Making Art in Times of War & Suffering

For a long while now, I have been brooding on the question of the role of art during times of intense suffering–whether it be firsthand experience or peripherally. Like the war in Gaza–a war so far yet brought to our attention daily on our screens. I think—what can art do, if anything, to ease the suffering?

Looking back at my journal entries, one labeled 10/5/23, it appears I had already pretty much given up on writing on the daily. I had also lost interest in reading; even before the attack on Israel, I wrote that I had already been taking an extended break from writing, and focusing on drawing, because I had lost my desire to write daily or at all; I could no longer write anything that could satisfy my desire to feel significant, or to connect with people enough for them to want to give a care. So I began focusing my energies on art: drawing and painting. Doing so does give me a sense of satisfaction, even if no one else sees what I create. But this brings me back to the question of the role of art in the face of war and suffering. What is the usefulness of a chosen profession like writing or making art? Could I be doing something more useful like participating in activism? Even if one makes art that directly interrogates warfare and other abuses of power, could that energy be better used? Does art need to console or to enact change?

Here is a link to an article in Estonian World with responses from various artists on this question:

Of all the responses, one that really resonated with me was the one by Anna Kouhkna, Estonian painter, illustrator and photographer, who, in reference to the war in Ukraine said, “When all this started happening, I lost my appetite for making art. I was devastated and read the news 24/7, putting all my emotions into it, almost hoping that my sadness, anger, compassion and attention could help in some way.” She decided to tune out the news and to pick up the brush again, for dwelling on negative emotions would not help anyone. I know it would probably help to stop checking the news every single day, but then when I don’t check I then feel guilty for going about my life as if everything’s just fine, and so the vicious cycle goes.

What do you think is the role of art in times like these? I invite you to enter the conversation with me and to share any insights you have, and if you have none, that’s okay too. Feel free to vent and rage, and of course share any resources that speak to you.

Art Exhibit “Small Wonders”

Three of my paintings have been accepted to the December “Small Wonders” exhibit at Art at the Cave in downtown Vancouver, WA. Join us for First Friday Artists’s Reception from 4 to 8 PM on Friday, December 1st.

This will be my second art exhibit.

https://artatthecave.com/

Substack

This week’s entry of The Social Book Exchange at Substack: https://open.substack.com/pub/tinacabrera/p/about?r=k5a25&utm_medium=ios&utm_campaign=post

Check out this week’s posting: “From One AI to the Next (The Proposal)”

https://tinacabrera.substack.com/p/from-one-ai-to-the-next?sd=pf: Substack

In All My Lifetimes

Five individuals find themselves in the Bardo at the same time, in the Interim, the space between dying and rebirth. They converse with one another and with the ghosts of their memories at turns: Venerable Arhat (the guide), Unnamed (a narwhal), Edna a would-be animal activist, Bert the Philosopher, and Maria Concepcion, who suffered abuse at the hand of a family member in her previous life. The five ‘travelers’ have up to 49 days in the Interim, to process through the three stages of the Bardo to realize their fate in the direction of their Karma. Will they resist or come to peace with the manifestation of their fate? Is their fate set in stone, or is there room in the Interim to overcome doubt and finally end the cycle of suffering? 

Order book at Blurb:

https://www.blurb.com/b/11294254-in-all-my-lifetimes

The Measure of my Melancholy

Presenting a new graphic art series: The Measure of My Melancholy. I will post the panels as short videos as I make progress with the project.

