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NICK FRANCIS POTTER’S New Animals is a accumulating of abbreviate belief and comics. Some of the abbreviate belief are accepted book pieces; some of the comics chase a accustomed four- or nine-panel grid; and added selections amalgamate book paragraphs, comics panels, and single-page illustrations. The book creates a abreast accord amidst this bookish hybridity: the pieces are all absent with transformation and the bleared boundaries amid beastly and animal, afterlife and life. But by agreement comics belief alongside added accepted book stories, Potter makes bright that the abreast bearing of cartoonists and writers charge no best pay any apperception to the high/low or literary/popular distinctions that accept absent so abounding advisers and artists in antecedent generations. Instead, analysis not aural but amid media can animate artful apropos — abnormally apropos that, like Potter’s, focus on the transformative slippage amid bodies and animals and seek to brainstorm new agency of cerebration about anatomy and identity.

The book’s belief are frequently set in a affectionate of balmy dystopia, a apple area characters still accept admission to assorted avant-garde accoutrement and equipment, but abundant of what we apperceive has been bare away. In the collection’s longest story, “Oops, Isaac,” Abraham absolutely kills his own son Isaac, because a new angel was backward in bringing a sacrificial dupe to the scene. What follows involves the abuse of the angel, the awakening of Isaac, and alliance agitation amid Abraham and Sarah. Angels are amateur advisers of a just-in-time commitment service, Abraham is a beggared farmer, Sarah is a absent homemaker. The story’s ambience both deflates the Biblical adventure to banal accommodation and estranges the piece’s abreast delivery with odd references, as if the clairvoyant is acquirements the acronyms of a abode not their own. In the “official report” documenting the angel’s abortion to arbitrate in Abraham’s cede of Isaac, for example, the accent of abreast HR merges with Biblical violence:

The board will agenda amateurishness in agreement of adorable ecology and action apropos the subject, Mitchell IV, and his corruption of Abraham-and-Isaac with affiliation to Abraham’s allowable cede of Isaac. The operation states specifically: pre-sacrifice accession and aural announcement, “Psych!” […] it is blamable that the knife landed in flesh.

The comics pages that arise in the adventure detail, in about impaired panels, Abraham’s cede of Isaac as they airing from their home to a hill. In these pages, Potter’s hand-drawn console borders are expressive, yet basal band assignment furthers the narrative’s tonal range, acceptable its attentive affection and its imbrication in our abreast article clutter. As the angle of the panels about-face — from a focus on characters; to the home; to the beyond terrain; to Isaac’s lingering, as if he anticipates what Abraham is planning to do — the apple opens up to assorted interpretations. No one angle is sovereign, and those of bodies are not privileged. Instead, actuality and throughout Potter’s collection, bodies are displaced from the centermost of things. They abide in affiliation to, on par with, transforming into, and in this case baffled by animals. In the aftermost paneled arrangement of comics in the story, Abraham sees the backward angel and the ram alone afterwards annihilation Isaac. The alone speaking accountable in this 12-page comics arrangement is the ram, whose “bah bah” noises serve as a affectionate of adumbration of abreast and tragedy accomplished by those who are artlessly human, trapped in civilization’s scripts.

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From Nick Francis Potter, “Oops, Isaac.”

“Oops, Isaac” is a aerial point of New Animals not aloof because of its breadth but additionally due to its hybridity. This adventure blends analogy with argument added absolutely than any added in the volume. Indeed, while abounding of the book’s book belief absorb accustomed yet bargain settings, this adventure allows a affectionate of admission to the arrangement of the world, to its awkward materiality. A array of sticks, a aperture in the ground, a allotment of the bank chunked out by a befuddled frying pan — these accept a affectionate of barbarous tactility that actualize how New Animals’s apple has become added asperous about the edges and added decumbent to barbarous acts. In “Oops, Isaac,” a additional illustrated arrangement involves Abraham’s wife, Sarah. She tries to acquisition Isaac, and instead rescues the angel who was late, award him in a hole, wings charred, afterwards actuality punished for his tardiness. In single-page illustrations, Sarah struggles to get the angel out of the hole, and Potter’s ink assignment emphasizes the abominably broiled wings, the accent and tiredness on both characters’ faces. The apple of New Animals has been worn, roughed up, and exhausted, with accretion advancing alone through mending, not salvation.

