Mirion Malle’s “So Long Sad Love”

The Drawn and Quarterly cover of 'So Long Sad Love.'ALT

On July 14, I’m giving the closing keynote for the fifteenth HACKERS ON PLANET EARTH, in QUEENS, NY. Happy Bastille Day! On July 20, I’m appearing in CHICAGO at Exile in Bookville.

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In Mirion Malle’s So Long Sad Love, a graphic novel from Drawn and Quarterly, we get an all-too-real mystery story: when do you trust the whisper network that carries the fragmentary, elliptical word of shitty men?

https://drawnandquarterly.com/books/so-long-sad-love/

Cleo is a French comics creator who’s moved to Montreal, in part to be with Charles, a Quebecois creator who helps her find a place in the city’s tight-knit artistic scene. The relationship feels like a good one, with the normal ups and downs, but then Cleo travels to a festival, where she meets Farah, a vivacious and talented fellow artist. They’re getting along great…until Farah discovers who Cleo’s boyfriend is. Though Farah doesn’t say anything, she is visibly flustered and makes her excuses before hurriedly departing.

This kicks off Cleo’s hunt for the truth about her boyfriend, a hunt that is complicated by the fact that she’s so far from home, that her friends are largely his friends, that he flies off the handle every time she raises the matter, and by her love for him.

There’s a term for men like Charles: a “missing stair.” “Missing stair” is a metaphor for someone in a social circle who presents some kind of persistent risk to the people around them, who is accommodated rather than confronted:

https://en.wikipedia.org/wiki/Missing_stair

The metaphor goes like this: you’re at a party and every time someone asks where the bathroom is, another partygoer directs them to the upper floor and warns them that one of the stairs is missing, and if they don’t avoid that tread, they will fall through and be gravely injured. In this metaphor, a whole community of people have tacitly decided to simply accept the risk that someone who is forgetful or new to the scene will fall through the stair – no one has come forward to just fix that stair.

The origins of this term are in BDSM circles, and the canonical “missing stair” is a sexual predator, but from the outset, it’s referred to all kinds of people with failings that present some source of frustration or unhappiness to those around them, from shouters to bigots to just someone who won’t help do the dishes after a dinner party:

https://pervocracy.blogspot.com/2012/06/missing-stair.html

We all know a few missing stairs, and anyone who’s got even a little self-reflexivity must wonder from time to time if they’re not also a missing stair, at least to some people in their lives. After all, friendship always entails some accommodation, and doubly so love – as Dan Savage is fond of saying, “There is no person who is ‘The One’ for you – the best you can hope for is the '0.6’ that you can round up to 'The One,’ with a lot of work.”

And at least some missing stairs aren’t born – they’re made. Everyone screws up, everyone’s got some bad habits, everyone’s got some blind spots about what others expect of them and how others perceive us. When the people around us make bad calls about whether to let us skate on our faults and when to confront us, those faults fester and multiply and calcify. This is compounded in long-tenured relationships that begin in our youth, when we are still figuring out our boundaries – the people who we give a pass to when we’re young and naive can become a fixture in our lives despite characteristics that, as adults, we wouldn’t tolerate in someone who is new to our social scene.

To make all this even more complicated, there’s the role that power plays in all this. Many missing stairs are keenly attuned to power dynamics and present a different face to people who have some authority – whether formal or tacit – to sanction them. This is why so many of the outings of #MeToo predators provoked mystified men to say, “Gosh, they never acted that way around me – I had no idea.”

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A year in illustration, 2023 edition (part one)

A one-bit MacPaint tool palette, blown up.ALT

(This is part one; part two is here.)

I am objectively very bad at visual art. I am bad at vision, period – I’m astigmatic, shortsighted, color blind, and often miss visual details others see. I can’t even draw a stick-figure. To top things off, I have cataracts in both eyes and my book publishing/touring schedule is so intense that I keep having to reschedule the surgeries. But despite my vast visual deficits, I thoroughly enjoy making collages for this blog.

For many years now – decades – I’ve been illustrating my blog posts by mixing public domain and Creative Commons art with work that I can make a good fair use case for. As bad as art as I may be, all this practice has paid off. Call it unseemly, but I think I’m turning out some terrific illustrations – not all the time, but often enough.

