October 2016 - Page 2 of 2

Hotel Eastlund is One of a Kind!

Portland beckons. Perhaps you are heading out to the Oregon Convention Center or you’re just looking for a centrally-located hotel right next to the Max light rail. Hotel Eastlund is a great place to stay when visiting Portland. I made that discovery during a recent stay. It coincided with the annual 24-Hour Comics Day that I take part in along with countless cartoonists around the world. For me, the location, the atmosphere, and the hospitality all added up very nicely. I was able to easily get around town and rely upon a quiet and comfortable room to settle into a drawing marathon.

Hotel Eastlund in Portland, Oregon

It all began with my arrival at Union Station. I took the train from Seattle. In fact, I read and prepared my review for this year’s Best American Comics during my train trip. I then walked over a few steps to the Max light rail and hopped on. Moments later, I was at the hotel. An upbeat and peppy style welcomes each visitor. The eye follows low-key colors and a pleasing combination of white and orange.

Hotel Eastlund: An Adventure Awaits

Boutique hotels are all about an upbeat and hip environment and Hotel Eastlund definitely met and exceeded my expectations. You feel, as you enter the lobby, with hints of the futuristic and the urban, that anything is possible from your new home away from home. The surroundings are chic and yet practical. There is plenty of comfortable seating and lots of informative brochures. Walk down a bit and you’ll find a roomy business computer station. And past that you’ll find a welcoming and nicely stocked café. There is also a gym and a chic rooftop restaurant. The more you take in, the more you see that this is a boutique hotel with a grand hotel vision and scope.

The Magic of Hotel Eastlund

The room was quite pleasant. I fired up my laptop and set about planning my visit using the hotel’s free Wi-Fi. I looked out the window to observe the Oregon Convention Center and the Max light rail. Just beyond that, at walking distance, I would find a number of shops and restaurants including the Lloyd Center shopping mall. But, first things first, I jumped into the shower to help keep me alert for the long day of sightseeing followed by an extended drawing session. I’d already made a number of sketches but there was more that lay ahead, along with inking what I had started in pencils. And I also managed to fit in going to see Peahces at the Wonder Ballroom. I did not stay late but late enough. Before going out, I did make a quick trip up to the hotel’s rooftop restaurant and bar, Altabira City Tavern. The view is simply stunning. I had a delicious glass of house red wine. My only regret is that I did not stay longer and, with spacious seating and inviting fire pits, it was quite tempting not to leave.

Once back to my room to pursue my night of drawing, I settled in with some coffee. I wanted to tie in the quirky offbeat character of Portland with my own drawing sensibility so I focused on work from my ongoing graphic novel about the science fiction writer George Clayton Johnson. Among his accomplishments, he co-wrote, with William F. Nolan, the landmark sci-fi novel, Logan’s Run. Bill Nolan, by the way, was in Portland to celebrate with the Portland Film Festival, the 40th anniversary of the blockbuster movie, Logan’s Run. So, all that said, I felt like I was right where I needed to be. As daybreak emerged, I flipped on the TV and enjoyed Hotel Eastlund’s Channel 2 which focuses on Northwest filmmakers and storytellers, presented by Lower Boom. Among the programs, “The Benefits of Gusbandry,” starring Brooke Totman and Kurt Conroyd, is totally hilarious. Check out the video for more about my hotel stay and the drawings I did during my visit.

That morning, I was grateful to sit down with a hot breakfast. I could have called room service but I chose to throw on some flip flops and my jogging clothes and make my way down to the hotel café, Citizen Baker. I give the hotel high marks for a lively and upbeat atmosphere throughout my stay. Considering I had a pretty hectic schedule as I set about taking in Portland from various angles as well as being true to my drawing regime, it was most appreciated that I could rely upon Hotel Eastlund’s professionalism and thoughtful hospitality. The hotel is utterly gorgeous. We can sometimes take things for granted. I think Hotel Eastlund makes it all look carefree and easy. Hotel Eastlund is a refreshing and smart new addition to Portland’s Eastside making it a fun and exciting destination in its own right.