The Measure of My Melancholy, Panel 1
The Measure of My Melancholy Panel 2
Measure of My Melancholy Panel 3
Measure of My Melancholy Panel 3

Paranoid Purging of Self


	It happened on Sunday, August 15th, in the Best Western Plus on Vancouver Mall Drive, at about 3:00 pm, after eating Vietnamese, the last night of motel before checking into our extended stay at AirBnB. 
	By nature (or upbringing--who can be certain), I am sensitive to paranoia and anxious thoughts, so it shouldn't be a big surprise that greedily ingesting two-and-a-half Cannabis edibles would create the perfect psychotic storm. I should have known better. I had a similar experience in San Diego, when I had returned home because of my father's passing in 2018. Ate one, nothing. Give it at least 30 minutes, my brother had warned, but impatient for feeling any effects, I ate another, laughed uncontrollably, lay on the couch in the living room, had only minimal paranoid feelings and fast went to sleep.
	But the trip I had in our hotel room is the worst I've ever experienced, so much so that I never, ever want to do that again, is what I vowed when the effects finally wore off. It had only been a few hours, but believe me, it felt like infinity.
	Before I describe my terrifying trip, I should backtrack and explain what I think amplified the effects. We had gotten on the road five days prior for our exodus from Texas to the PNW, so we were motel nomads, living out of our bags while caring for our four pets. For months, we had vacillated between the decision to stay in Texas, where our lives were relatively stable--both of us had stable, decent-paying jobs and a house we had purchased together four years ago--or to take advantage of the outrageous real estate market and move to a place more amenable to our political and social leanings, and our love of nature and the outdoors. Ultimately, we decided on the latter, which meant for me having to resign from my tenure-track assistant professorship at Temple College. Part of me was excited for the new adventure, where I could challenge myself and try a new career; I had been questioning whether I really wanted to continue teaching. I have various other interests I wished to explore, such as the pet industry or starting my own business. The other part quarreled with my adventurous spirit, asking What are you doing? You're so close to tenure (in 2023) and you make more money than you ever have. In the end, the itch for grand change won; all worked out smoothly in selling our house with a nice pay-off that would permit us to buy a nice house in Vancouver, which is still being built and won't be ready until October. 
	Simultaneously, during these rollercoaster months of getting ready for the move and applying to hundreds of jobs, I lost connection to my writing--I just didn't have the head space necessary. I did keep up with the Healthy Minds app, which offers guided mindfulness meditation. I did finish a short manuscript too, early on in the summer, In all My Lifetimes, a fictional meditation on the Buddhist concept of re-incarnation. If there is no self, as Buddhist thought claims, then what is reincarnated, was the big question in my mind. I'd like to think that I experienced brief moments of Nirvana, of ultimate awareness in the background of the waterfall of life, during my routine meditation sessions, and when I thought back to such moments, it felt exhilarating and frightening to think that all this life is is passing through, and what remains at death is a subtle mindstream that only vaguely remembers past lives.
	It started with cry-laughing with tears and snot streaming down my face. We were both laughing for no obvious reason, staring at each other from time to time, then bursting out laughing repeatedly. Time slowed to an excruciatingly level; there were two time frames, overlapping, the one I was trapped in trying to keep up with the other where my husband and two dogs resided. I could hear him asking if I was okay, and the panting of my pacing dog as if it were happening right inside my head, yet far away; I could not move or reach out, they were so far away. He asked if I needed water, I nodded, he brought a jug to my lips and I sipped, but this did nothing to pull me out of the black hole I was sinking into. I needed to sleep, but when I closed my eyes, I felt certain I would die, so I lay unmoving on one of the twin beds, in a hellish in-between space, wondering when the suffering would end.
	At one point, I thought of saying, Take me to the ER, where maybe they could save me, but then that would fuck everything up and we would lose our house and I would never recover, I would get my just desserts and anguish in purgatory. Then came the urge to vomit; I'm astonished I made it to the toilet instead of vomiting on the bed or the carpet. Crouched on my knees and while Ryan held my hair back and massaged my back, I lost just about all of the tasty smoked salmon vermicelli that had been my lunch. After returning to recline on the bed, there was a tinge of hope that I had thrown up the majority of the THC I had consumed. I even said, "I am me," pointing to my chest, and Ryan just smiled. You see, the trip split me from me; there is no self, I felt, then where will I go? What will I do? Fractured, I held onto whatever fragments of identity remained. I am me. Just when it felt I was coming to, awareness/self sank back down, down, down, I was losing it again. Altered senses, altered sense of time, impaired movements, incoherent thought. Ryan said he would take the dogs down, one by one. I wanted to help, but knew if I tried I would stumble down the stairs. So I lay frozen. He would later say he didn't know what was going on. Of course he couldn't. I was trapped inside, my amygdala over-stimulated I would later learn in researching the effects of too much THC, especially on those prone to anxiety. My stomach hurt again, and I didn't know if I would throw up or take a shit. It ended up the latter, and my dog Mei Mei followed me into the bathroom. When I petted her, I felt grounded, and I said, It will be okay. Petting something solid and real helped to anchor me again, but then afterward, when I stopped, I returned to the bad place. 
	At some point during my hallucinations, I messaged my brother, who lives in Korea, and here is a copy of the exchange: 
	"We're in a hotel. This is really bad. I don't like the feeling."
	"Oh I'm sorry. Just relax, close your eyes, and listen to some soft music."
	"Help me get back to reality."
	"haha"
	"I had too much, I feel sick"
	"Drink lots of water, maybe eat something"
	Moments later...
	"I'm coming down. I threw up."
	"Man I've never tripped so badly. I really thought I was dying."
	There was a bit more, but you get the gist.
	Did I really think I was dying, or afraid that what was happening was the real reality, and I wanted to return to the fake. 
	I believe that the stress of the previous months exacerbated my paranoid trip. I also believe that one of my greatest obsessions of late also was pushed to consciousness--the concept of self is a construct. Why couldn't I just go with it? Let go of self in my altered state? Isn't Nirvana or Awareness supposed to be freeing? Isn't ingesting marijuana supposed to be pleasurable? But no, I could not let go of the concept of self, even if it is an illusion. It is a necessary one until one is ready for the ultimate death of self. 

