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Richard Thompson, creator of "Cul de Sac," and winner of the 2011 Reuben Award for Outstanding Cartoonist of the Year, has graciously offered to sign copies of this beautiful book when you place your order through One More Page. Because cartoonists, like banjo players, are lovable but unpredictable, we can't guarantee a delivery time. We thank you in advance for your support, and your patience. You can click here or call us at 703-300-9746 to be among the select and stand up for America by purchasing a signed copy of The Art of Richard Thompson!
Friday, August 17, 2012
Wash Post Blows the Lid Off Cul de Sac Shocker
Last night he ambushed me with some gotcha questions-
1. Can you tell me how you came to this decision now? Was there a moment that this choice became clear, or has this been a long and gradual decision -- perhaps one that had a tipping point?
A. I've known for a year or more that I was working on borrowed time. My lettering had begun to wander off in 2009, but that could be fixed easily enough. But when Alice's and Dill's heads began to look under-inflated last winter I figured I was losing control of the drawing too. When I needed help with the inking (the hardest but most satisfying part of drawing the strip),well that was probably a tipping point. Parkinson's disease is horribly selfish and demanding. A daily comic strip is too and I can only deal with one at a time. So it was a long, gradual, sudden decision.
2. Was there one aspect of creating a daily comic strip that made you decide this was too much? Perhaps it was more the drawing, or the writing, and/or the deadlines? And did you consider letting an assistant -- perhaps Stacy -- carry the load for an extended period of time, or not so much?
A. The deadlines would be the obvious answer as I've hated and feared them all my life (true of most cartoonists, I've found). Yeah, I thought about passing along more of the drawing to Stacy. I thought he did a wonderful job inking my roughs. But I was having trouble separating the writing and the drawing. I found that one fed off the other more than I'd realized' that it was an organic process, to use pretentious art talk. Most of the time I'd start a strip with no clear idea where it was going, or There'd be an end without a beginning. And I'd figure it all out as I was inking it, which isn't the best way to work and would've driven a conscientious editor crazy. One reason I hate and fear a deadline is that I can't finish a damn thing without one, and everything is mutable right up till the last minute. And often beyond..
3. How are you feeling these days? And what's next for you -- perhaps short- and medium-range -- in terms of treatment?
A. Well, I need some work. Last winter I took time off for a month of BIG therapy at Bodykinetics Rehab and it was tremendously helpful. Basically it recalibrates your body using big, exaggerated movements and yelling and silly walks. But then I went back to work and slacked off and began to decline physically. This was when it became clear Parkinson's didn't mesh too well with a daily deadline. I got wobblier and had a few falls, and I've pushed the meds as far as they'll go. So the next step is something called Deep Brain Stimulation, where they implant wires in your brain, adjust the current and Boom, you're good to go. It's a process that takes 4 to 6 months and I'm just starting out.
4. Is there an overriding emotion you feel now that you've made this decision? Relief? Sadness? Resigned joy? Deep gratitude?
A. All of those. Relief because I've not lived without a deadline of some kind hanging overhead for almost 30 years. Sadness because there was more I wanted to do with the strip that would only be possible with a daily format. Resigned joy because I don't know, because it sounds good. And deep gratitude because I fell into this dream job at the last possible moment and got to produce work I'll always be proud of and made friends I'll always respect.
5. Will you continue to draw (perhaps with less demanding deadlines) -- maybe freelance, magazine covers, back to drawing cows for the FDA or Milk Advisory Board *smile*?
Or are you hanging up your Hunt #101 Imperial for good?
A. I'm not ready to quit, but I'm sure my work will change. It may look like it was done by Cy Twombly using his sleeve.
6. How do you feel about having had the space and stage and opportunity to draw Cul de Sac for as long as you did -- as well as all the acclaim, respect, fandom (from book sales to the Reuben Award)?
A. Like I said above, I fell into drawing a daily comic strip more by luck than design. And that kind of luck is unimaginable, at least to me. I feel like I've squeezed a lifetime career into way too short a time (though I started working on Cul de Sac almost 10 years ago). It took me forever to figure out the Reuben, because it's one of those "not in my wildest dreams" things. But I finally got it: it's like finding this fabulous object, an artifact of an ancient civilization that's far in advance of our own, and it's crashed in my backyard so I get to keep it.
Mostly, I'm grateful to all who pushed me into this. Starting with Tom Shroder and Gene Weingarten, on through Lee Salem, Rich West, Bill Watterson, Greg Melvin, John Glynn, John McMeel, Pat Oliphant, Amy, Emma & Charlotte Thompson, Mike Rhode, Nick Galifianakis, Chris Sparks, Shena Wolf and ending maybe with Anna Glynn or Emily Sparks. Without them I'd still be doing covers for the Milk Advisory Board. And also my Mom, who told me years ago if I ever did a comic strip it'd be pretty wonderful, but I'd probably drive myself crazy.
7. Any final "Cul de Sac" thoughts or sentiments you'd like to say to your many fans?
A. Don't wander off yet1 There'll be a joke after the credits.