'She isn’t preoccupied with mathematical proportions or perfect precision. She’s working in the realm of gesture and emotion, humor and heart.' | megankirb
It doesn’t feel like much of an exaggeration to say that Lynda Barry is the reason I started drawing comics. I checked out her bookfrom the public library when I was 19. That same year, I published my first zine. The colorful and complicated pages ofmade my brain buzz. Her mix of collage, auto-bio comics, writing prompts, and earnest questions about the nature of images felt almost biblical to me, as a teenage studio art minor. I loved how she described creativity as something joyous and alive.
on the inside cover of my first zine-planning notebook: “To be able to stand, not knowing, long enough to let something alive to take shape.”strips. I didn’t immediately love them. Barry didn’t try to make her characters look polished or beautiful. Sometimes, they looked almost grotesque. I felt put off by the messiness of her lines—something I tried to avoid in my own fledgling work.
The Mullen family never has enough money. A humongous rift separates the adults and the children, a chasm that can rarely be bridged. Teachers and parents mostly exist to scold, harm, disappoint, and abandon. In one of my favoritespreads, Marlys insists that the sisters throw their mother a surprise birthday party. Maybonne is skeptical; she doesn’t want to spend their meager cash on a Betty Crocker cake their mom doesn’t even want.
Chicago is rich with underground comics influences—but Barry remains my North Star. I like thinking about her living in Chicago, in her 30s, selling comics to the. Of course, now I’m doing the same thing. I’m grateful I discovered Lynda Barry when I did—and I’m grateful more of her titles will be back in circulation by the end of the year. They belong on bookstore shelves.published by HarperCollins in 1990.
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