Editor’s Note: This is Anthony Avina, and I wanted to personally welcome author Carol Es to my website. This insightful and honest article was something I wanted to share with you all, and I couldn’t appreciate it more that Carol took the time to write it for us. I hope you guys enjoy it. Now on to Carol’s article…
When people ask what inspires me, I never know what to say. Not because I’m lacking in the inspiration department—it’s just too general a question. “Everything,” I’ll say. If asked what my inspiration might be for something specific, you probably won’t be able to shut me up.
As both a writer and a visual artist, my work is predominantly autobiographical. I love anything with a narrative. Stories move me to create, they draw me in and take me on an escape, like a drug. When combining writing with art together, all the better. I have made many Artist’s books that mish-mash art and words, a genre unto itself, and it’s mostly what I’m used to working in.
However, I’ve been writing short stories and poetry since I was a kid. I wrote a screenplay when I was 17-18 that I never finished. (It was terrible.) Throughout my 20s, I made several attempts at writing novels, but had never been able to get more than 50 pages in. Most of the fiction I wrote was autobiographical. I’ve been inspired by authors Charles Bukowski since I was a young teenager, and later John Fante. It’s not that I wanted to write in either of their styles, but I wanted to be able to evoke a similar feeling from my writing.
Still working on that.
It was nerve-wracking writing in nonfiction, though I think it drove me to finish an entire book. At first, I didn’t write about myself much at all. I found the stories of people much more interesting, and so, I’ve written Shrapnel in the San Fernando Valley several times over. It was hard to come to grips with, but a memoir is supposed to be self-indulgent. It just feels uncomfortable. I had to carve out an honest story and reveal my raw self to the world. It’s risky business.
Along the way, I probably couldn’t have finished it without bits of inspiration. My partner, Michael Phillips, also a writer pushed me and supported me immensely. I was also absolutely dazzled after seeing Jonathan’s Caouette’s documentary art film, Tarnation.
Caouette took 20 years of home movies, snapshots, and answering machine messages, stuck them into a blender and came out with a unique examination of his early life—his tumultuous childhood with his mentally ill mother. How could I not identify with that? My mother was bipolar.
This incredibly brave movie deeply inspired me to stop apologizing for my own dysfunctional family and embrace them as my muse. I also began to see the strength in vulnerability instead of viewing it as a weakness.
But I had been wanting to write this book in one version or another for a long time. At the start of it, I began to think back some 20 years when I lived off of Laurel Canyon—a winding road through the Santa Monica Mountains that connects the southeast San Fernando Valley to West Hollywood in Los Angeles. It was the most inspired time and place for me.
A few people in the apartment building I lived in donated books in the laundry room and we’d all give and take them. Once I found a big hardcover book that got me really into my Jewish genealogy (Finding our Fathers by Dan Rottenberg), which sent me on a wild and freaky ride to nowhere. Or maybe it sent me to a sad wasteland. I never quite got to the bottom of my family search, but I got a lot of stories from all the digging I did. Shrapnel in the San Fernando Valley actually began with my parents’ backstories, but most of it wound up on the cutting room floor as they say.
Once I’d been working on the book for a couple of years, I found even more inspiration in Myla Goldberg’s Bee Season. I’d been living in San Pedro and picked it up at the free clinic, much in the same way I did Finding our Fathers.
Though Bee Season isn’t a work of nonfiction, it changed the way I saw memoir writing. It’s written from a young girl’s point of view looking back as an adult woman. She recalls the span of time in her life when she was able to win over her father’s love by excelling in national spelling competitions. Though I’m no good at spelling, I really identified with the character who was the youngest in a Jewish family of just four. She’s also been severely overshadowed by her older brother. More than her thoughts and desires to be loved, it was the way she was able to bring in each of her family members’ backstory so seamlessly. I loved that and wished I could have done that. Perhaps in the future.
I get wildly excited and inspired by other visual artists too. I’ll fall in love with painters, i.e.: Amy Sillman, or Lisa Sanditz. I’ll want their work to influence mine. Inevitably, it is nearly impossible to duplicate the same feelings or techniques because everyone has there own thing. My work always winds up looking like all my other paintings. It’s frustrating because I often like other artist’s work much more than my own. That happens. That’s life, I guess. We aspire to be better and are inspired by the beauty that surrounds us and keep on going.
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Author Bio
Carol Es
Carol Es is a self-taught artist, writer, and musician born in Los Angeles. Using a wide variety of media, she is known for creating personal narratives that transform a broken history into a positive resolution. Her paintings, drawings, installations, videos, and books have been exhibited nationwide in venues such as Riverside Art Museum, Torrance Art Museum, Lancaster Museum of Art and History, and Craft Contemporary in Los Angeles. Some of her works can be found in the collections at the Getty and the National Museum of Women in the Arts in Washington, DC. Her collaborative film was also featured in the 2015 Jerusalem Biennale.
Awarded many honors, including several grants from the National Arts and Disability Center and California Arts Council, she is a two-time recipient of the ARC Grant from the Durfee Foundation, a Pollock-Krasner Fellowship, and the Wynn Newhouse Award. She has written articles of art critique for the Huffington Post and Coagula Art Journal, as well as having poetry published with small presses. She also received a writing grant from Asylum-Arts—a Global Network for Jewish Culture.
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