Liana Finck’s first graphic novel, A Bintel Brief, was published by Ecco Press. Her cartoons and comics appear in The New Yorker, The Toast, The Forward, and Lilith Magazine.
12 Comments
Alger+18
Finally, someone else who imagines the “Riding into the sunset” literally!
OiSunshine+7
There was a Far Side comic (or something in the same format) with a guy pulling a burned cowboy into a saloon saying “Dang fool tried riding into the sunset!”
chaarulatha+42
God I love these so much. The e-mail cartoon is me with every stranger who I’ve tried to awkwardly become friends with. -ok she seems cool imma text her a bit -oh she replied! -is it weird she replied? -why would people reply to me? -is it smart to become friends with people who want to reply to me? -wait she stopped -why did she stop -should i say something -hm ok i don’t need this shit -i’m gonna push her away every time she tries to interact with me. emotional intimacy is sooo stupid anyway.
sitamsini
God I love these so much. The e-mail cartoon is me with every stranger who I've tried to awkwardly become friends with.
-ok she seems cool imma text her a bit
-oh she replied!
-is it weird she replied?
-why would people reply to me?
-is it smart to become friends with people who want to reply to me?
-wait she stopped
-why did she stop
-should i say something
-hm ok i don't need this shit
-i'm gonna push her away every time she tries to interact with me. emotional intimacy is sooo stupid anyway.
deleted7410012+6
perfect, as usual.
yeah_elle
perfect, as usual.
suzynjackson+26
Oh! the window and the mask! But if you’re in As You Like It, you can only speak the truth once you have, like, three masks piled on. (Buy me a bottle of wine and I will go on about the truth through masks business for quite some time.)
Rebekah Jaunty+10
-supplies wine-
suzynjackson+28
Pull up the Pouilly-Fume, ’cause that’s what I’m drinking.
So, Rosalind can’t just come out and tell Orlando that she loves him until she’s in the forest, pretending to be a boy, pretending to be a girl to help Orlando rehearse what he’s going to say when he sees her, her being Rosalind. But once she has those layers in place, she’s “safe” enough to speak her truth. Not to mention that she would have originally been played my a man. I saw an amazing production of AYLI by an all-male British company at BAM in the 90s because I’m old. When I went back to college for senior year I directed that scene and I cast all guys, and some people didn’t realize Celia was being played by a guy until the discussion afterwards because I’d taught him all this “feminine” body language, like sitting with your knees together and over to one side, with your feet out to the other side (how I’m sitting this moment), which the actor told me afterwards hurt a LOT but he was willing to do it for AAAHHHT. And I just think this whole thing is like a metaphor for fiction, because there are things you can talk about in fiction, like, interiority, that you just can’t get across in non-fiction without getting poetic, which, I mean, I don’t know if poetic is a step towards fiction or a step past, but it’s definitely not straight reportage. Except when it is.
I think we need another bottle.
Crivens+2
Cheers!
Suzyn
Oh! the window and the mask! But if you're in As You Like It, you can only speak the truth once you have, like, three masks piled on. (Buy me a bottle of wine and I will go on about the truth through masks business for quite some time.)
Suzyn
Pull up the Pouilly-Fume, 'cause that's what I'm drinking.
So, Rosalind can't just come out and tell Orlando that she loves him until she's in the forest, pretending to be a boy, pretending to be a girl to help Orlando rehearse what he's going to say when he sees her, her being Rosalind. But once she has those layers in place, she's "safe" enough to speak her truth. Not to mention that she would have originally been played my a man. I saw an amazing production of AYLI by an all-male British company at BAM in the 90s because I'm old. When I went back to college for senior year I directed that scene and I cast all guys, and some people didn't realize Celia was being played by a guy until the discussion afterwards because I'd taught him all this "feminine" body language, like sitting with your knees together and over to one side, with your feet out to the other side (how I'm sitting this moment), which the actor told me afterwards hurt a LOT but he was willing to do it for AAAHHHT. And I just think this whole thing is like a metaphor for fiction, because there are things you can talk about in fiction, like, interiority, that you just can't get across in non-fiction without getting poetic, which, I mean, I don't know if poetic is a step towards fiction or a step past, but it's definitely not straight reportage. Except when it is.
