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"content": "\u003cp>The Alternative Press Expo (APE), the world’s largest convention for independent and alternative comics, can be a little intimidating, as you navigate the masses (5,000 strong last year) down seemingly endless lines of vendors. The tables with underground celebrities are mobbed, while unknown D.I.Y. artists make puppy-dog eyes at you, offering free candy and $3 zines.\u003c/p>\n\u003cp>However, among the chaos, there are definitely opportunities you don’t want to miss. Artists sorely in need of a writer, and vice versa, can find the perfect match in the new event, \u003cb>Comics Collaboration Connection\u003c/b>, two, two-hour “speed-dating” style sessions. For the first time ever, APE is also offering how-to workshops on writing, drawing, and getting the results published and noticed, in addition to its usual artist talks and panels.\u003c/p>\n\u003cp>In particular, APE puts a spotlight on the Bay Area’s one-of-a-kind contribution to the world of comics. Here are some must-sees:\u003c/p>\n\u003cp>\u003cb>Daniel Clowes\u003c/b>: This cartoonist is possibly the most famous name on APE’s special-guest roster, thanks to a little 2001 film about sardonic misfit teens called \u003cb>Ghost World\u003c/b>. The movie — based on a compilation of narratives that first appeared in his \u003ci>Eightball\u003c/i> anthology comics — was nominated for an Academy Award for best screenplay adaptation. Clowes’ latest misanthrope, \u003cb>Wilson\u003c/b>, the title character of his new book-length comic, wallows in the isolation he creates with his cantankerous, ungenerous personality as he faces life’s moments of bleakness and hope. Born in Chicago in 1961, Clowes lived in New York City before settling down in Oakland with his wife and son. He speaks with \u003ci>Comics Comics\u003c/i> editor Dan Nadel in a 2pm Saturday talk.\u003c/p>\n\u003cp>\u003cb>The Bay Area Comics Scene Through the Years\u003c/b>: This panel takes a look at the unique role the San Francisco Bay Area has played in comics history, starting with the 1968 debut of \u003ci>Zap Comix\u003c/i>. Published by Beat writer Charles Plymell, this comic book gave a platform to the lascivious, irreverent countercultural satire of one R. Crumb, launching the underground comix movement. Panelists like \u003ci>Sparkplug\u003c/i> publisher Dylan Williams, who founded the ’90s Berkeley comic collective Puppy Toss, and Susie Cagle, whose graphic novel, \u003cb>Nine Gallons\u003c/b>, gives an unflinching portrait of the Food Not Bombs program, explain what’s been going on since. Panel is 1pm, Saturday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Keith Knight\u003c/b>: While living in San Francisco in the 1990s, Knight formulated his unique drawing style, which blends the aesthetics of \u003ci>Calvin & Hobbes\u003c/i> with that of underground comix. His “The K Chronicles,” appearing in \u003ci>The San Francisco Examiner\u003c/i>, \u003ci>The San Francisco Chronicle\u003c/i>, and \u003ci>Salon\u003c/i>, tackled issues of race and politics through the eyes of Knight’s alter ego, Keef. The winner of the 2010 San Diego Comic-Con Inkpot Award, Knight speaks at two back-to-back Sunday panels, \u003cb>Indie Comics Survival Guide\u003c/b> at 4pm, and \u003cb>The Fight for Intellectual Freedom\u003c/b>, held by the Comic Book Legal Defense Fund, at 4:45pm. \u003c/p>\n\u003cp>\u003cb>Queer Cartoonists\u003c/b>: The comic-book artists on this panel have wildly different stories, themes, and drawing aesthetics. Some of their work, like Jon Macy’s “Teneley and Camille” and Sean-Z’s web comic “Myth,” are unabashedly homoerotic tales; others, like Christine Smith’s web comics “Eve’s Apple” and “The Princess” and moderator Justin Hall’s “Glamazonia” give trans heroines the spotlight. Others tell more childlike stories, Ricky Worley gives autobiographical snippets through a cute gay rabbit in “A Waste of Time,” while Desmond Miller (“Hansel and Gretel”) and special guest Tommy Kovac (author of “Stitch” and the only non-San Franciscan on the panel) mine fairy tales. Hear these artists discuss the changing face of queer comics at 3pm Saturday.