Letters (Un)Remembered

In an effort to exorcise my past and to clear out clutter, I have decided to take on the dismal task of working through a collection of letters that date back to my childhood. The collected letters made its way to my home here in Austin on my road trip back from San Diego after my father died the end of 2018. Why did I collect all the letters, notes, cards, and invitations I have ever received, and then decide to keep it going after all these years? I don’t think it was a conscious decision–more like this is where all letters, notes, cards, and invitations ought to go, a way of organizing things that I could not decide were worth saving so the pile grew larger and larger over time until they became this nostalgic thing I’d eventually get to sorting out.

At first, I thought of burning them. But too cliche. Then with all this time on my hands during Summer of Pandemic, I decided I could turn it into an art project. I’d been wanting to return to my childhood art practice of paper mache, and so was born the dualistic opportunity to preserve (albeit in a distorted fashion) the letters of my past rather than burning, shredding or destroying them in some way. Before tearing the sheets of old-fashioned letters and saturating them with glue and water mixture, I read them. I read the letter from a someone named Linda Belcher–that’s right–the name of the mother from Bob’s Burger’s–whose name rang a bell but even after reading her hand-written letter on stationary from 1984 (making me 15 years old) I could not for the life of me remember who she was. Even after she said she missed California (she now lived in Texas) and Montgomery Junior High where we both went. There was one dated July 26, 1999 (making me 30 years old) from a friend named “Carmen” that I imagine would have made me blush at the time. Carmen said she was enclosing three photos that included a photo of me and that when she went to get them developed, the civilian manager who worked there saw my photo and liked it, said I was very pretty and would like to meet me. When she picked up the photos, she thought he would have forgotten but he asked “Where’s my girlfriend,” and proceeded to give his phone number to give to me. Wow, bold I thought, and still couldn’t remember. Carmen decided on her own that I would not call him because as far as she knew, he was not a Jehovah’s Witness (I was a devout one at the time). All this to say that though she wouldn’t dare give me his number, she wanted me to know I had an admirer. Though I remember my friend Carmen, I don’t remember a single thing about this incident or this admirer, which is especially surprising to me because I was awful self-conscious even at 30. After reading it, I decided not to include this one in my collage. I wanted to preserve it as is, for what–I’m not exactly sure. Which is to say, this is going to end up being a long, interesting excursion down (un)memory road. I have all summer. By the end, I hope to have determined which letters should end up in the recycle bin and which ones should be salvaged for a future return to the past. I could end up with a bin of letters again or a letter burning ritual in my backyard.

