Vaughan & Chiang's "Paper Girls" Builds a Familiar Yet Disconcerting World
What does it take to make a story just right for some creators? As revealed in this interview with Megan Kelso, with her latest book, Artichoke Tales (released by Fantagraphics a few months ago and praised by Brigid just yesterday)–it took 10 years. Not every storyteller takes the time to indulge my questions in the manner that Kelso did, an effort for which I’m extremely grateful. Here’s the scoop on the book: “Artichoke Tales is a coming-of-age story about a young girl named Brigitte whose family is caught between the two warring sides of a civil war, a graphic novel that takes place in a world that echoes our own, but whose people have artichoke leaves instead of hair. Influenced in equal parts by Little House on the Prairie, The Thorn Birds, Dharma Bums, and Cold Mountain, Kelso weaves a moving story about family amidst war. Kelso’s visual storytelling, uniquely combining delicate linework with rhythmic, musical page compositions, creates a dramatic tension between intimate, ruminative character studies and the unflinching depiction of the consequences of war and carnage, lending cohesion and resonance to a generational epic. This is Kelso’s first new work in four years; the widespread critical reception of her previous work makes Artichoke Tales one of the most eagerly anticipated graphic novels of 2010.” Fun aside, in clarifying a detail about this interview, I learned that Kelso created a iGoogle theme, which can be accessed here. One last item, Fantagraphics posted a 16-page preview here.
Tim O’Shea: Creating Artichoke Tales represented more than six years of your creative life–can you describe how relieving (or what emotion you felt) when you finished the tale?
Megan Kelso: Truth be told, it was more like a ten year project. I think for some reason my publisher wanted to down play how friggin’ long it took me to finish this book. It was very protracted because I took a lot of breaks to do other things; freelance work, a wedding, moving, having a baby, moving again. I actually finished pencilling the last two chapters in 2005, which is really the heart of the creative work. I pushed myself on that because I wanted to be done with the storytelling part of it before I was pregnant. But then the final denoument, the inking, the computer shading, the corrections – I didn’t begin that work until two and a half years later. It was kind of excruciating doing all the final work on the book after it had been completely drawn – I think because the urgency and excitement of getting the story out was over. Then it was just drudge work. I finally finished all the work just before Thanksgiving of 2009 and I was 100% thrilled and happy about it for months. The let-down, “nothing left but doubt” part of finishing a huge project did not set in until I recently saw it in printed form. I am totally happy with how the printing and production came out, but even still, there’s a bit of a void. I think I’m fending off a bit of a mid-life crisis.