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Book Review – Squirrel Seeks Chipmunk: A Modest Bestiary (By: David Sedaris)

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Squirrel Seeks Chipmunk is a collection of “comedy” “short stories” by David Sedaris, a writer most known for his humorous essays on various “life” topics. Sedaris was recommended to me by a couple of gentlemen on the street who were purchasing some of my books (I mention this because it’s a sentence I really wanted to say) and as it turned out I already had one of his books, though it is a departure from his usual style (from what I understand, at least). So it might not be the most representative of his works, but is it a good one?

The book consists of 16 stories (Fables? Tales? Skits? Scenes? I’m having trouble coming up with the right word…) that are quite short, most being under seven pages with illustrations and the longest being only 20 pages. Every story has at least one illustration, usually at the beginning or end, though some have more (I assume where more story progression potential was presented by the images). These illustrations, by Ian Falconer, are very skillfully done, and in a very interesting style. I would say I am an overall fan of the aesthetic, but there are certainly points in this book where I think the artwork goes too far (though that is, of course, partly the fault of the story). It is very strange to see artwork that appeals to me present such repulsive images. But I do think that the “kids-book” style juxtaposed with the at-times grotesque content works well as part of the overall atmosphere the creators were going for, and Falconer, being mainly a children’s book author/illustrator (mostly the Olivia books, which I haven’t read but have knowledge of), is well suited to create that look (though I do have a fear of this book being mixed in with children’s books accidentally in second-hand shops and the like).

The stories (fables, whatever) themselves feature animals (simply named “rabbit” or “squirrel”) that are anthropomorphized, though less than in most fables, modern or traditional. The animals have the ability to understand all of the other animals (and humans, it seems) in plain English, but they can’t communicate with humans or perform many actions based on the flow of the story. When it is convenient for a rabbit to be able to heft a big stick, or a parrot wear a costume, they can, but cows and bears still prefer to walk on 4 legs, and most animals can’t escape farms, laboratories, and zoos. I have trouble nailing down what exactly these stories are (as should be obvious), Sedaris’ writing is dry, short, and distinctly modern, and most of the stories’ “morals” are not driven home or they are dunked in woe. Still, they most resemble fables with their talking animals and “morals”. While this isn’t a problem (and perhaps the world needs more works that don’t fit any one genre) it does lead to a problem I have, not necessarily with the book, but with the description of the book. From the back cover, to the genre it’s categorized under, to most of the reviews, this book is called “comedy” or “humor”, a point with which I will have to disagree. Separated from whether or not I liked the writing, all but the first few stories certainly aren’t “funny” (well, they might be in the odd sense) and while they have the “logical-illogical twist” that creates most (perhaps all) humor, this twist is not humorous, but macabre. I’m not one to say that “black humor” doesn’t have a place, or isn’t funny, or even good, but here I just don’t get the “joke” because as far as I can tell there isn’t one. I certainly wasn’t laughing, or even chuckling to myself, while reading.

That isn’t intended to say I disliked the book. While I’m not usually a fan of things in this “area”, I wasn’t having a bad time when reading this book. It was a very interesting modern (and cynical?) look at the fable formula. The morals are blunt and real, with the subjects being harsh and at times violent. Really it’s not unlike the fables of old before they were watered down in their modern retellings. And that makes for a fascinating idea and read. It’s a refreshing look at the idea and a good implementation of the elements of the fable. Most of the stories convey heavy and complex messages in very simple, down-to-earth language that sounds very real; the vernacular (or language of the common fable⸮ {irony mark}) if you will. And while the writing is simple and dry it isn’t boring. It compels the reader to continue while still providing ample logical stopping points at the end of each brief story.

It didn’t take me long to finish the book, which for something this “odd?” is a good thing. Sedaris knows when to stop, and how to correctly pace a story or book. Whether or not that quick read demands the cover price is up to the reader and whether they want a well-crafted piece of entertainment or a bang-for-their-buck piece of longer entertainment. Though if one does go in blind and ends up not liking the book at least it is relatively brief. It packs less of a punch time-wise than most books of its size but more than some graphic novels of its size, and Sedaris and Falconer are both masters of their craft in full control of exactly where they want it to go.

I have a hard time summing this one up. I’m glad I read it, I had a fairly good time reading it, and I would say it’s a good, but not great book. But I wouldn’t recommend it to anyone without extensive knowledge of what they have enjoyed previously, and even then it’s unlikely since the tone isn’t reflected in much other writing. It isn’t a work that makes the world, either whole or in part, better for its existence. It’s strange, visceral, cynical, and at times unpleasant to read. If its own strangeness, or the “challenge” it presents to the beliefs or thoughts floating around in your head warrant its existence in your mind then it is a book that should be out there. But even with that and the undeniable skill of its creators I wouldn’t be handing it off, or giving it as a recommendation or present to anyone. Indeed I’d struggle to find where its audience is.

