The writer and artist of such graphic novels as ‘Ghost World’ and ‘Patience’ is back with his most personal book yet.
Cartoonist Daniel Clowes’ new graphic novel “Monica” is a multi-genre story inspired by both his childhood in the ’60s and his mother. knew he wanted to start a book with two Army grunts, Johnny and Butch, smoking cigarettes in their foxhole in Vietnam as bullets flew and mortar rounds boomed nearby.
“I didn’t want to do just straight autobiography or biography,” Clowes says. “I wanted to have the room to kind of not feel like I was beholden to the facts, which is why I think I always do fiction. In an interview edited for clarity and length, Clowes talked about his mother, how her absence of interest in parenting influenced the book, and the concept to do each of the nine chapters as entirely different genres of comic books.My mother was just a very distinctive character and very unlike anybody else’s mother. People would talk about their mother and I’d think that couldn’t be more opposite of my mother. I don’t think my mother made me a meal after I was a baby.
Q: I can imagine it might have certain challenges writing something that’s related to your own family. What was it like to be using your own life more directly in ‘Monica’?When I began the story, my mother was very much alive and I worried about her response to it. You know, she was very defensive about her choices and never accepted that it might not have been great for me. That was very painful for her, so she always kind of argued against it.
When you read , the beginning chapters always seem great. You think, ‘Oh, it would be great to be in the Manson Family! Caring for each other, taking in all these wounded souls, it’s us against the world.’ And then of course you hit the midpoint and all of a sudden you’re killing people or drinking the Kool-Aid or whatever it takes.
So it’s a process of thinking about nothing but the story for years and literally years. Then when it comes time to actually sit down and compose the panel-to-panel sequences, the dialogue and stuff like that, it becomes almost like transcribing. It’s like, OK, I know what happened.Always. It’s sometimes like doing a gigantic oil painting. Maybe I’ll paint all of the horses over to the side in the beginning, because they’re in the deep background.
France Dernières Nouvelles, France Actualités
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