\u003c/p>\n\u003cp>\u003cb>Shannon Wheeler\u003c/b>: This Eisner Award winner was born and raised in Berkeley, where he also got his start drawing comics while studying at UC Berkeley. After moving to Austin in the ’90s, Wheeler created his most famous character, Too Much Coffee Man, whose beverage of choice fuels his constant state of anxiety and existential crisis. Now, Wheeler has moved to Portland, where Too Much Coffee Man became the first comic book character to have his own opera. His one-panel “Postage Stamp Funnies” ran in \u003ci>The Onion\u003c/i>, and now he draws comics for \u003ci>The New Yorker\u003c/i>. Wheeler teaches a class called \u003cb>Gag Cartooning and the Single-Panel Comic\u003c/b>, at 4pm on Sunday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>Alternative Press Expo\u003c/b> runs Saturday and Sunday, October 16 & 17, 2010 at the Concourse in San Francisco. For \u003ca href=\"http://www.comic-con.org/ape/\">tickets and information\u003c/a> visit comic-con.org/ape.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Alternative Press Expo (APE), the world’s largest convention for independent and alternative comics, can be a little intimidating, as you navigate the masses (5,000 strong last year) down seemingly endless lines of vendors. The tables with underground celebrities are mobbed, while unknown D.I.Y. artists make puppy-dog eyes at you, offering free candy and $3 zines.\u003c/p>\n\u003cp>However, among the chaos, there are definitely opportunities you don’t want to miss. Artists sorely in need of a writer, and vice versa, can find the perfect match in the new event, \u003cb>Comics Collaboration Connection\u003c/b>, two, two-hour “speed-dating” style sessions. For the first time ever, APE is also offering how-to workshops on writing, drawing, and getting the results published and noticed, in addition to its usual artist talks and panels.\u003c/p>\n\u003cp>In particular, APE puts a spotlight on the Bay Area’s one-of-a-kind contribution to the world of comics. Here are some must-sees:\u003c/p>\n\u003cp>\u003cb>Daniel Clowes\u003c/b>: This cartoonist is possibly the most famous name on APE’s special-guest roster, thanks to a little 2001 film about sardonic misfit teens called \u003cb>Ghost World\u003c/b>. The movie — based on a compilation of narratives that first appeared in his \u003ci>Eightball\u003c/i> anthology comics — was nominated for an Academy Award for best screenplay adaptation. Clowes’ latest misanthrope, \u003cb>Wilson\u003c/b>, the title character of his new book-length comic, wallows in the isolation he creates with his cantankerous, ungenerous personality as he faces life’s moments of bleakness and hope. Born in Chicago in 1961, Clowes lived in New York City before settling down in Oakland with his wife and son. He speaks with \u003ci>Comics Comics\u003c/i> editor Dan Nadel in a 2pm Saturday talk.\u003c/p>\n\u003cp>\u003cb>The Bay Area Comics Scene Through the Years\u003c/b>: This panel takes a look at the unique role the San Francisco Bay Area has played in comics history, starting with the 1968 debut of \u003ci>Zap Comix\u003c/i>. Published by Beat writer Charles Plymell, this comic book gave a platform to the lascivious, irreverent countercultural satire of one R. Crumb, launching the underground comix movement. Panelists like \u003ci>Sparkplug\u003c/i> publisher Dylan Williams, who founded the ’90s Berkeley comic collective Puppy Toss, and Susie Cagle, whose graphic novel, \u003cb>Nine Gallons\u003c/b>, gives an unflinching portrait of the Food Not Bombs program, explain what’s been going on since. Panel is 1pm, Saturday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Keith Knight\u003c/b>: While living in San Francisco in the 1990s, Knight formulated his unique drawing style, which blends the aesthetics of \u003ci>Calvin & Hobbes\u003c/i> with that of underground comix. His “The K Chronicles,” appearing in \u003ci>The San Francisco Examiner\u003c/i>, \u003ci>The San Francisco Chronicle\u003c/i>, and \u003ci>Salon\u003c/i>, tackled issues of race and politics through the eyes of Knight’s alter ego, Keef. The winner of the 2010 San Diego Comic-Con Inkpot Award, Knight speaks at two back-to-back Sunday panels, \u003cb>Indie Comics Survival Guide\u003c/b> at 4pm, and \u003cb>The Fight for Intellectual Freedom\u003c/b>, held by the Comic Book Legal Defense Fund, at 4:45pm. \u003c/p>\n\u003cp>\u003cb>Queer Cartoonists\u003c/b>: The comic-book artists on this panel have wildly different stories, themes, and drawing aesthetics. Some of their work, like Jon Macy’s “Teneley and Camille” and Sean-Z’s web comic “Myth,” are unabashedly homoerotic tales; others, like Christine Smith’s web comics “Eve’s Apple” and “The Princess” and moderator Justin Hall’s “Glamazonia” give trans heroines the spotlight. Others tell more childlike stories, Ricky Worley gives autobiographical snippets through a cute gay rabbit in “A Waste of Time,” while Desmond Miller (“Hansel and Gretel”) and special guest Tommy Kovac (author of “Stitch” and the only non-San Franciscan on the panel) mine fairy tales. Hear these artists discuss the changing face of queer comics at 3pm Saturday.