Nick Francis Potter, “Oops, Isaac.”

In addition banana from New Animals, “Arto’s Headspace,” a headless anatomy is attempt through with arrows, goes sailing, jams a arch assimilate its neck, avalanche through a aperture that removes the arrows from his body, severs a ram’s head, abode the ram’s arch on a changeable body, and is afresh attempt through with arrows again. The banana concludes with Arto lying on the ground, broken by the arrows. Perhaps the appellation character’s name, Arto, is a comedy on Artaud — appropriately the atrocity of the piece. Or maybe — accustomed that the Celtic chat “artos” agency “bear” — the name is meant to betoken a adjacency to animals. Either way, the adventure plays on abounding of the capacity that run throughout New Animals: the down-covered band amid beastly and animal, the abandon that occupies and informs that divide, and the ultimate futility of beastly endeavors to be human.

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Nick Francis Potter, “Arto’s Headspace.” The blush adaptation of this adventure is accessible on Potter’s Tumblr, http://nickfrancispotter.tumblr.com/.

It is applicable that this comics apologue forms a affectionate of leash with two added comics in the volume, “Sven Rearranges” and “Conrad Dillinger’s Inevitable Death.” All three of these belief abide on heads, death, and animals. As this suggests, the comics in the aggregate accumulate the abstraction at its center, which seems to be the adeptness that the boundaries amid angel and text, beastly and animal, advantageous endeavor and mistake, admiration and violence, no best hold. The book is beneath a appraisal of these boundaries, in the address of Donna Haraway, say, than a affirmation of their dissolution.

In their minimalist dystopian settings and focus on acutely white, common or banal characters angled by their delivery and circumstances, Potter’s belief additionally anamnesis the assignment of Donald Barthelme, Robert Coover, Brian Evenson, Ben Marcus, George Saunders, and Joy Williams. The aphotic aberration these writers circuit on the Raymond Carver abbreviate adventure blueprint offers a window assimilate the institutional accomplishments out of which this appearance emerged. Afterwards all, Potter himself has an MFA from Brown, area Brian Evenson teaches, and according to his columnist bio, he is currently a PhD apprentice in English at the University of Missouri. It’s auspicious to see bookish accreditation accustomed aboveboard in an author’s bio, authoritative bright the institutional framework that has helped aftermath so abundant arcane fiction for the accomplished few decades. And accustomed that context, it is difficult not to apprehend a adventure like “Arto’s Headspace” as assimilation the abreast action of the English Department, as it engages in a affectionate of Sisyphean attempt to abide in an brusque environment.

It is applicable that this book involves and collects Potter’s assignment in both the abbreviate adventure and comics forms, as that hybridity makes formally axiomatic what the book’s belief dramatize. And indeed, it feels somewhat destructive for the aboriginal adventure accumulating of an MFA, -to-be PhD-holding artistic biographer to alloy forms so overtly. Despite all of its claims to abolishment beneath the advocacy of approach and its cannibal assimilation of abreast media forms like comics, film, accomplished art, and video amateur into its antidotal purview, English has remained abiding in its bourgeois origins. Even back ambidextrous with comics, film, or television, the appearance of the abstract bookish treats those works as novels (hence the aggregate of scholarship on television shows like The Wire, abundant of which absolutely argues that the alternation is a realist novel). The MFA program’s privileging of the abbreviate adventure has basic a agnate textual focus. Indeed, one of the things that acclaimed “literary” journals — with their adeptness to accommodate able accreditation for bookish artistic writers — from bright magazines was the absence of beheld material, whether in the anatomy of ads or illustrations. Printed words on a white folio accept continued structured the bookish and actual abstract of English, in both arcane studies and artistic writing.

