be disappointed …

Full fathom five thy father lies; of his bones are snark made!

 
We're plodding through yet another exegesis of my Snark GN …  deep in the anapestic bowels of Fit the Second …
 
The original illustration by Holiday of this Universal Map is, to be honest, a little trite. It's obvious that the poor man was trying to economize on india ink and pen nibs. However, as the 11th Commandment reminds us: thou shalt not speak ill of another artist, particularly when they are dead and defenseless (the precise state in which their work is best appreciated and appreciates best).

I felt that I could do better. I assumed the traditional artist's position of cogitation whilst supine on my charpoy. I puffed upon the hookah proferred me by the Assamese chorus-girl who also pressed my feet, the predominant organ of mentation in my species. I was, of course, familiar with the etymology of the word "map", which ultimately conjured up the hebraic motif of a cloth which conceals and a cloth which reveals, all of which I deftly distilled into "what's-behind-curtain-number-four" and "the-Freudian-Slip".

But still … it was obvious … too obvious, perhaps. All the better for my class of readers! Starting with a gratuitious insult to Henry Holiday I had mentally arrived at a hookah-puffing Jewish savant peddling obscurantism to a witless Bellman in a Cairene souk. In the distance I could hear the blood-curdling screams of native children conjugating French verbs. I paid them no heed! I bent over my drawing board, pen in hand, my thoughts feverishly coagulating in a vivid mental maelstrom of mixed metaphors and incongruous images! Two weeks ago I couldn't even spell "artist", now I are one!

Cloudcuckoosnark

We're plodding through yet another exegesis of my Snark GN …  deep in the anapestic bowels of Fit the Second …

There are some who might say this artist's conception of the Bellman is a base and underhanded attack upon the same, suggesting as it does that the Bellman was literally birdbrained and furthermore, that his colleagues (depicted here and here) possessed the collective wisdom and general prescience of a flock of chickens on the way to the abattoir.

But this is not the case.

I put it to you that the English penchant for all things avian is well-known. I put it to you that Lewis Carroll populated his verse and prose with many avian and semi-avian portmanteaux (or portmantanimaux?) such as the Jubjub Bird and the Borogrove.

I put it to you that the Bellman has suffered the ill-effects of a Violent Unknown Event and that he has metamorphasized into an avian state common amongst avant-garde English cineastes. The wisdom on his face is actually the smug look of a sporting wallah who finally knows for certain which came first, the chicken or the egg.

Cry havoc and let slip the snarks of war

We're plodding through yet another exegesis of my Snark GN …  deep in the anapestic bowels of Fit the Second …

Each Fit begins with a frontispiece involving a pun of some sort — the feebler the better — and a clumsily hidden depiction of the Snark. Alert readers will remember that the Snark is I, hence, the Snark as Eye is liberally scattered throughout the book. Less alert readers can look it all up on google.

The Bellman's speech is of that particular British provenance yclept "fruity". Not so much "plummy" but rather … "peachy". If one removes the fuzzy skin thereof (the burr, so to speak) one is left with a nectarine. This fruit (spelled n-e-c-t-a-r-i-n-e but pronounced "stuffed cabbage") was the preferred nutrition of most cavemen and it was they who first domesticated the dog.

We see here a sample of that species, a young pup named Laelaps, who attends upon his master's fruity voice. And what does he hear? A sonorous mussitation which leaves no impression upon him at all, for, as Thomas Aquinas noted, dogs have no souls. Hence their proverbial high fidelity is but a marketing ploy.

A dog, a peach, a gramophone — after all these years, my own 3-piece jazz combo! At last, I can take a bath. And just in time too, my gin-driven ink-pen's almost run dry.

The Bellman rings twice

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 …

Leaving someone to their fate is all the rage in certain philosophical circles. The smart set calls it a feeble-minded tautology but we think it's a splendid excuse for yet another obsessively cross-hatched depiction of Karl Marx shaking his fat German booty in a tight-fitting Hindustani harem outfit.

Of course, if you just tuned in to this GN version of The Hunting of the Snark, you're probably eying the exit by now, eager to get away from all this eschatological psychobabble but if you're a regular habitue of these parts, you'll know that all of the above is just another example of this artist's singular inability to clearly explain whatever it is that he's up to.

The shehnai-playing monkey and the bewigged barrister-pig are window-dressing for the real "meat" of this stanzel is the squiggly, blobby bits of ink encrusted on the right-hand margin, the ones that spell out the word "BOO". This word's grim import will become clearer later on but for now, I suggest that you avoid making eye contact with it.

