Poetry Comics

Interview with Paul Tunis

Paul Tunis, graphic artist and poet, gave TellTell the low-down on his life, his work, and he even told us which fictional character he'd take to Prom! Read on, friends!

Leprosy pg 2 || from Comics as Poetry, © 2012 Paul K. Tunis and New Modern Press

Can you explain a little bit about your job? Is writing poetry your job? How do you make money, we'd love to know.

 I’m currently trying to balance teaching English composition as an adjunct at Lehman College and doing freelance illustration, graphic design and animation work. The job juggle makes poetizing difficult when the semester is in session, but I try to make time.

So what have you spent the last few months doing?

Outside of my professional work, I’m currently working on a comic with Bianca Stone and Alexander Rothman. It’s an expression of our shared love of superhero comics and has an invented form to allow page collaboration. At the same time, I’m illustrating a book of poetry for children by the poet Todd Dillard. His work is playfully odd and occasionally dark in tone and is slightly evocative of Shel Silverstein. I’m very excited about both projects which allow me to indulge in some of my childhood obsessions.

Wow--I am interested to read and look at the poetry book collaboration! Let us know when it comes out! What got you interested in poetry?

To my chagrin, I wasn’t exposed to very much poetry growing up. Those around me including teachers gave me the impression that poetry was generally archaic and a chore to decode. Unfortunately, because of this, I approached poetry with a similar detachment throughout my undergrad. This whole time I was writing short stories and a novel, and I entered my MFA at Sarah Lawrence in the fiction genre. At Sarah Lawrence, I had this idea that I could steal some poetry craft tricks to improve my fiction writing and took courses with Matthea Harvey, Jeffery McDaniel and Joy Ladin. This plan proved naïve, because while reading works by poets like Heather McHuge, Terrance Hayes, Russell Edson, Elaine Equi and so many others who’s writing was—in a page—equally as affecting as the best novels I had read, changed everything for me.

 What came first the poetry comic or the poems?

Starting grad school, I had been obsessed with page space and hierarchy of text placement, and the page as an object. In my fiction workshops, I was making stories where the letter ‘f’ would be falling out of words and collecting in a pile at the bottom of the page, pop-up stories, and 3D poems where the text jumped towards you, or folded up notes that were suggesting they had been stolen by ants. My fiction peers were not especially amused by my experiments. I was feeling out of place among many of the fiction grads, and people in the poetry program were so much more willing to try things and play. Then Matthea Harvey gave me a copy of Making Comics by Scott McCloud. McCloud’s book does a beautiful job presenting how comics are a language, and how that language is completely spatially informed by the page as an object, which—though I had made comics sporadically throughout my life—I had never fully realized. So I began writing poetry comics almost simultaneously with writing my first earnest poems. It was a moment where I finally saw an elegant synthesis and form for all of my artistic compulsions, which the absence of had been terrorizing me most of my creative life. When I talk to other makers of poetry comics that moment of discovery is common, each person feeling they’ve invented something special for themselves. Only later do we stumble upon other people doing similar work.

 

What are some new projects you've spend time doing? What are some projects you've done that you are most proud of?

As far as pride, I would have to say making a comic out of a poem by a nine-year-old poet, Kameron Quinlan, was my favorite task. I was approached to contribute to an art auction for AmericaSCORES NY, a non-profit that supports literacy in underserved communities by teaching poetry to elementary-age children. I particularly like this program, considering, as I mentioned, I really didn’t get the kind of exposure to poetry growing up that I could have really benefited from. The premise of the auction was to make art inspired by the poem of one of their participants. Kameron’s poem “The Lion on My Hair” about his unruly hair was so imaginative and brilliant. It was everything I wish my own poetry could be. It was incredibly rewarding to make. It sold very well at the auction to a family who intended to hang it in their baby daughter’s room whose hair was already to be unruly too.

 Apart from the superhero and children’s poetry projects, I’m also trying to find time to make installments to Omphaloskepsis and Blind to Blue, which are two series I have online.

 Was there a moment when you discovered you were a writer, or that you wanted to be one? Can you provide a 5 line run-down of how you got to where you are now?

I always made stories and drew pictures to go with them. I can’t put my finger on a time that I decided that I was going to commit completely to being a writer. I think I just kept making choices that excluded the possibility of becoming an upstanding member of society.

 

Doodled pictures. Scribbled stories. Lost sleep. Ate chips. Built a cardboard submarine.

Do you have any advice for up-and-coming illustrators and poets?

Hmmm… It’s tempting when you’re working in creative fields to cope with disappointment by judging and criticizing others. If you venture too far into that mud puddle, you might realize that you aren't an artist at all anymore, just a critic. Creative peers are important for your growth, but when those peers succeed or get attention, you might want to be jealous or catty, but really that should be encouraging that good things and breaks can happen for you as well, unless you've alienated everyone.

If something could happen to you in the next 5 minutes, what would it be?

