The product of 18 years of work, Chris Ware’s graphic novel Rusty Brown is set in a parochial school in 1970s Omaha, Neb. The book will be published in Sept. 24 by Pantheon.
Ware’s book takes a plunge into the daily consciousness of his characters—third grader Chalky White; his sister Alice, perpetually bullied middle-schooler Rusty Brown; his remote father, Woody Brown; cruel stoner Jordan Lint; and Joanne, a black teacher with a powerful secret—in a methodical, unsentimental, lyrical rendition of their lives.
Meticulously drawn and designed, each page is a testament to Ware’s distinctive visual syntax and to a story that is both heartbreaking and heartrending. In this email exchange, Ware responded to questions about the creation of the book and his process.
The Millions: You’ve been working on this book for 18 years. When did you imagine Rusty Brown as a book? Your editor Chip Kidd said that the last hundred pages or so are unpublished. How long did they take you?
Chris Ware: I drew the first page of Rusty Brown a week after finishing [my earlier graphic novel] Jimmy Corrigan: The Smartest Kid on Earth (2000). I knew it would be a long book, but as in the embarrassing cases of my other experiments, never thought it would go on as long as it has, or metastasize into such a sprawling mess. Then again, sprawling messes are what I aim for, since they most accurately reflect real life. After a few years of working on it along with other projects (I started Building Stories [a PW Best Book in 2012] and finished that somewhere in the middle) it became clear that it would stretch well into a many-years-long project and I decided to make that a defining characteristic of the book rather than a humiliating secret.
I’ve changed as a person while working on it, reflected both in how I draw and in how I write, and the nation has changed as well, all of which I’ve tried to acknowledge and incorporate into the “feel” and plot (for lack of a better word.) Then again, this sort of “staying the same while changing” is no different from the way in which we all live, trying to fix what we consider important moments in our minds yet inevitably changing and rewriting them, while making plans which always change or fall apart in the face of unpredictable fortune and tragedy.
TM: How autobiographical is Rusty Brown?
CW: Well, comics are the art of memory, and every word, picture, gesture, idea, aim, regret, etc. that’s gone into the story has somehow filtered through my recollection and selectivity, so it’s all somehow autobiographical. I did grow up in Omaha, and while I share qualities with all of the characters in the book, I’ve tried to imagine people different from myself and also to understand and empathize with them as much as possible, since I believe that’s really the only aim and hope for humanity and art, and also one of the points of the book, more or less.
With Building Stories I tried to write a book without a beginning or an end, and Rusty Brown is an attempt to write a book without a protagonist, despite its goofy title. Without going all college-seminar-y here, it’s inspired by the structure of a snowflake, the six-sided shape of which is determined by the molecular structure of a water molecule, and which cannot form without a central piece of flotsam or grit. Though that sounds really pretentious; sorry.
TM: Can you tell me something about your process?
CW: Every morning after recording the events of the previous day in my comic strip diary, I sit down at my table and try to avoid all of the distractions of the modern world day by turning off my computer and phone. If I’m starting from a blank page I might have some notes or ideas as to how the page is going to take shape, but those might also be completely jettisoned once I get going, since when I start drawing, new ideas and memories float to the surface based on what I’m looking at that rather than what I was thinking about; sometimes I might even remember a person or an incident I’ve completely forgotten, or a character “reacts” to something in a way I would not. In simpler words, it’s improvised, but no more improvised than it would be to sit down, stare at a wall and see what I could script and come up with—which, from experience, I find is always vastly inferior and banal compared to what the slow-release inward-looking process of drawing suggests.
I work in lumps of two pages each, since that’s how books are bound, and once I get two pages all “written,” which means drawn in pencil and which usually takes two to five days, I’ll ink it using a brush and ink, which usually takes a day or two. Then I’ll scan it in and color it, which takes a day. So generally it takes about a week to do two pages. Not a very efficient mode of storytelling. Then again, it allows for a certain slow percolation of ideas and story that perhaps other art forms don’t. The guiding rudder of writers I revere like Zadie Smith, Tolstoy, Joyce, Nabokov, etc. provide a humiliating reminder that I’m never trying hard enough or getting enough done, but Rusty Brown is my current best attempt to make a literary graphic novel that respects its reader, and unlike a film director or even an artist with multiple assistants, it’s all me doing it and none of it involves any collaboration or editorial adjustment. So if a reader doesn’t like it, then I’m solely to blame.
TM: Can you tell me about the book jacket for Rusty Brown?
CW: Not unlike the folding jacket for Jimmy Corrigan, this one is something of the conceptual inverse, designed to be folded into a different jacket for each of the book’s three protagonists. Once the second part is published for the other three, it could also be arranged into a larger diagram of how the six characters combine and narratively mortify each other. It, like the book itself, is loosely based on the structure of a water molecule. Perhaps I was in college for a little too long.