Song: Free Champagne – Blue Americans
Yes, that’s right! Another set of illustrations for The Rumpus–this time, to accompany Lidia Yuknavitch’s incredible Spines of the Finwomen. This piece was the final in the #monsters2019, which was curated by curator extraordinaire Marissa Korbel, and an absolute joy to read and participate in. Go! Read!
I think about form and malformation all the time. You have no idea. Obsessively. You might say I’m a malformation junkie. Especially on the page, especially in language or art, but also the form of the human body or the bodies of animals or trees or bodies of water. Form is everything to me. The forms that interest me the least—the forms that I find close to useless, the forms that make me want to shoot myself a little bit are the mainstream, perfectly shaped, well-received, and popularized traditional forms that the majority of people find pleasing and whole and and beautiful. I am passionately obsessed with and devoted to malformation in art and literature and people. Not just structurally, but also in content. I love the monster. The creature. More than I ever love the hero, by about a gazillion. Heroes bore the fuck out of me unless there is something seriously, beautifully, and irreconcilably wrong with them. I know what you are thinking. Antihero. Not enough for me. Give me the squirming tentacled blob or grotesque medusa or oozing alien. Now I’m trying to think of a sentence that will accurately convey to you the extent of my devotion to the differently formed in art, in language, in people. A sentence something like this: “I’d rather lick pus ooze than embrace the so-called well-formed hero. The beautiful heroine. The beautiful object of any sort.”-Lidia Yuknavitch