\u003c/p>\n\u003cp>\u003cb>Shannon Wheeler\u003c/b>: This Eisner Award winner was born and raised in Berkeley, where he also got his start drawing comics while studying at UC Berkeley. After moving to Austin in the ’90s, Wheeler created his most famous character, Too Much Coffee Man, whose beverage of choice fuels his constant state of anxiety and existential crisis. Now, Wheeler has moved to Portland, where Too Much Coffee Man became the first comic book character to have his own opera. His one-panel “Postage Stamp Funnies” ran in \u003ci>The Onion\u003c/i>, and now he draws comics for \u003ci>The New Yorker\u003c/i>. Wheeler teaches a class called \u003cb>Gag Cartooning and the Single-Panel Comic\u003c/b>, at 4pm on Sunday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>Alternative Press Expo\u003c/b> runs Saturday and Sunday, October 16 & 17, 2010 at the Concourse in San Francisco. For \u003ca href=\"http://www.comic-con.org/ape/\">tickets and information\u003c/a> visit comic-con.org/ape.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When she sang for The Curfew, Hollis Henry’s face was known worldwide. She still runs into people who remember the poster. Unfortunately, in the post-crash economy, cult memorabilia doesn’t pay the rent, and right now she’s a journalist in need of a job. The last person she wants to work for is Hubertus Bigend, twisted genius of global marketing; but there’s no way to tell an entity like Bigend that you want nothing more to do with him. That simply brings you more firmly to his attention.\u003c/p>\n\u003cp>\u003cobject>\u003c/object>\u003c/p>\n\u003cp>Milgrim is clean, drug-free for the first time in a decade. It took eight months in a clinic in Basel. Fifteen complete changes of his blood. Bigend paid for all that. Milgrim’s idiomatic Russian is superb, and he notices things. Meanwhile no one notices Milgrim. That makes him worth every penny, though it cost Bigend more than his cartel-grade custom-armored truck.\u003c/p>\n\u003cp>The culture of the military has trickled down to the street. Bigend knows that, and he’ll find a way to take a cut. What surprises him though is that someone else seems to be on top of that situation in a way that Bigend associates only with himself. Bigend loves staring into the abyss of the global market; he’s just not used to it staring back.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Cartoonist Lynda Barry makes a case for phone-book doodling",
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"content": "\u003cp>For someone who’s been told she can’t draw, Lynda Barry has made quite a 30-plus-year career out of drawing and writing. In the late ’70s, she first introduced a cast of misfit preteen girls with her comic strip \u003cb>Ernie Pook’s Comeek\u003c/b> and, in 2000, garnered accolades for her brutal novel \u003cb>Cruddy\u003c/b>. For her 2002 graphic novel, \u003cb>One! Hundred! Demons!\u003c/b>, she put her own spin on a Zen Buddhist exercise and faced her personal demons in comic-strip form. Also a teacher, Barry puts on a writing workshop called “Writing the Unthinkable,” which she translated to yellow lined legal paper for a how-to book called \u003cb>What It Is\u003c/b>, a mashup of memoir, drawings, Elmer’s glue collages, and writing exercises.\u003c/p>\n\u003cp>Now, Barry is making her first appearance at the \u003ca href=\"http://www.comic-con.org/ape/index.php\">Alternative Press Expo\u003c/a>, where as a special guest, she will debut yet another one-of-a-kind how-to book, this one for all the people who’ve been told they can’t draw. She’ll present \u003cb>Picture This: The Nearsighted Monkey Book\u003c/b>, published by \u003ca href=\"http://www.drawnandquarterly.com/\">\u003c/a>Drawn & Quarterly, in a slideshow workshop format. This year’s APE — which in 16 years has become the world’s largest convention for alternative and independent comics — also features underground hero and \u003cb>Ghost World\u003c/b> creator Daniel Clowes, a discussion on the history of Bay Area comics, and a new event called “Comics Collaboration Connection” designed to connect writers with artists.