Last year, I rounded up my best art of the year:

https://pluralistic.net/2022/12/25/a-year-in-illustration/

And I liked reflecting on the year’s art so much, I decided I’d do it again. Be sure to scroll to the bottom for some downloadables – freely usable images that I painstakingly cut up with the lasso tool in The Gimp.

A remixed version of David Trampier's 'Eye of Moloch,' the cover of the first edition of the AD&D Player's Handbook. It has been altered so the title reads 'Advanced Copyright Fuckery. Unclear on the Concept. That's Just Not How Licenses Work. No, Seriously.' The eyes of the idol have been replaced by D20s displaying a critical fail '1.' Its chest bears another D20 whose showing face is a copyright symbol.ALT

The original AD&D hardcover cover art is seared into my psyche. For several years, there were few images I looked at so closely as these. When Hasbro pulled some world-beatingly sleazy stuff with the Open Gaming License, I knew just how to mod Dave Trampier’s ‘Eve Of Moloch’ from the cover of the Players’ Handbook. Thankfully, bigger nerds than me have identified all the fonts in the image, making the remix a doddle.

https://pluralistic.net/2023/01/12/beg-forgiveness-ask-permission/#whats-a-copyright-exception

Hansel and Gretel in front of the witch's candy house. Hansel and Gretel have been replaced with line-drawings of influencers, taking selfies of themselves with the candy house. In front of the candy house stands a portly man in a business suit; his head is a sack of money with a dollar-sign on it. He wears a crooked witch's hat. The cottage has the Tiktok logo on it.ALT

Even though I don’t keep logs or collect any analytics, I can say with confidence that “Tiktok’s Enshittification” was the most popular thing I published on Pluralistic this year. I mixed some public domain Brother’s Grimm art, mixed with a classic caricature of Boss Tweed, and some very cheesy royalty-free/open access influencer graphics. One gingerbread cottage social media trap, coming up:

https://pluralistic.net/2023/01/21/potemkin-ai/#hey-guys

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The art of Daniel Danger

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[Image ID: Daniel Danger’s art print, ‘To all who home to this happy place,’ depicting a ruined Disneyland castle in a post-apocalyptic landscape with a statue of Walt and Mickey in the rubble.]

There’s this behavioral economics study that completely changed the way i thought about art, teaching, and critique: it’s a 1993 study called “Introspecting about Reasons can Reduce Post-Choice Satisfaction” by Timothy D Wilson, Douglas J Lisle, Jonathan Schooler, Sara Hodges, Kristen Klaaren and Suzanne LaFleur:

https://www.researchgate.net/publication/240281868_Introspecting_about_Reasons_can_Reduce_Post-Choice_Satisfaction

The experimenters asked subjects to preference-rank some art posters; half the posters were cute cartoony posters, and the other half were fine art posters. One group of subjects assigned a simple numeric rank to the posters, and the other had to rank them and explain their ranking. Once they were done, they got to keep their posters.

There was a stark difference in the two groups’ preferences: the group that had to explain their choices picked the cartoony images, while the group that basically got to point at their favorite and say, “Ooh, I like that!” chose the fine art posters.

Then, months later, the experimenters followed up and asked the subjects what they’d done with the poster they got to take home. The ones who’d had to explain their choices and had brought home cartoony images had thrown those posters away. The ones who didn’t have to explain what they liked about their choice, who’d chosen fine art, had hung them up at home and kept them there.

The implication is that it’s hard to explain what makes art good, and the better art is, the harder it is to put your finger on what makes it so good. More: the obvious, easy-to-articulate virtues of art are the less important virtues. Art’s virtues are easy to spot and hard to explain.

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Figurehead 1, Royal Maritime Museum, Greenwich, London, UK

Figurehead 1, Royal Maritime Museum, Greenwich, London, UK by Cory Doctorowh

Poesy’s classroom drawing, the office, Hackney, London, UK on Flickr.
Giant brush, Dafen Oil Painting Village, Shenzhen, China.JPG on Flickr.
Luggage by robef on Flickr.

Luggage by robef on Flickr.

Passive aggressive sign in the RCA, London, UK.JPG on Flickr.
Mad Dog by cukeone on Flickr.

Mad Dog by cukeone on Flickr.

Evil Mickey 2 by cukeone on Flickr.

Evil Mickey 2 by cukeone on Flickr.