A scene of a immigrants travelling in a cloud of white balloons was inspired by pictures of migrants boarding trains as well as the night-time spawning of coral polyps, two ideas associated by common underlying themes – dispersal and regeneration.Even the most imaginary phenomena in the book are intended to carry some metaphorical weight, even though they don’t refer to specific things, and may be hard to fully explain. I have never been a great reader of comics (having come at illustration as a painter) so much of my research was redirected to a study of different kinds of comics and graphic novels. One of the great powers of storytelling is that invites us to walk in other people’s shoes for a while, but perhaps even more importantly, it invites us to contemplate our own shoes also. Nov 01, 2016 | ISBN 9780525433675 Length: 442 pages Word Wise: Enabled Enhanced Typesetting: Enabled Page Flip: Enabled Audible book: Audible book Switch back and forth between reading the Kindle book and listening to the Audible book with Whispersync for Voice. These are all equivalents to some moments I’ve experienced as a traveller, where even simple acts of understanding are challenging.One of my main sources for visual reference was New York in the early 1900s, a great hub of mass-migration for Europeans. Selecting still images, I played with these by digitally, distorting, adding and subtracting, drawing over the top of them, and testing various sequences to see how they could be ‘read’. Hungerford, which draws on the author’s childhood memories of a strange, segregated group of misunderstood men, and considers their tragic isolation from families back in China.Drawing on more immediate sources, my father came to Australia from Malaysia in 1960 to study architecture, where he met my mother in who was then working in a store that supplied technical pens (hence my existence some time later – I have a special appreciation for technical pens). In their absence, even describing the simplest of actions, like someone packing a suitcase, buying a ticket, cooking a meal or asking for work threatened to become a very complicated, laborious and potentially slippery exercise in drawing. . I realised that these could be read a number of ways: literally, as an infestation of monsters, or more figuratively, as some kind of oppressive threat. We often find ourselves in new realities – a new school, job, relationship or country, any of which demand some reinvention of ‘belonging’.This was uppermost in my mind during the long period of work on The book had no single source of inspiration, but rather represents the convergence of several ideas. It seemed that a longer, more fragmented visual sequence without any words would best captured a certain feeling of uncertainty and discovery I absorbed from my research. What conclusions we draw from this are unlikely to be easily summarised, all the more reason to think further on the connections between people and places, and what we might mean when we talk about ‘belonging’. An award-winning book from the author of Exhalation, this short story collection “blend[s] absorbing storytelling with meditations on the universe, being, time and space.

A colossal sculpture in the middle of a city harbour, the first strange sight that greets arriving migrants, suggests some sisterhood with the Statue of Liberty. I was also struck with the idea of borrowing the ‘language’ of old pictorial archives and family photo albums I’d been looking at, which have both a documentary clarity and an enigmatic, sepia-toned silence. There is a similar kind of search for meaning, sense and identity in an environment that can be alternately transparent and opaque, sensible and confounding, but always open to re-assessment. This of course is where my penchant for ‘strange lands’ took flight, as I had some early notions of a place where birds are merely ‘bird-like’ and trees ‘tree-like’; where people dress strangely, apartment fixtures are confounding and ordinary street activities are very peculiar. A useful reference was The actual process of then producing the final images came to be more like film-making than conventional illustration. What is the best way to cut from one moment to the next? Looking over much of my previous work as an illustrator and writer, such as Being a half-Chinese at a time a place when this was fairly unusual may have compounded this, as I was constantly being asked ‘where are you from?’ to which my response of ‘here’ only prompted a deeper inquiry, ‘where do your parents come from?’  At least this was far more positive attention than the occasional low-level racism I experienced as a child, and which I also noticed directed either overtly or surreptitiously at my Chinese father from time to time.


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