Ocelot attack.

 

The Lion on My Hair (from Open the Door, Mcsweeney’s Press and The Poetry Foundation, 2013)

Who or what inspires you?

Whos: Windsor McKay, Tig Notaro, Robert Coover, the Billys (Faulkner, Blake, Watterson), Ben Marcus, Astrid Lingren.

Whats: Bees, quantum physics, food-allergy cats, cartoons.

When you tell people what you do, how do they usually respond?

Ha! Most of the time I don’t tell people, and just say that I teach English. The result is a lot of unsolicited career advice. Since everyone has drawn at some point in their life, so they can value the skills required for effective drawing, so folks tend to be impressed when you can draw. However, people haven’t often sincerely tried to write a poem, and generally see poetry, which isn't making anyone a lot of money, as a frivolous indulgence. The result is lots of people implying that I should be making conventional comics. That if I made a plot driven, action heavy, zombie “graphic novel,” Warner Brothers would buy the rights and I could move into a mansion. Even when I just wrote prose, people were always encouraging me to try to cash in on popular trends despite the fact that almost every fad’s apex has passed before a suggestion is made.

 (You+Me=Ants)

Where do you see yourself in 10 years?

In a mansion after selling my graphic novel to Warner Brothers, no doubt. Honestly, I’m not sure. The best thing about poetry comics right now is that it’s a small community but within the last year it has been experience a groundswell of interest and the number of practitioners has been growing exponentially. That could evaporate tomorrow, or continue to grow and mature into something new. Either way, I know I’ll keep busy trying to push the limits of my own work and continue to make poems in the language of comics.

Let's get to the real questions...if you could go to prom with any character from a book, who would it be?

Easy. Pippi Longstocking, provided she’s of consenting age at the time.

What is a typical day-in-the-life of Paul Tunis like?

Wake up around 8am with a hungry cat on my chest. Draw, usually on freelance work, until 2:45pm, leave to teach class. Grade papers on the 2 hour train ride to the Bronx. Try to explain semi-colons. Grade papers on the 2 hour train ride back to Queens. Have dinner with my charming lady-companion, Autumn. Around 9pm she goes to sleep and then I draw, hopefully on my own projects, until 1:30am. Variations abound.

Out of all the poets you've read, who would you let watch your dog (or cat) if you had one?

Emily Dickenson has a nice poem about a cat. Although, I think that E.E. Cummings and my cat would probably have a lot more to talk about.

What do you hope is next for you as a poet and an all around man-of-the-world?

I think I should get out and do more readings, but I always put that off. So I suppose it would be nice to find a healthy balance between making the work and presenting the work. As a man-of-the-world? I wouldn't mind having my eye replaced with robot ones. 

Interview with Bianca Stone

We had a chance to interview Bianca Stone, poet and illustrator, for this week's interview! Check out her website for some poetry comics First please tell us a little bit about yourself: Are you pursuing and MFA? Where do you go to school? 

I finished my MFA in poetry at NYU in 2009. Since then I’ve been living in Brooklyn with my boyfriend, Ben Pease, who is also a poet and went to Columbia for his MFA. I work for Sharon Olds, (who was my professor) as an assistant/helper. I also do small teaching things here and there.

I'll start with the age-old question: What came first the poetry or the comic?

Poetry has always been extremely important to me. My mother Abigail Stone, is a writer. My grandmother, Ruth Stone, who passed away last November, was a working poet my whole life and I spent a lot of time with her. I’ve always known I would be a writer. That said, I’ve also always been a visual artist. In undergrad I imagined that I’d study stuff other than writing...I pretentiously thought I didn’t need to. But the art department at Antioch College wasn’t the best, and when I started taking writing workshops I realized it was really right for me. My writing professor there was Benjamin Grossberg, and he was really important to me. There was so much I learned about being a reader and a writer. I read a lot. The same really goes for my MFA, I learned so much, I don’t think you ever stop learning new things with poetry. It’s really imperative that we keep challenging what we think we know, and trying new things, reading everything. It wasn’t until I was in my MFA that I started putting my poetry and art together. Making poetry comics was an exciting revelation for me.

When did you begin writing? Do you remember the first poem you wrote?

Very young. There were always poets around when I was growing up, so of course I was always wanting to write. I was just visiting my mother recently and I kept finding all these poems from throughout my life, going back pretty far. At around 11 years old I was putting little manuscripts together to imitate grandma, making a table of contents, a title page, making lists of places I wanted to send to. Here’s a something I found when I was home:

Bianca Stone's first poem

(I think I was writing a blurb....I thought I was a good writer, but I’ve NEVER been a good speller.)

What does your work studio look like? (Would you be able to add a picture of your work-desk, just for fun?)

No problem!

(Drawing desks, in the middle of a project it’s usually a total wreck)

Bianca stone's writing desk
Bianca Stone's writing desk

(Writing desk)

What are some of the main themes you are interested in pursuing with your work?