Making Art in Times of War & Suffering

For a long while now, I have been brooding on the question of the role of art during times of intense suffering–whether it be firsthand experience or peripherally. Like the war in Gaza–a war so far yet brought to our attention daily on our screens. I think—what can art do, if anything, to ease the suffering?

Looking back at my journal entries, one labeled 10/5/23, it appears I had already pretty much given up on writing on the daily. I had also lost interest in reading; even before the attack on Israel, I wrote that I had already been taking an extended break from writing, and focusing on drawing, because I had lost my desire to write daily or at all; I could no longer write anything that could satisfy my desire to feel significant, or to connect with people enough for them to want to give a care. So I began focusing my energies on art: drawing and painting. Doing so does give me a sense of satisfaction, even if no one else sees what I create. But this brings me back to the question of the role of art in the face of war and suffering. What is the usefulness of a chosen profession like writing or making art? Could I be doing something more useful like participating in activism? Even if one makes art that directly interrogates warfare and other abuses of power, could that energy be better used? Does art need to console or to enact change?

Here is a link to an article in Estonian World with responses from various artists on this question:

Of all the responses, one that really resonated with me was the one by Anna Kouhkna, Estonian painter, illustrator and photographer, who, in reference to the war in Ukraine said, “When all this started happening, I lost my appetite for making art. I was devastated and read the news 24/7, putting all my emotions into it, almost hoping that my sadness, anger, compassion and attention could help in some way.” She decided to tune out the news and to pick up the brush again, for dwelling on negative emotions would not help anyone. I know it would probably help to stop checking the news every single day, but then when I don’t check I then feel guilty for going about my life as if everything’s just fine, and so the vicious cycle goes.

What do you think is the role of art in times like these? I invite you to enter the conversation with me and to share any insights you have, and if you have none, that’s okay too. Feel free to vent and rage, and of course share any resources that speak to you.

On the Stupidity of Literary Prizes

Early on in my MFA years, I spent quite a bit of energy, resources, and time searching for writing contests, hoping against all hope that I would win and finally get the affirmation that I desperately sought–affirmation of my right to call myself a writer. Contest fees aside, I agree with the the writer’s critique of literary prizes at Overland, even though he focuses on the Australian literary scene:

https://overland.org.au/2019/08/and-the-winner-isnt-on-the-inherent-stupidity-of-literary-prizes/: On the Stupidity of Literary Prizes

The same principles apply to the industry of literary prize seeking and giving. The writer does recognize a few advantages of literary prizes, such as increased sales and prestige, but there is no guarantee, and when it does happen, it only happens to a very small number. The list of what literary prizes are bad at is longer, and I quote:

“But prizes are also very bad at many important things, such as:

  • encouraging substantive criticism, analysis, or discussion of books;
  • engaging with or providing a sense of literary history;
  • generating useful, defensible, or coherent literary traditions.”

Indeed, I know that when I see the winner of a literary prize, I don’t often think about what makes a book a “winner”: “prizes often present a mark of quality that ‘compels us to entertain the idea that this novel’s distinction should be regarded universally to be true.”

Can a book ever be objectively, universally “good”?