Snark drawings are the New York subway-riding winos and psychos of the illustration and comix world; reeking of strong ink and sour, week-old tautologies fished out of filth-ridden dumpsters, they spell nothing but trouble, especially of the B-O-O ilk.

So go ahead, give 'em your spare change if you want to but you know what they'll do with it, don't you? … far better to leave them to their fate while you scurry back to your cozy, safe home in the predestinarian suburbs …

Meanwhile, a propos of nothing in particular … here's Terry Gilliam's take on making a living in the arts:

"If I'd actually learned any of the lessons, I wouldn't be making films anymore. I try not to learn. I spend most of my life unlearning …"

Soyez zen, Mr. Gilliam!

Everywhere man is born free and everywhere man is snarked

You know that your professional life has taken a turn for the better when people will pay to see your drawings of The Banker, AKA Karl Marx, vamping his way through the British Raj in blackface (or brownface, to be precise). But I digress …

This stanzel is jam-packed with jolly bits of scrumptious, Nonsense-soaked Carrollian references. Would it interest you to know that:

1. Mimsy is a portmanteau of miserable and flimsy. The word is current throughout the Carrollian Multiverse, ranging from Snark Island to Looking Glass Land. Pessimistic linguists call this sort of thing a Grimm Shift, while their more psychologically attuned colleagues prefer to call it a Freudian Slip. The main thing is getting the word out of her knickers and into something a little more comfortable.

2. The Banker is rattling his bones and fingering his hair; the former is a reference to Mister Bones, a stock character in Victorian minstrel shows who would literally play himself, ie., play the bones … and the latter is a probably just the Banker luxuriating in his newly-minted, windswept locks.  Dialectical materialism works wonders on the dreaded Bed Head.

The Bone Player, by William Stanley Mount

3. The deliciously well-turned line, "words whose utter inanity proved his insanity," is a cleverly veiled jab at the letter "S", whose appearance inside a word, say inanity, seems sufficient here to render it unfit to operate heavy machinery or make major financial decisions. This petty defamation of the letter "S" is itself a classic example of the inability of most phonemes to just get along. Why can't they learn to live in peace with one another? It's utter insanity, their communal inanity.

The Jewel in the Snark

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 … the Banker, played by Karl Marx, is going blackface …

What better way to get into the genuine spirit of the holidays than to ogle this salacious image of Karl Marx in blackface, doing a Carrollian bump and grind?

Lesser-minded readers will reach for their politically correct smelling salts or even their attorneys but well-oiled Carrollians will heave a self-satisfied sigh of relief at all of this, for they know that in this, Fit the Seventh of our GN version of the Hunting of the Snark, the Banker has been transmogrified twice! First by this artist, who has been depicting him throughout this Snark as Karl Marx and second, by his nemesis, the Bandersnatch, who has reversed his various Caucasian, upper-crust British Victorian polarities into those of a rupee-less, paan-chomping Hindustani rickshaw wallah slumming his way through the salad days of the British Raj.

All of this is per the instruction of the Admirable Carroll, naturally, so don't look askance. He wrote it all down in black and white anapaestics, in a coded message entitled The Hunting of the Snark which this artist then de-ciphered into anapaestic, Protosurrealist crosshatchings of the darkest, inkiest splendor.

It is horrible and senseless and rather confusing, this Carrollian Multiverse we call the Snark and as the observant reader can see below, its gravitational perturbations are rippling through the very fabric of time and space as we speak. Observe this oddly-shelved copy of our Snark which was spotted at a bookstore, endeavouring to say what its tongue could no longer express …



Thanks to my keen-eyed friend and poet Sommer Browning for alerting me to this curious incident and please, if the person responsible for this shelving is reading this, accept my heartfelt thanks. I salute your innate sense of Surrealist horror, your senseless grimace at the pigeon-holing, soul-crushing dictates of modern commerce.

Lewis Carroll rubbing his tweedy shoulders with Sappho and Ovid, the mind boggles deliciously.
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NB. My essay on draftsmanship, Art Spiegelman and graphic novels is up at the Hooded Utilitarian. To tell the truth, the entire subject of draftsmanship wearies me … it seems immaterial to most readers and many artists and yet the literary equivalent of bad writing  is (mostly) unacceptable in print. Why are the public's standards for drawing so much lower than writing?