Review – Sharpie Mean Streak White

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I have a pretty liberal definition of what an art supply is. Not quite as liberal as those who say everything is an art supply because (almost) everything you do is art of some kind. But I do think more qualifies as art supplies than the average person does. For instance I would say that everything meant to make a mark is an art supply. And that assumption will be tested here where I take a look at the Sharpie Mean Streak “permanent marking stick”, and see if it has any real art applications.

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The body is quite large, being about half an inch in diameter. It’s got a good amount of information on the side, but it gets a bit cluttered-looking. The back is a twist knob, like a glue stick. The cap has a slight taper with several ridges for grip. Inside is a pointy cone that can shape or dent the “marking stick” if you put it in slightly wrong. Inside around the “marking stick” (grease, wax, or whatever it is) is a sizable ridge that is quite uncommon on writing implements. There is also no grip section area.

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There are two ways I can describe this, either as a permanent (wetter) crayon, or a more slick grease pencil. Neither of those descriptions really tell you exactly what these things are. The inside substance comes in a pointy cone that is pretty useless. It’s very putty- or grease-like and when used the point becomes very flat very fast. It writes similarly to a crayon, in that it isn’t easy to control or sharpen. When the tip is flattened beyond a certain point, the base can be twisted to extend the point, but it can’t be retracted, so remember to not twist it too far out (that shouldn’t be a problem unless you’re an impatient reviewer like I am). The feeling it has is very slippery, and quite a bit of material comes off for not a lot of writing, but there seems to be quite a bit of it in the barrel, so running out should not be a major problem.

Performance is a bit disappointing. The white color doesn’t cover very well at all, meaning use in art as either correction or even to mix with other colors is very limited or would require re-application. It can be used as a covering to make things “hazy” but the coating is quite unpredictable. It likes to clump up in certain areas and barely cover others at all, meaning detail work also shouldn’t be done with it. As far a permanence goes, it is, but not wholly. I did testing (not just normal use) on metal and paper. Both were reasonably water-proof, on metal flame did nothing to it and on paper it did resist the flame but once the paper burned it did too (not that anything else would have happened). Then on the metal piece it stood up to WD-40, which has a knack for removing regular Sharpie, but was easily wiped away by isopropyl alcohol. I also suspect it could fairly easily be scraped off or crack easily on pliable surfaces. It does go on whether the surface is wet or dry as advertised and does dry in a fairly short amount of time for how tacky it is to begin with.

I would still consider this an art supply, and it can work well in mixed media, but really it is much more at home in the garage or the toolbox. The tip and lack of sharpening or controlling method means it works quite a bit better when marking large surfaces. It is “permanent” in that it’s hard to purposefully get off, but it doesn’t penetrate and won’t wear terribly well. It’s an interesting item, but certainly not a general use-one.

Business Cards

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Every time I walk into an establishment I grab a business card. I almost never use this card to contact said establishment later, I just keep it with all of the other cards I have. There is absolutely no reason for me to be doing this, aside from the odd joke about me having a card for “My Shaman” etc.

So why in the world do I do this? Well, I just like to, and business cards can be useful. I know several (okay more than that) businessmen (people) who would get sick to their stomach at the idea of taking in more business cards than they already do. I’m sure many people routinely purge their business cards either from their systems entirely or import them into something digital and forget them. I don’t have enough business interactions nor do I walk into enough establishments that have prominently displayed cards for that to be necessary.

I (as with many things I acquire) like having them. But in this case I “can” (should I want to) use them later as well. When indexed properly I can easily find businesses or people in whatever area I’m in that I frequently go to and find contact info or even business hours (and since I’m in the middle of nowhere and many places have no web presence it’s sometimes the only way to find out information like that). And sometimes they are wacky and unique (see “Shaman” above), or pieces of art. But many times they are good examples of what not to do on a card, and upon occasion something you can point to as the best way to make a card ever (that would be my business card, I’m sure of it).

As far as collections go, this one is nice because it doesn’t take up much space and some people can understand why you would want to keep information easily available. And sometimes I realize I’m just a graphic design junkie and I like having all of the styles, sizes, and materials available for reference or brain training or something similar. The cards just look pretty sometimes, which just cements their place in my collections.

Book Review – The Perpetual Motion Machine by Paul Scheerbart

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The Perpetual Motion Machine by Paul Scheerbart is a “nonfiction” book from the turn of the 20th century that documents the attempts of German novelist and “optimist” (my term) to create a perpetual motion machine. The book has several portions that are journal entries and several “essay” portions that talk about the effects of the machine. Interspersed in necessary areas are 26 diagrams of his attempts to create the machine.