I especially appreciate this next point: “How many historically ‘great’ works of fiction were recognised as such upon publication or even shortly after? The answer, as we know, is very few; many ‘great’ novels – like Moby Dick – are effectively rediscovered decades after their original publication. Contemporaries are very bad at judging what books are likely to stand the test of time, and even prizes like the Nobel Prize in literature are as famous for the living writers who didn’t win (James Joyce! Virginia Woolf! Leo Tolstoy! Clarice Lispector!) as those who did.”

I can add many more to this list of ‘losers’: Jorge Luis Borges, Murakami…

Let’s also not forget another bad/stupid thing about writing contests, and that’s the fees; most if not all require some kind of a fee to enter their contests. This requirement automatically bars individuals who are hard up from being considered.

I used to spend a lot of time as a fledgling writer searching for validation of myself as a writer, whether through just sending my work out for acceptance or publication, acquiring an agent, and most of all, entering contests. I actually did win a small poetry press contest over ten years ago, but then they ended up folding before they could publish my chapbook as the reward. My creative nonfiction thesis, which turned into my first book, was longlisted for the Steel Toe Book Prize in 2021. Of course, it felt good to get some recognition, hey look at me, I made it (or rather my book did) to the long list of possible-winners. But when it comes to recognition, it cuts both ways. I also paid to get a review of my second book, Giving Up the Ghost, from Kirkus Reviews, but when the review turned out to be lukewarm, very brief and disappointing, I obviously declined using it to promote my book and there down the drain went 500 bucks. I’m still embarrassed thinking about how I forked out that much, confident that the reviewer would at least like my book. In thinking upon the state of the literary scene, I’ve decided that instead of seeking external validation when it comes to my writing and art, to continue to do what I’ve always done, and that is seeing the process of creation as a vehicle for learning and growing, and just Being.

Hiroshima, Burning

Hiroshima, Burning

Have you anything to drink? (watercolor)

Ever since watching Christopher Nolan’s Oppenheimer a couple of weeks ago, I have been preoccupied with the atomic bombing of Hiroshima and Nagasaki. In my research, I came upon John Hersey’s essay “Hiroshima,” first published in The New Yorker. He bears witness to the memories of a handful of survivors, removing himself completely from accounts; it is one of the best pieces of journalism I’ve read. I also checked out the volume Hiroshima’s Shadow from the library, a collection of essays that wholly knocks down the myths about Hiroshima that still today persist, such as that the atomic bombs had to be dropped to end the war and that Japan would not surrender otherwise.

I have the tendency to be melancholic, hyper-empathetic and hyper-sensitive, and dealing with this horrid part of our history as Americans is no different. The way I deal with feelings of despair is either by writing or drawing/painting, or both, and so I am in the planning stages of a series of pieces inspired primarily by John Hersey’s account tentatively titled “Hiroshima, Burning.” Here is a very preliminary sketch:

Father Kleinsorge, on his way back from fetching water to help the wounded, heard a voice say, “Have you anything to drink?” And discovered about twenty soldiers in a nightmarish state of faces wholly burned, eyesockets hollowed, and fluid from their melted eyes running down their cheeks. He said their faces must have turned upward when the bomb went off.”

I can’t even begin to articulate the horror I feel when reading all of these accounts from survivors, the immense evil unleashed at the hands of human beings upon other human beings. And so I let my art speak. Sometimes I feel like a fraud for making art rather than taking action that would really change things. But it’s all I am capable of for now.

The Absent-Minded Reader

Latest Entry for The Social Book Exchange

https://tinacabrera.substack.com/p/the-absent-minded-reader?sd=pf: The Absent-Minded Reader

Avatar Author (Living, Dead, and Dread)

Check out this week’s post of The Social Book Exchange

https://tinacabrera.substack.com/p/avatar-author?sd=pf: Avatar Author (Living, Dead, and Dread)

The Social Book Exchange

Survey Part 2

https://tinacabrera.substack.com/p/survey-part-2?sd=pf

The Measure of My Melancholy Panel 4

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