 That’s a good question, but one that is often changing. I was just looking over my full-length manuscript of poetry and thinking that the main theme of the book seemed to be a lot to do with the difficulties and the pleasures of love. I’m interested in the human condition, how we interact. I like to look at the seemingly ordinary and make it strange. I’m also very interested in science and neurology. I love writing about the mind, the brain, which I think is actually an age-old subject of writing. But what’s exciting in art is that we continue to look at these traditional themes through what we interact with now. Science is so important, and evolving, there’s always so much there to explore through art.  

What is the best typewriter you have ever used?

 My beloved Royal Quiet Deluxe that my mom gave me. Sadly it was broken in my recent apartment move. But I have others.

Are there any issues that you won't touch in regards to your poetry?

 Of course. But I’ve never liked people creating poetic “taboos.” Every writer has things they would rather not have in their poems, that’s what makes each writer unique. However, we also have to always keep ourselves in check, and challenging our own poetic taboos. I think our personal taboos are ironically very close to what we want to write about. It’s scary to even give them voice. Sometimes I think, Oh, I could never write a “political poem” but then I think, I have written political poems! It’s just that it’s through my own methods, and not other people’s.

What was your first chapbook titled?

It’s actually the title of my full-length: Someone Else’s Wedding Vows. (Pick up a copy here)

How did you come up with the name for it?

It was my “biggest” poem, both in length, and in spirit. I wrote it after doing a few wedding photography gigs with my sister, who is a great photographer (and poet). I had just begun dating Ben, and I was thinking a lot about what it means to be in a serious relationship. I was at all these weddings thinking: This is some of the only times that people hear poetry, or write it. And then I was thinking, God, it’s all just the same crap, mixed around. People are supposed to write these “Vows” and they mean so much to them, but honestly, they mean nothing to other people. Someone else’s vows are meaningless, and yet, they’re all so analogous. It both revolted and excited me.

What was publishing your first chapbook like?

GREAT. I was all worried at first, since I didn’t know Liz Clark Wessel, and this was their first chapbook. But she was so wonderfully excited about my poems, that I realized that it made a lot of sense to have them do it. We became great friends, and Argos Books is so serious about what they do, and they’re marvelous, fun, professional, and feel so passionately about their writers. Having a chapbook is great because maybe your book isn’t ready, but your work can get seen, and you have something to sell at readings. It opens a lot of doors, and feels so good to have and hold.

How did it feel to touch it for the first time.

It was letter pressed and hand-sewn: It felt good, literally. I don’t think that initial excitement can ever be recreated. I was so proud. And she just did my second one I Saw The Devil With His Needlework. It’s so special to have a press that would do two chapbooks.

How long did it take you to find a publisher for your chapbook?

 Not long (I’d graduated from NYU that year).  Elizabeth Clark Wessel was at one of my readings and approached me afterwards. She was so earnest and sincere about wanting to publish it. I was very lucky. It’s so hard to send out chapbooks, actually. It’s usually a situation of solicitation, or else it’s a contest. And we all know how that goes...

Where do you like to write?

 At my desk. But I’ll write anywhere. Sometimes on the subway. Mostly I write on my computer at my desk, in the morning and afternoon.

Are you like J.K Rowling? Could you write on napkins in the middle of a busy bar, or do you have to be somewhere specific?

 I’ve never had a problem writing anywhere. I would write and draw all over the paper table cloth at Café Loup when I was at NYU. I find envelopes with poems on the backs of them, even receipts with poems on them. I get grumpy if I’m writing and Ben bothers me, or the phone rings, but I can do it anywhere, as long as people leave me be.

What does it mean to be a poet?

 For me it means writing poetry and never feeling like you have to apologize for it, or say that it’s not a living. It always makes me mad when people act like it’s not a living. It’s irrelevant that it “doesn’t make money.” You do it because it’s important. And because you’re good at it. You do it because it needs to be out there. You always find a way to support yourself. It’s important to establish a community with poets and artists, too. To help each other out; share and encourage, and cultivate one another.

Can you give us some of your favorite poets?

In no particular order, except that the most important poet for me is my grandma, Ruth Stone, I’d say: Sylvia Plath, Dara Wier, John Keats, W.B. Yeats, Anne Carson, Sharon Olds, Elizabeth Bishop, Mark Strand, Mark Leidner, Matthew Zapruder, Noelle Kocot, Dorthea Laskey, Dan Magers, Emily Dickinson, Matthew Dickman, Emiy Pettit, Ariana Reines, Peter Gizzi, John Ashbery, and Ben Pease! To name a few...

Where do you hope is next for you and your poetry career?

Publishing a full-length book of poetry at a good press. I have been waiting my whole life it seems, and I’m finally feeling like it’s ready. You have to be patient with something that you’re very impatient with. It’s a nightmare. And a blessing.

The other hope,of course, is to publish a full-length color book of poetry comics.