Jim Woodring Quotes

Alternative cartoonists have to rely on comic book stores to get their stuff in the hands of readers.

In a long story like 'Weathercraft,' it becomes kind of convoluted. It can become perhaps difficult to remember what led up to whatever point you're at. I worried a little bit about people being able to keep the shape of the story in their heads while they were reading it, and not wonder how they got wherever they were.

I don't believe in art like I used to. I believe in something beyond it, something that contains art and everything else. But I just don't quite have the nerve to chuck drawing and painting. Part of it is that I enjoy it too much, and part is that I don't have the courage to renounce the world. I don't want to move out of this nice neighborhood so that I can live in a shed and devote myself to meditating and touching something I can't feel. I'm addicted to the fun of playing in the world.

It's funny, in some of the interviews I've seen that were done for the film, some people say things like, 'Oh, I was never a very big Jim Woodring fan. I've never thought his work was that great.'

I don't trust my mind for everyday thinking, but I am convinced that it has one very great function, which is to eventually make me aware of astounding things.

Like a lot of freelance cartoonists, when any opportunity like that comes along, I have a hard time saying no, whether it makes sense or not.

I'm not a freak. I'm not really crazy or anything. I don't think I'm really abnormal. It's just, like anybody else, I have interests I cultivate, and one of my interests is not getting too used to things. I've sacrificed a lot of things in my life in order to keep that sense of things being unfamiliar.

I guess if I had to put it into a single phrase, the moral of the Frank stories is that the hammer never really falls.

Dear Supreme Altruist-

I hope you are in a receptive mood.

Thanks very much for placing wihin me the bomb that never stops exploding. Though the benefits have been intangible and in fact I feel that this terrifying mechanism has generally made my life intolerable, I shall never ask you to reverse the situation. I feel I have done everything that may be reasonably expected of me in the way of self-abnegation. However, I now find to my dismay that my lifelong fear of death is beginning to desert me. I believe that this may mean that the bomb's continual explosions may be causing the growth of new slabs of man-bark instead of blasting the loathesome stuff away as it has been doing.

I therefore humbly request that the explosive power of the bomb be increased. Please do not make me weaker; make the bomb stronger.

Amen.

People aren't interested in seeing themselves as they really are.

When I was a kid, I used to see apparitions and have hallucinations, and my entire perception of the world was badly disoriented. And I had kind of a chaotic childhood because of that. I've really hung onto it, though. Because I actually like those feelings.

The fiction I tend to like is nothing like my own work. I like the kind of writing that shows me things I don't know about, and what I don't know about is the everyday, normal world.

If I had learned how to get along in the quotidian world while keeping up the search for the hidden realm, I might have gotten more out of life. But I believed I was doing hugely important work. I was elitist about it.

I wanted to be a pariah, because all my heroes were cult artists, people who devoted their lives to poking into very narrow, very deep corners - Erik Satie, Alfred Jarry, Malcolm Lowry - people who suffered in order to express their vision of life.

Everything I do tries to do the same thing, which is to express things that are hard to express, hidden things.

Consensus reality seemed like a dull, dead-end street compared to the intense, mutable reality of visions or whatever they were - neurological misfires. I expected life to be full of sudden, inexplicable surprises. When these things didn't happen for a while, life seemed dull and painful.

It takes more drawing to tell a story in pantomime.

I used to publish these stories in 32-page comics, and I would either do short stories or break the long ones up into chunks so there would be some variety inside the comic. But since then, people have been doing more and more long, standalone works, and the term 'graphic novel' has sort of become the codified term now.