Lucky

The diary component of Gabrielle Bell’s Lucky made me think about our in-class discussion about how memoir is deployed through graphics in order to present a “slice of life.” In particular, the systematic search for some form of truth seems to be an undertaking that eventually is abandoned by Bell without explanation at the end of Lucky # 1, where truth is uncovered in a less deliberate way. In the first part of the book, Bell accounts for every day that passes from Tuesday April 22^nd through Monday June 2^nd; yet, she only chronicles one event that sticks out to her to represent each day. Bell’s choices seem at times arbitrary. Her selection of experiences nonetheless represents a passage indicative of the genre. With the diary, the reader witnesses a gradually changing self. Unlike The Imposter’s Daughter, which reflects a greater time period and thus orients itself more insistently around change and self-improvement, Lucky # 1 seems less self-indulgent. Maybe self-indulgent is the wrong word. Bell makes less of a point of emphasizing, “and this is what I learned,” if that makes sense, than does Laurie Sandell in her memoir. The craft of writing and of representing through drawings seems like less of a catharsis, or a means of therapy, and more of an amusement for Bell.

The decision not to continue with the diary thing in Lucky #2, and the general lack of consistency throughout the book also reveals something about the disposition of the author. In fact, the organization of the book, which seems to be some kind of hodgepodge of unfinished projects, suggests a short attention span and childlike whimsy on the part of the author that is endearing and in my case, relatable. Bell finds it difficult to stick to things. Her job situation is unsteady and always rotating (she’s a cartoonist, an artist’s apprentice, a model, a French teacher, an art teacher, and a jeweller!?) Likewise, the reader never really knows what the future holds for Tom and Gabrielle. Amusingly, she can’t decide on a place to live, so she makes scoping out apartments a hobby. Bell possesses a perpetual lack of contentedness that is reflected in her work. That is, extreme experimentation with modes for representation, as well as experimentation with style and comprise her work.

Gabrielle struggles with finding her artistic niche. At least that is how I interpreted the bit with Sheila Bartok. Gabrielle clearly possesses artistic talent, but she chooses to do work that ends up being passed of as belonging to someone else. She’s stuck with regard to her own work, just like she is stuck in various other aspects of her life, so she turns to the work of others. Ultimately, I really like where Gabrielle Bell went with Lucky. The development of her character (how she draws herself) and the increasing attention to detail in her work throughout the book is really cool. I like the lack of consistency and the fragmentation. It points to so much more than just a lack of focus. The beauty of memoir is that the author doesn’t have to have it all figured out.

My favorite pages are 53 and 54.