\u003c/p>\n\u003cp>Barry spoke to me about her new book and some of the drawing secrets she’ll be sharing at APE.\u003c/p>\n\u003cp>\u003cb>LH: Tell me about the book you’re going to debut at APE.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Barry:\u003c/b> I wanted to find a way to do a book about drawing that wasn’t just writing about drawing. Or you know, those instructions that always make me feel tired right away, like how to draw a picture of a glass of water and the color wheel and all those things that just make you go “Huhn-uhhh!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the dentist when I was a kid they had \u003ci>Highlights for Children\u003c/i>, and they weren’t very good, but there were certain things I really loved, like “Goofus and Gallant” and I really liked “find the hidden whatever” picture. So I wanted to make a book that had that same kind of feel, sort of like a magazine, something that you could flip through, that has no real starting point necessarily.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/picturethis.jpg\" alt=\"picture this cover\">\u003c/p>\n\u003cp>\u003cb>LH: What inspired you to publish these how-to books?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Barry:\u003c/b> When I was 19 at the Evergreen State College in Olympia, Washington, my teacher Marilyn Frasca got me thinking from the very beginning about how everything we call “the arts,” whether it’s a novel, or a painting, or a song, all contain something that she called an image. Her idea was once you understood what that was, the form you gave it was up to you. In her mind, there wasn’t a lot of difference between writing or dancing or singing. And I believed her — because I was 19 and I wanted to believe in magic. But it turns out I’ve found it to be absolutely so.\u003c/p>\n\u003cp>After I published \u003cb>What It Is\u003c/b>, I started getting interested in why people are so terrified of drawing. I was at this design conference, with all these hotshot designers, and I had stepped out and just started painting, so people would come by to talk to me. Then I would hand them a paintbrush to see if I could get them to draw with me. To my surprise, these designers were terrified and none of them would take the brush. Then I drew a square on a piece of paper, and I divided that square in half, and then I divided those halves in half. I said this was a game, to see how many times could you divide those halves, and if the lines touched each other, then you get electrocuted. As soon as I told them you would get electrocuted, then everybody wanted to do it. And I thought about that, and this other question about why do people start to draw, why do kids start to like to draw, and why do we stop.\u003c/p>\n\u003cp>I really believe this stuff, whether it’s writing or drawing — the stuff that my teacher called an image — I believe it has an absolute biological function. I don’t think it’s decoration, and I don’t think it’s an elective. I think it’s the corollary to our immune system, except it has something to do with regulating our moods, and our ability to be in the world — you know, be able to stand it.\u003c/p>\n\u003cp>Do you draw at all?\u003c/p>\n\u003cp>\u003cb>LH: No, not really.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Barry:\u003c/b> But if you’re stuck on the phone …\u003c/p>\n\u003cp>\u003cb>LH: I doodle, yeah.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Barry:\u003c/b> You do, right? You doodle. Almost everybody does. The reason I think we do that is there’s something about it that makes the unbearable hanging on the phone waiting for cable guy to come back on, it makes it bearable. That’s the little place for most people who’ve quit drawing, they still have a little thing that they usually draw when they’re stuck.\u003c/p>\n\u003cp>Part of \u003cb>Picture This\u003c/b> is taking drawing from that starting point, from the doodle part, or the scribbly part. It’s also championing things like tracing, and coloring books, and copying — all these things we were told were really uncreative. What’s sad is because of all these strict ideas about what creativity is there’s a feeling the scrapbook trend is not creative or coloring a coloring book as an adult isn’t creative. I think that people have it backwards. I think it’s a state of mind that that brings you, not so much the result.\u003c/p>\n\u003cp>\u003cb>LH: Your book \u003cb>One! Hundred! Demons!\u003c/b> was intended as a cathartic exercise, to let your demons go? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Barry:\u003c/b> Or letting them in. I’m opening the door for ’em, “C’mon in!” They’re there anyway. I’d rather draw about them then accidentally date them. Because that’s what I think happens. Unless we have this place, the image world, and we can work stuff out there, which is what part of our biological makeup gives to us, then I think that we’re fated to try to date them or marry them.\u003c/p>\n\u003cp>A scientist named V.S. Ramachandran has done some astonishing work with neurological problems he’s actually solved with a mirror. He had a patient who had lost his hand, but the patient’s experience was that the hand was still there, and not only there, but it was in a really tight fist — you know, painfully tight. This guy was miserable; he couldn’t get away from that feeling. Ramachandran made a box, tilted the mirror in there, and then he put a hole in the other side. He asked the guy to stick his hand in the hole, the fist that was still there, and look down. So what the guy saw was his fist and then the reflection of it, which was like his other hand. Then, he told him to open his hand, and what he saw was the reflection of his other hand opening, and it solved the problem.\u003c/p>\n\u003cp>That’s a perfect example of what images do. My feeling is that in the course of life there are certain things for us that are like phantom limb pain, like a horrible, horrible parent who dies before you ever work things out with them. And I think the only way that those things can be worked out is through something that’s akin to that mirror box — except it may be a fairy tale, or it may be a painting, or it may be a song you can remember from when you were 14 and you had to play the same song over and over and over again, like 400 times in a row. Yeah, what are you doing there? You’re opening your fist. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For someone who’s been told she can’t draw, Lynda Barry has made quite a 30-plus-year career out of drawing and writing. In the late ’70s, she first introduced a cast of misfit preteen girls with her comic strip \u003cb>Ernie Pook’s Comeek\u003c/b> and, in 2000, garnered accolades for her brutal novel \u003cb>Cruddy\u003c/b>. For her 2002 graphic novel, \u003cb>One! Hundred! Demons!\u003c/b>, she put her own spin on a Zen Buddhist exercise and faced her personal demons in comic-strip form. Also a teacher, Barry puts on a writing workshop called “Writing the Unthinkable,” which she translated to yellow lined legal paper for a how-to book called \u003cb>What It Is\u003c/b>, a mashup of memoir, drawings, Elmer’s glue collages, and writing exercises.\u003c/p>\n\u003cp>Now, Barry is making her first appearance at the \u003ca href=\"http://www.comic-con.org/ape/index.php\">Alternative Press Expo\u003c/a>, where as a special guest, she will debut yet another one-of-a-kind how-to book, this one for all the people who’ve been told they can’t draw. She’ll present \u003cb>Picture This: The Nearsighted Monkey Book\u003c/b>, published by \u003ca href=\"http://www.drawnandquarterly.com/\">\u003c/a>Drawn & Quarterly, in a slideshow workshop format. This year’s APE — which in 16 years has become the world’s largest convention for alternative and independent comics — also features underground hero and \u003cb>Ghost World\u003c/b> creator Daniel Clowes, a discussion on the history of Bay Area comics, and a new event called “Comics Collaboration Connection” designed to connect writers with artists.\u003c/p>\n\u003cp>Barry spoke to me about her new book and some of the drawing secrets she’ll be sharing at APE.\u003c/p>\n\u003cp>\u003cb>LH: Tell me about the book you’re going to debut at APE.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Barry:\u003c/b> I wanted to find a way to do a book about drawing that wasn’t just writing about drawing. Or you know, those instructions that always make me feel tired right away, like how to draw a picture of a glass of water and the color wheel and all those things that just make you go “Huhn-uhhh!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the dentist when I was a kid they had \u003ci>Highlights for Children\u003c/i>, and they weren’t very good, but there were certain things I really loved, like “Goofus and Gallant” and I really liked “find the hidden whatever” picture. So I wanted to make a book that had that same kind of feel, sort of like a magazine, something that you could flip through, that has no real starting point necessarily.