I am an Invisible Snark

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 … the Banker, played by Karl Marx, is going blackface …

 In an earlier stanzel we subjected The Banker/Karl Marx to the indignities of vamping as a perfumed houri in the lascivious environs of a Turkish harem but that is nothing to his current employment in a Carrollian minstrel show.

Yes, the Bandersnatch has worked its magic at last, the hypnotic spell of the Orient has done its groovy hypno thing and both reader and Snarquista stand amazed at this climactic thing-um-a-bob at the heart of Fit the Seventh.

Reflexive readers will grasp that there is a bit of artistic commentary going on here, most of it focussed upon Victorian British attitudes towards their Indian subjects but lighter-hearted readers can just go ahead and spit up their mulligatawny soup whilst sitting in their bungalow, enjoying their calico pajamas and taking a good dekko at this latest instalment of The Hunting of the Snark.

And why not? It's all Nonsense and has hardly any bearing on anything at all except whatever I've surreptitiously meant it to have, ie. it's a wonderful thing to be seen!
Clear as rain, I should think.

NB. My memory is its usual swiss cheese holey thing but I remember reading somewhere of a minstrel show version of the Snark performed in the USA shortly after its publication … perhaps one of Doug Howick's more startling discoveries?

 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 …

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 …
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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 …

Good snark will hunting

 
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 …

There are times in one's life when one realizes that one has simply drawn too many lines for one's own good. Not in the above stanzel, of course, which has precisely the number of lines and squiggles necessary to evoke the horror of a fat, timorous Banker (played here by Karl Marx) being done away with by a snappy, savage Bandersnatch, played here by a Hindustani monkey who spends his spare time inside a snake charmer's basket.

This business of lines without rest or pause makes a middle-aged cross-hatcher wonder at times: what's it all about, eh? One skips and hops one's way across a page and once one is done, good lord, there's another page! And another and another.

To those readers who come here regularly for a bit of snappy analysis and pithy tomfoolery concerning whatever page of my GN Snark happens to be up for it this week, this must all come as a bit of a surprise.

There are no deep thoughts behind the above stanzel. There is no meaning, hidden or otherwise, nor any subtle message. It's genuine Nonsense of the highest, inkiest, most linear order.
It's just a bunch of subcontinental monkeys and a possessed hookah shanghaing a Banker dressed up to look like Karl Marx until, like this rather depleted illustrator, fainting he falls to the ground.

Next week: more lines! Who would have thought it?
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NB. Saturnalia is fast approaching and smart shoppers know that no child's stocking is properly stuffed without a copy of this artist's GN version of the Snark. Not only is it the best thing Lewis Carroll ever wrote but this version goes all out to furnish the little tykes with what one reviewer called a "Surrealist version of Where's Waldo."

And why not lavish a fresh copy of Martin Olson's Encyclopaedia of Hell onto any disaffected, black-clad gothic teenagers you are compelled to know? The LA Weekly has an excellent review of it here and even better, you can buy the full-color poster here. It sure beats having Kurt Cobain on the wall, mom and dad. Available from Feral House or even Amazon.

A snark for Mr. Biswas

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 … the Banker, played by Karl Marx, will soon discover that a certain pesky specter haunting Europe is none other than the dreaded Hindustani Bandersnatch! …

The Banker’s annihilation, or rather, impending deracination, at the hands of a Bandersnatch provides an excellent opportunity to shift the entire setting of this Snark into the farther reaches of the British Raj. We are in Old Delhi now and in the background of this Fit one can spot the distinctive silhouette of Delhi’s Red Fort, the last bastion of the Mughal emperors.

As for the Bandersnatch … modern Delhi is plagued by monkeys (they’ve even assassinated the deputy mayor) and the word for these sacred and homicidal creatures in Hindi, bander, combines perfectly with snatch for our deadly, Nonsensical purposes.
Was this deliberate on Carroll’s part? Who knows. Both the bander and his hookah have ensnared our Banker into playing the fatal role of the priest Laocoön, as immortalized in the immensely influential Greco-Roman sculpture of the same name.

The Laocoön: the marriage of rhetoric & draftsmanship … yow!

No scene of Carrollian tragedy would be complete without a pun of some sort and in this case, I’ve ensured that the cheque drawn to bearer really does bare her. Such a splendid specimen of well-inked feminine Snark-hunting pulchritude, eh, Carroll sahib?