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Needless to say, the man wasn’t successful (though, on the final page, he claims to be), but the book is still an interesting read. The outside presents itself as a more scientific work, but right off the bat, the author describes himself as seeing wheels at all times of the day and how he is driven to attempt to create his machine. There is little sense behind why he keeps pushing on, beyond his relentless optimism that there is a solution. Quickly, though, he dreads a solution, as he is afraid of the military using the invention for war, or he fears that providing infinite energy to the people of the world would destroy civilization, not bring it up. At times, both their being and not being a solution are equally terrible to him.

The machines presented in his diagrams are themselves quite simple and it’s easy to understand why they don’t work if you have a basic understanding of forces. Some have wheels spinning in the wrong direction, but most would require friction to be completely absent. Indeed, all of the models he constructed never did work, but he blames his lack of mechanical ability for this and not the idea that a perpetual motion machine can’t work. He has plumbers and mechanics set up the devices and they don’t work either. Nevertheless, he applies for patents anyway.

The meat of the book, though, is really his essays on what the future would be like with such a machine. He describes tasks that would be difficult even with such machines as “simple”: how easily mountains could be moved and transportation refined, and how all of the energy needed by humans can be provided by the “earthstar”. It’s all a bit crazy. His first attempt at making the machine was caused by the insertion of a “perpetual motion car” in one of his stories, where the cab was hung inside a wheel that drove one on forever. My first thoughts, of course, are how does one stop or get in and out? Neither of these potential problems are addressed, and the idea of the machine is jumped to with gusto. The diagrams do show an evolution from this point, but are all very basic and one loses interest slightly with each new one. Fortunately the book is quite short, and it never gets down to a position that is boring. The essays and diagrams are presented in a manner that prevents the reader from becoming bored, and keeps them in the thought process.

The talk of how cities, money, and war will change because of invention is at its best based on very simple theories and not in any particular fact. But, then again, the machine is impossible so the theories are impossible. He starts with talking about how we will exist on other planets, but decides Earth is good enough. This is repeated when he talks about how the financial institutions will fall, but then he wonders what he’ll have to do to continue existing. He is right to believe that inventing such a machine would make him rich, and perhaps equally right that he would either become a target, or his money would become worthless afterwards. All the musing about this makes it easy to climb into his head and understand what he is trying to say a little bit better. Paul is relatable and empathetic as a narrator and author (at least in this text).

But is the book good? Yes, it’s crazy, but good. Seeing how another mind that doesn’t work very similarly to the “common” idea of a person is fascinating. The idea of perpetual motion and the world that such a device would create is equally fascinating. Even knowing that the man is obviously an eccentric (crazy) and that the idea won’t work doesn’t diminish the book. Looking into another’s thought process is always and enlightening experience, and something can certainly be learned from this book, even if it is far removed from a way to make a perpetual motion machine.

Review – PaperMate Flair Colors – Maroon, Brown, Caramel, and Grey

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And now it is time for the final part of my look at the 20 colors of the Papermate Flair pen. This section only has 4 pens, and it’s special because I couldn’t find names for these colors from any official source. So the 4 names presented here are just what I think most represent the colors. Let’s get started and wrap this up.

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Maroon – I love a good maroon shade, and this one does not disappoint. It’s easy enough to tell, even amongst other dark colors, what it is, and the tone is nice to look at. It might not be the most natural maroon I’ve seen, but it’s quite good, and sometimes it may even be work compliant. It doesn’t smear much but it’s not the best at resisting water, either.

Brown – The brown is a nice dark, UPS, brown. It doesn’t quite look like dirt, more like bark, and it barely smears. It’s easy on the eyes, blends in with dark colors, and could work in some office settings.

Caramel (error in image where this is labeled as Sepia and Micron Colors are switched) – Caramel is the color I’ve had the hardest time naming. I just don’t really get this light brown. It looks fairly standards, but it’s a bit off from the browns in Micron, Crayola, Pilot, and other such brands. It looks all right, but not the most natural, and most workspaces wouldn’t appreciate it. Although smearing is next to none.

Grey – And the final color is also one of the most boring. Grey is a color I love that isn’t featured in many color sets. And that’s because there isn’t much use for it. In nature I can only think of fog, and in an office only if you convince them it’s just your black pen running out. That being said, it’s a nice dark, even grey with very minimal smudging and feathering.

And there we are, the 20 current colors of the Papermate Flair. I do like them, and even some of the more garish colors are better in these sets than others. There’s a good mix of water resistance, workspace appropriateness, and personality in there. And I would recommend the set if you like tones of colors and like the Flair. But it’s a bit expensive and maybe one should consider the smaller sets if they want specific colors.