Notes to a Note on the Notes of Chester Brown

4. And here I must note that, of course, the twenty-three appendices are not the last word in Paying for It. Seth does not, alas, have the last word. We’ve still got pages of notes to wade through—more citation and amplification here, some of it interesting, most of it not. (Seth’s line comes to mind again: “I really couldn’t give a shit about most of these issues.”) There are touches of humor: “‘Diane’ did not have a hairy mole. She had a problem that I’m going to be deliberately vague about (just as I was vague about the location of the non-existent mole).” The most (literally) eye-opening bit is a discarded panel that shows him putting in a contact lens, which explains why he’s not wearing glasses at one point in the story. It prepares us for the author photo on the very last page, in which you can see him resolving into his skull, into the avatar he’s used to tell this story. He looks serene or spooky, depending on your politics.


6 Responses to Notes to a Note on the Notes of Chester Brown

  1. RobClough says:

    #5 is a very interesting point, especially regarding the idea of challenging a fixed work. There's a line of aesthetic theory that states that once an artist releases a work into the wild, so to speak, that the work is no longer strictly their dominion. It belongs to those who experience it as well, in the sense that they will have a particular aesthetic response to that piece. The annotations seem to suggest that Brown perhaps wants a chance to explain or even influence a reader's experience, even years after the fact when he starts to have a different point of view about a work he created. It's clear that the annotations, to some extent, are based on the feedback of readers (even if it's just his friends), and it's a way not to change the actual art (which he rarely revises) but to engage with and even participate in criticism about the work. Brown is interesting because he has a strong aesthetic reaction to his own work that he's fully willing to share and argue about.

  2. JasonOverby says:

    Hmmm… Are there supposed to be images of the original 'notes?' Can't see em on Safari or Firefox…

  3. raphaeladidas says:

    Yeah, I can't see anything in Safari or Firefox either.

  4. Tim Hodler says:

    There's nothing missing. We just published the footnotes.

  5. JasonOverby says:

    Cool. All that space between the post's title and the notes had me fooled.

  6. acidtoyman says:

    If you think he "rarely revises" his artwork, you should see the difference between the original Louis Riel series and the collected book. Some of the changes are pretty drastic—added panels in between others to change the pacing, moving speaking characters off-screen, adding backgrounds where they had been black, blackening in backgrounds, adding crosshatching…When he talks about it, he makes it seem like he only revised the earlier panels to make the earlier character designs match the later ones (making the bodies bigger and the heads smaller) but the changes are actually pretty drastic and extensive.

    He also replaced quite a few of the panels in "Showing Helder" when it was collected in "The Little Man". Not to mention completely changing the ending to "Ed the Happy Clown".

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