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/picturethis.jpg\" alt=\"picture this cover\">\u003c/p>\n\u003cp>\u003cb>LH: What inspired you to publish these how-to books?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Barry:\u003c/b> When I was 19 at the Evergreen State College in Olympia, Washington, my teacher Marilyn Frasca got me thinking from the very beginning about how everything we call “the arts,” whether it’s a novel, or a painting, or a song, all contain something that she called an image. Her idea was once you understood what that was, the form you gave it was up to you. In her mind, there wasn’t a lot of difference between writing or dancing or singing. And I believed her — because I was 19 and I wanted to believe in magic. But it turns out I’ve found it to be absolutely so.\u003c/p>\n\u003cp>After I published \u003cb>What It Is\u003c/b>, I started getting interested in why people are so terrified of drawing. I was at this design conference, with all these hotshot designers, and I had stepped out and just started painting, so people would come by to talk to me. Then I would hand them a paintbrush to see if I could get them to draw with me. To my surprise, these designers were terrified and none of them would take the brush. Then I drew a square on a piece of paper, and I divided that square in half, and then I divided those halves in half. I said this was a game, to see how many times could you divide those halves, and if the lines touched each other, then you get electrocuted. As soon as I told them you would get electrocuted, then everybody wanted to do it. And I thought about that, and this other question about why do people start to draw, why do kids start to like to draw, and why do we stop.\u003c/p>\n\u003cp>I really believe this stuff, whether it’s writing or drawing — the stuff that my teacher called an image — I believe it has an absolute biological function. I don’t think it’s decoration, and I don’t think it’s an elective. I think it’s the corollary to our immune system, except it has something to do with regulating our moods, and our ability to be in the world — you know, be able to stand it.\u003c/p>\n\u003cp>Do you draw at all?\u003c/p>\n\u003cp>\u003cb>LH: No, not really.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Barry:\u003c/b> But if you’re stuck on the phone …\u003c/p>\n\u003cp>\u003cb>LH: I doodle, yeah.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Barry:\u003c/b> You do, right? You doodle. Almost everybody does. The reason I think we do that is there’s something about it that makes the unbearable hanging on the phone waiting for cable guy to come back on, it makes it bearable. That’s the little place for most people who’ve quit drawing, they still have a little thing that they usually draw when they’re stuck.\u003c/p>\n\u003cp>Part of \u003cb>Picture This\u003c/b> is taking drawing from that starting point, from the doodle part, or the scribbly part. It’s also championing things like tracing, and coloring books, and copying — all these things we were told were really uncreative. What’s sad is because of all these strict ideas about what creativity is there’s a feeling the scrapbook trend is not creative or coloring a coloring book as an adult isn’t creative. I think that people have it backwards. I think it’s a state of mind that that brings you, not so much the result.\u003c/p>\n\u003cp>\u003cb>LH: Your book \u003cb>One! Hundred! Demons!\u003c/b> was intended as a cathartic exercise, to let your demons go? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Barry:\u003c/b> Or letting them in. I’m opening the door for ’em, “C’mon in!” They’re there anyway. I’d rather draw about them then accidentally date them. Because that’s what I think happens. Unless we have this place, the image world, and we can work stuff out there, which is what part of our biological makeup gives to us, then I think that we’re fated to try to date them or marry them.\u003c/p>\n\u003cp>A scientist named V.S. Ramachandran has done some astonishing work with neurological problems he’s actually solved with a mirror. He had a patient who had lost his hand, but the patient’s experience was that the hand was still there, and not only there, but it was in a really tight fist — you know, painfully tight. This guy was miserable; he couldn’t get away from that feeling. Ramachandran made a box, tilted the mirror in there, and then he put a hole in the other side. 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