Finally, someone else who imagines the “Riding into the sunset” literally!
There was a Far Side comic (or something in the same format) with a guy pulling a burned cowboy into a saloon saying “Dang fool tried riding into the sunset!”
God I love these so much. The e-mail cartoon is me with every stranger who I’ve tried to awkwardly become friends with.
-ok she seems cool imma text her a bit
-oh she replied!
-is it weird she replied?
-why would people reply to me?
-is it smart to become friends with people who want to reply to me?
-wait she stopped
-why did she stop
-should i say something
-hm ok i don’t need this shit
-i’m gonna push her away every time she tries to interact with me. emotional intimacy is sooo stupid anyway.
God I love these so much. The e-mail cartoon is me with every stranger who I've tried to awkwardly become friends with.
-ok she seems cool imma text her a bit
-oh she replied!
-is it weird she replied?
-why would people reply to me?
-is it smart to become friends with people who want to reply to me?
-wait she stopped
-why did she stop
-should i say something
-hm ok i don't need this shit
-i'm gonna push her away every time she tries to interact with me. emotional intimacy is sooo stupid anyway.
perfect, as usual.
perfect, as usual.
Oh! the window and the mask! But if you’re in As You Like It, you can only speak the truth once you have, like, three masks piled on. (Buy me a bottle of wine and I will go on about the truth through masks business for quite some time.)
-supplies wine-
Pull up the Pouilly-Fume, ’cause that’s what I’m drinking.
So, Rosalind can’t just come out and tell Orlando that she loves him until she’s in the forest, pretending to be a boy, pretending to be a girl to help Orlando rehearse what he’s going to say when he sees her, her being Rosalind. But once she has those layers in place, she’s “safe” enough to speak her truth. Not to mention that she would have originally been played my a man. I saw an amazing production of AYLI by an all-male British company at BAM in the 90s because I’m old. When I went back to college for senior year I directed that scene and I cast all guys, and some people didn’t realize Celia was being played by a guy until the discussion afterwards because I’d taught him all this “feminine” body language, like sitting with your knees together and over to one side, with your feet out to the other side (how I’m sitting this moment), which the actor told me afterwards hurt a LOT but he was willing to do it for AAAHHHT. And I just think this whole thing is like a metaphor for fiction, because there are things you can talk about in fiction, like, interiority, that you just can’t get across in non-fiction without getting poetic, which, I mean, I don’t know if poetic is a step towards fiction or a step past, but it’s definitely not straight reportage. Except when it is.
I think we need another bottle.
Cheers!
Oh! the window and the mask! But if you're in As You Like It, you can only speak the truth once you have, like, three masks piled on. (Buy me a bottle of wine and I will go on about the truth through masks business for quite some time.)
Pull up the Pouilly-Fume, 'cause that's what I'm drinking.
So, Rosalind can't just come out and tell Orlando that she loves him until she's in the forest, pretending to be a boy, pretending to be a girl to help Orlando rehearse what he's going to say when he sees her, her being Rosalind. But once she has those layers in place, she's "safe" enough to speak her truth. Not to mention that she would have originally been played my a man. I saw an amazing production of AYLI by an all-male British company at BAM in the 90s because I'm old. When I went back to college for senior year I directed that scene and I cast all guys, and some people didn't realize Celia was being played by a guy until the discussion afterwards because I'd taught him all this "feminine" body language, like sitting with your knees together and over to one side, with your feet out to the other side (how I'm sitting this moment), which the actor told me afterwards hurt a LOT but he was willing to do it for AAAHHHT. And I just think this whole thing is like a metaphor for fiction, because there are things you can talk about in fiction, like, interiority, that you just can't get across in non-fiction without getting poetic, which, I mean, I don't know if poetic is a step towards fiction or a step past, but it's definitely not straight reportage. Except when it is.
I think we need another bottle.