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NB. Apropos of nothing in particular except the desire to emphasize the importance of being paid to any young illustrators/writers/designers who happen to be reading this, Harlan Ellison has this to say:

… I did a very long, very interesting on-camera interview about the making of Babylon Five early on. So she calls me and she tells me they’d like to use it on the DVD, and can that be arranged? And I said, “Absolutely, all you gotta do is pay me,” and she said, “What?” And I said, “You gotta pay me!” She said, “Well, everybody else is, just, you know, doing it for nothing.”

There's more here and it's worth reading. If the suits are stiffing Harlan Ellison, what do you think they're going to do to the likes of you and me? And doesn't this imply that certain artists/writers with marquee value equivalent to Mr. Ellison must be doing it for free?

As Miss Cunegonde put it in my translation of Dr. Jacques O'Bean's classic satire of American politics and mores, American Candide:

“Doctor Pangloss  always said that the business of Freedonia is business … that means don’t do anything for free, unless you want everyone to disrespect you and call you a really cheap slut. And that kind of sucks.”

The Snarkrunners of Bengal

 
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 … the Banker, played by Karl Marx, will soon discover that a certain pesky specter haunting Europe is none other than the dreaded Hindustani Bandersnatch! …

We've arrived at the central conceit of this particular Fit of the Snark. The Banker, played here by the Eminent Continental Steamer, Karl Marx, is about to be assaulted by his nemesis, the Bandersnatch. You can see the latter's oddly mishapen hand clutching at the rotund Teuton's bloated ankle.

Karl Marx never visited the Old Delhi Railway Station, nor did the Admirable Carroll but we can be fairly certain that if they did, the general tenor of their surroundings would have appeared much as this artist has depicted them. The animal and mannequin headed bystanders, the bazaar atmosphere of narghila-puffing loafers, complete with a snake-charmer awakening the mysterious inhabitant of his basket, it's all there.

Perhaps the less-travelled reader will be taken aback by this local color but those of you who ever wandered into Old Delhi will heave an appreciative, paan-fumed sigh. It's all there, the latter will confirm, and the artist has done a slap-up job of capturing the ineffable, nonsensical air of the place.

In short, thanks to a little judicious visual interpolation and conflation by yours truly, the poet Carroll has done a superb job — despite himself — of conveying the air of a place where he had never been and probably never wished to be. And that is the very essence of hunting a Snark, a beast which conceals itself by cleverly non-existing wherever you are — you need to be where you aren't to pick up its ineffable trail.

To be where you cannot possibly be, that is the Snark Hunter's essential dilemma and you might as well get over it right now. It's not logical, Carrollian Nonsense, so go ahead and heave out your pathetic shriek of despair as you understand — too late! — that it's useless to fly!

Take a locally crosshatched scooter rickshaw instead, sahib, and above all, don't drink the water.

By their Marx of the Snarks shall ye know them

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 … the Banker, played by Karl Marx, will soon discover that a certain pesky specter haunting Europe is none other than the dreaded Hindustani Bandersnatch! …

Framing devices are the very meat & drink of this illustrator's Snark, the very fritter-my-wig, as the Great One, Lewis Carroll, would have said. Careful examination of the above stanzel will reveal that the previous stanzel (72/1) is embedded within this one and that both of them are themselves the culmination of a 7-image train ride that departed an Old English Garden Party to arrive in an Old Delhi Railway Station, ca. 1876.

From whence comes this illustrator's penchant for the visual recursion of pictorial embedding? Was he lost as a child in a funhouse mirror? Was he reared by a family of Russian Matroushka dolls?

Or does he simply believe in giving his readers good value for money? So many illustrators today practice a sort of pictorial minimalism, cutting back on wasteful expenditures of either conceptual or visual complexity. Minimalism is all the rage these days with most commercial artists (understandably so when most of us are paid less than pizza delivery drivers) which means that this Snark's maximalism is the new minimalism.

The embedding of images within images and the dizzying vertigo induced by inflicting this unexpected pulling back of frames-within-frames allows the reader to rush madly ahead, like the Banker and even to be finally be lost to view if they so desire. And an unseen reader, that is the maximum desired effect of the genuine protosurrealist artist.

In short, if you can lose yourself in my Snark whilst seeking that very same Snark, my work in this Carrollian Multiverse will have been done and I can go to other worlds and places where illustrators are desperately needed to take naps on their readers' sofas, drink up all their readers' scotch, and borrow their readers' cars without permission. QED and all that, huh?