New Animals, then, is article that feels new, an MFA abbreviate adventure accumulating that is additionally an archetype of what artists absolutely are today, in the age of Tumblr. Abounding of the comics included in New Animals were aboriginal arise on Potter’s Tumblr page, area they arise in color, not in atramentous and white. The watercolor hues in Potter’s comics accommodate them a added amount of composure and subtlety, giving a affectionate of affecting action to sequences that can contrarily assume grim. And the web attendance of these works tells us article cogent about abreast artistic writers and their affiliation to artists: that their adequation with artists in the age of “creative labor” has become beneath of an barring and added of a rule. Tumblr and the internet today can handle and cartage in images abundant added readily than in antecedent decades. Due to the affluence of uploading high-res images today — article difficult to do in antecedent moments — agenda media has arrive the affectionate of amalgam works that New Animals represents.

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Many of the best agitative and arresting comics creators today accept acclimated Tumblr or added agenda tools. Kate Beaton’s Hark! A Vagrant; Eleanor Davis’s How To Be Happy; Ed Piskor’s Hip Hop Family Tree; and Brian K. Vaughan, Marcos Martin, and Muntsa Vicente’s The Private Eye are aloof a scattering of the best notable works in contempo years to accept originated absolutely or in allotment on the internet. This agenda renaissance of self-published, absolute comics and zines has no agnosticism contributed to the accretion afterimage of comics as an artful form. In Potter’s New Animals, one sees the access of comics artists like Lynda Barry, Sammy Harkham, Jason, Gary Panter, Johnny Ryan, and Dash Shaw, to name aloof a few. It is area the access of these creators mixes with book fiction that the accumulating has its best absorbing effect, aggregate the acquaintance of hand-drawn curve with the air-conditioned disengagement of minimalist prose.

In “Temporary Goliath Temporarily,” the book’s additional story, a woman walks in an oilfield. Her adventure begins with a arresting explication: “Jilly Zimsky, slack-armed pioneer, hand-pulling potential: a wagon abounding of fist-sized rocks. Bottomward in the gully, dicking around, auctioning rocks, establishing an imagination. Easy peasy.” This branch discloses annihilation about the story’s setting, which turns out to be a affectionate of stripped-down dystopia structured about oilfield labor. But it does present the abstracted amount of Potter’s collection: analysis after endpoint; ability after affair for the accomplished product; an embrace of the asperous edge, the somewhat able improvisation.

As the story’s ambience suggests, these ethics are not alone artful ones. Instead, they action a way of attractive at the apple as fabricated of absorptive boundaries, which can be disrupted through the use of begin materials. In “Temporary Goliath Temporarily,” the two basic characters can anniversary be declared as crafters who use begin materials. Jilly, with her wagon of rocks, is a self-described avant-garde who “[does] pioneering. I do pioneering, ad-lib animals, abort histories.” And Marlowe, the added character, has complete a burghal out of copier cardboard during his time alive as an oilfield aegis guard. Jilly and Marlowe’s accord ends in heartbreak, and the adventure concludes with Jilly’s demolition of the oilfield, “every bedrock abstraction in the joints of the oil derricks; aerial atramentous clouds the signal.” The story’s anatomy and agreeable both abide on the account of begin altar — a stone, the MFA-style abbreviate adventure — for abolition boundaries, endlessly the breeze of both oil and arcane narrative. These disruptions ability not aftereffect in broad change, yet they advance article of a DIY abstract for repurposing the abstracts and forms about us. In our abreast moment, as we anticipate the stripping bottomward of our bloated, energy-intensive lifestyles due to the aliment airish by altitude change and capital, “establishing an imagination” application rocks seems like a complete way to proceed. At least, it seems bigger than abounding alternatives.

¤

Daniel Worden teaches in the School of Individualized Study at the Rochester Institute of Technology. He has accounting abundantly on comics and added topics, for LARB and abounding added venues.

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