Citizen Baker at Hotel Eastlund

Another visit to Hotel Eastlund is on my agenda and the sooner the better. There is simply so much more to enjoy. So, if your next destination is Portland, keep in mind how easy it is to get here from the Westside on the Max light rail, just a brief trip across the Willamette River then you are literally just steps away from the hotel. And, if you have more involved needs, there are five stunning private dining and meeting rooms including the 3,400 square foot Cosmopolitan Grand Ballroom that features floor to ceiling windows and breathtaking views.

Find Hotel Eastlund at 1021 NE Grand Avenue. Their phone number is (503) 235-2100. And visit the Hotel Eastlund website right here.

Reading “Best American Comics 2016” on the train.

I read this year’s Best American Comics on the train and I loved it all the more for doing so–but more on that later. Bill Kartalopoulos is the series editor and this year’s editor is Roz Chast. Even if you think you don’t know enough about the contemporary American comics scene, you probably know Roz Chast’s work in The New Yorker. So nothing to worry about, even Roz Chast doesn’t think of herself as exceptionally knowledgable about the current comics scene. However, Bill Kartalopoulos knew right away that, no matter how splintered the comics scene may be, here was a legendary cartoonist, with a wealth of experience, insight, and a very special kind of irreverence. This book is a guide through the best of American comics from someone with just the right sensibility to add to the journey. And what a journey it will be kicked off by the artwork of Marc Bell on the cover, as well as within the pages!

From “Stroppy” by Marc Bell

The path begins with a forward by Kartalopoulos which explains how we got here from there and what sort of comics we are focusing upon. For the most part, the focus is on comics that have come to be known as alternative comics, or alt-comics. These are comics that fall well within comics as an art form. While genre comics occasionally rise to the level of art, that is not their main purpose. So, as I have maintained, it is useful to be able to separate comics within two main groups: genre and the alternative to genre. There is crossover (which is great when it happens and can be quite interesting), but, in general, art comics are on one side and superhero and various other genre comics are on the other side. So, while it is possible, you will usually not see the likes of Batman or Spider-Man in Best American Comics–even if that just doesn’t seem right somehow.

Father and daughter clash in Adrian Tomine’s “Killing and Dying.”

Roz Chast’s introduction provides some clues as to what comics would appeal to her. Considering what she chose to include in the book, she is mostly intrigued by wry humor and in-depth autobiographical work. She says she’s not a prude but that if work gets misogynistic, that makes her sad. And she’s open to just about anything, even willing to go back to a comic that she wasn’t sure about at first. Chast does not categorize her selections. You just start reading. First up, is an excerpt from Adrian Tomine’s celebrated collection, “Killing and Dying.” In this excerpt from the title story, I can only imagine Chast’s love for zany humor telling her this is the piece to set the tone for the rest of the book: a story about a father struggling with his daughter’s sudden desire to be a stand-up comic.

Misfits band together in Chris Ware’s “The Last Saturday.”

Along with Adrian Tomine there are other clear choices to include: Chris Ware, Lynda Barry, Gabrielle Bell, John Porcellino, among others. But the treat is that they are set within the context of choices that Chast came to make. That fact adds another layer to one’s enjoyment of a story about struggling misfits by Chris Ware. And, it is quite true, there are so many comics out there that you cannot keep up with all of them. It does seem best to find a way to hook in and make some sense of things using different approaches each year. To that end, series editor, Bill Kartalopoulos has settled into taking a long view of things. Ideally, you don’t just read one Best American Comics annual but you keep up with it each year to find out what has made an impression and how it may fit into the current wave. What novelist Johnathan Lethem did as editor last year is different from what comics historian Scott McCloud did the year before.

Discussing time and effort in Lynda Barry’s “Syllabus.”

By the time I reached Lynda Barry’s story about coming to terms with a cartoonist’s goals and how to impart that wisdom unto students, I had a good sense of what Chast was going for. It provided me with a way to hook into everything else. And it was about that time that the rocking motion of the train added more resonance, especially as I patiently followed along lines of Barry’s handwritten writing reproduced from a notebook page. Both the train and the handwriting asked me to take my time. Earlier in my reading, I had been picking up on the fact that there is so much going on around you while riding in a train and how that is true for comics.

Barry brings up a challenging question: Just how long does it take to draw something? Well, it all depends. In the end, a good cartoonist develops a keen sense for this. It’s a variation of the old saw, When is a painting finished? So many art students have suffered from callous professors who dismiss work as simply unfinished. But, on the other hand, so many art professors have suffered from callow and impatient students who demand a checklist for assignment requirements. You cannot create anything, especially art, from a checklist! Time. It all takes time. So, in “Syllabus,” Barry sums it all up with, “Rushing it is missing it!” It is that standard that is maintained by all the cartoonists included here.

From “Adults Only” by Lance Ward

Cartoonists of this caliber are meticulous note-takers and obsessive in the best sense of the word. Among these type of cartoonists included in this book is an excerpt from “Adults Only” by Lance Ward. Ward states that he works directly on pre-made panels, without preliminary drawings, so that he can best attack his work. This runs counter to the Barry dictum of measured craftsmanship. However, Ward’s obsessive quality wins out. This is in the same spirit as Jackson Pollock’s drip paintings. Ward has gotten to the point where he has hit enough marks to know, on an intuitive level, where the marks will end up. The work has a spare and energetic look to it. Ward is recounting his misadventures working in a porn shop. That is the point of departure for his delving into struggles with his sexuality. A more free-form style could not have been invented for him. A cartoonist can try to minimize or maximize their style but, usually a certain way of doing things falls into place.

“Bike Fast” by Sophia Zdon

Ward, along with other rising talents included here such as Sophia Zdon, has found what works. Zdon, a graduate of the School of Visual Arts in 2015, provides heartfelt observations as if out of dreams.

From “The Corpse, the Ghost and the Hollow-Weenie” by Casanova Frankenstein

One of the most raw and honest expressions in comics comes from Casanova Frankenstein. In an excerpt from “The Corpse, the Ghost and the Hollow-Weenie,” he confides in the reader about a tumultuous life.

Panel excerpt from “Fatherland” by Nina Bunjevac

An excerpt from “Fatherland,” by Nina Bunjevac, published by W.W. Norton, provides insights into a peculiar and dangerous life in Yugoslavia in the aftermath of World War II.

From “Fashion Cats” by Alex Schubert

Alex Schubert‘s “Fashion Cat” is a hilarious look at the misadventures of a feline hipster, originally published in Blobby Boys 2 by Koyama Press.

From “El Deafo” by Cece Bell

Cece Bell‘s “El Deafo,” published by Abrams, is quite a captivating story about a little girl coming to terms with being deaf and how to navigate the world. The story is given an added lift by the nicely modulated coloring by David Lasky.

“Don’t Leave Me Alone” by GG

“Don’t Leave Me Alone,” by GG, is a dream-like compilation of growing up with fear and uncertainty in an intolerant and hostile world.

From “Blanket Portraits” by Geneviève Castrée Elverum

And then there are those comics that are simply transcendent–and can best inform us on the integrity and purpose of the comics medium. “Blanket Portraits,” by Geneviève Castrée Elverum, is a visual essay on a lifetime’s appreciation for blankets, their beauty and comfort, and what they symbolize. Geneviève passed away on July 9, 2016 from pancreatic cancer. As Bill Kartalopoulos states in a postscript, what made her comics unique was that they were “entirely expressive of who she was.”

The Best American Comics 2016

“The Best American Comics 2016” includes the work of 30 cartoonists. It is a full-color hardcover, available as of October 4, published by Houghton Mifflin Harcourt. Best American Comics proves to be an essential and inspiring guidebook. As I say, Bill Kartalopoulos has taken the long view. You’ll definitely want to read this year’s edition and make it a habit to keep up with this most distinctive collection.