Quotes by Nate Powell - Page 1 | QuoteForever

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'Swallow Me Whole' is still the creation that's closest to my heart.
Nate Powell / Novelist
Closest
Creation
Swallow
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Power, privilege, and violence are not, and never were, strictly Southern issues in America.
Nate Powell / Novelist
Strictly
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Doing representations of real people is not my strongpoint as a visual artist, and I know that.
Nate Powell / Novelist
Visual
People Real Doing
Real People
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There are constant challenges in the drawing process, especially in a period piece, and therein lay the fun.
Nate Powell / Novelist
Constant
Drawing
Process
Period
Lay
Piece
Therein
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As a visual storyteller, a lot is learning what to include so you're not being redundant between images and text.
Nate Powell / Novelist
Redundant
Visual
Images
Include
Text
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Kids have always play-fought, but I think my generation had a particularly privileged cultural fantasy surrounding military violence.
Nate Powell / Novelist
Fantasy
My Generation
Privileged
Cultural
Surrounding
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A decade passed between King's assassination and my birth, but the older I get, the more acutely aware I become that 10 years is nothing.
Nate Powell / Novelist
Kings
Birth
Years
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I think being able to identify with young people and...their capacity to change the world and shake things up. I think that's the greatest strength.
Nate Powell / Novelist
People
Thinking
World
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I am filled with uncertainty and fear when thinking about how my two daughters will grow into this world as Hoosiers, as Americans, as women and free thinkers.
Nate Powell / Novelist
Filled
Uncertainty
Thinkers
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The comics I made from 1990 to 1997 were largely based in vaguely urban, vaguely dystopic settings because that was my reference point for comics storytelling in general.
Nate Powell / Novelist
Settings
Urban
Largely
Reference
Vaguely
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I love trying to forge a contract between creator and audience in which we are able to meet halfway, each injecting a part of our own experiences into a story that's being told.
Nate Powell / Novelist
Creator
Halfway
Contract
Forge
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I also think it's crucial to convey that the [Black] Movement largely succeeded because of the unwavering dedication of young people willing to risk their comfort, their safety, their lives.
Nate Powell / Novelist
Dedication
People
Thinking
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The truth is, I don't sketch much at all. I have a very visual/spatial brain that retains a lot of information about maps, directions, positioning, and details, so I usually prefer working out those issues on the page itself.
Nate Powell / Novelist
Details
Maps
Truth Is
Directions
Page
Positioning
Sketch
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The books that stuck with me most as a child were 'A Wrinkle In Time', 'Dracula', 'Hatchet', 'Bunnicula', 'White Fang', and this YA/kids' book called 'Nobody's Fault' where a kid drowns one weekend as friends play around a flooded ditch.
Nate Powell / Novelist
Stuck
Time Me Nobody
Ditch
Dracula
Fang
Flooded
Wrinkle
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We all accept the visual shorthand used throughout comics: if something's farther away, it'll be drawn with a thinner, simpler line, eventually leaving out most visual information and becoming a gesture, a skeletal representation of a thing.
Nate Powell / Novelist
Representation
Shorthand
Visual
Drawn
Farther
Gesture
Simpler
Thinner
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There's nothing that compares with the time spent all by myself on a creation that is all my own. I still think of my solo work as my 'home planet' in comics, though I've learned to listen much more to editors and trusted friends for feedback.
Nate Powell / Novelist
Creation
Editors
Feedback
Solo
Trusted
Time Work Home
Comics
Compares
Work Time Home
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Comics creators are generally screwed in life: Most of us who are fortunate enough to do comics full time - which is very few of us - will literally draw until we die because we have no employment structures intact for retirement, much less insurance!
Nate Powell / Novelist
Employment
Fortunate
Retirement
Die
Life Time Enough
Comics
Full
Creators
Draw
Generally
Insurance
Literally
Screwed
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My four-year-old daughter regularly requests reading Book One [the March] at bedtime; the methods of reading, delivering, and processing the book's content vary according to a kid's age and developmental level, but she's deeply affected by the story, asking follow-up questions for days.
Nate Powell / Novelist
Daughter
Kids
Book
Reading
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My narrative style centers around intimate, highly subjective depictions of personal experience and internal landscapes. In 'March,' everything fell into place as soon as I began identifying strongly with John Lewis as a young boy and saw how we shared the same kind of gravity and intensity as youngsters.
Nate Powell / Novelist
Gravity
Identifying
Intensity
Intimate
March
Narrative
Subjective
Youngsters
Began
Centers
Internal
John
Landscapes
Lewis
Personal Experience
Shared
Soon
Strongly
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People of every age group have connected strongly with the story [the March], identifying with different components of it. A sense of fairness and recognition of injustice seem to be hardwired into kids - I know it was for me, even as an elementary school kid - and I kept that in mind throughout the creation process.
Nate Powell / Novelist
Kids
People
School
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Violence from protesters themselves is extremely rare, but has been made into a talking point by those who stand to benefit from breaking the perceived legitimacy of organized protest and resistance. Organized, disciplined nonviolent resistance is alive and well, and we see it all around us in cities across the country.
Nate Powell / Novelist
Cities
Country
Talking
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My sense of politics and justice was deeply shaped in adolescence by my involvement with the underground punk - rock scene, and though lots of social and political issues had come forth in my comics, it wasn't until my late 20s that I felt properly equipped to address certain issues of race, power, and violence in my work.
Nate Powell / Novelist
Adolescence
Involvement
Issues
Late
Political Issues
Punk
Race
Scene
Violence
Address
Lots
Comics
Deeply
Equipped
Forth
Shaped
Rock
Properly
Underground
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I did grow up in a military family but lacked the perspective to grasp the cognitive dissonance carried by most people who serve in the armed forces or the circumstances that push lots of folks into the military. I don't blame G.I. Joe or Rambo for that atmosphere, but they certainly reflected the final stage of a two generation cultural myth.
Nate Powell / Novelist
Armed Forces
Atmosphere
Blame
Circumstances
Cognitive
Folks
Military
Myth
Perspective
Stage
Lots
Armed
Carried
Certainly
Cultural
Final
Forces
Generation
Grasp
Grow Up
Joe
Push
Reflected
Serve
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I was born in the late '70s and grew up in the deep South, and I was very much still of an era where racism was a casual part of white people's public and private lives, though it had been pushed more into its own little echo chamber by then. As a five year old, I saw a fully costumed Klan circle, complete with burning cross, on a town square in rural Alabama at high noon.
Nate Powell / Novelist
Echoes
Squares
Years
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One of our priorities when doing "March" is to sort of undo what we feel is the disservice done by what we call the Nine Words Problem. Which is that most American kids, whatever they do learn about the movement, especially in school, is usually limited to Rosa Parks, Martin Luther King, "I Have a Dream." And so there's sort of a layer of unreality; there's not a sense of continuity.
Nate Powell / Novelist
Death
Dream
Kings
Kids
School
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I know "accessibility" is a term that's kind of thrown around wantonly today, especially with talking about visual media. But I think that the strength of comics [is how they] really allow you to transcend those last barriers between a reader absorbing the information of an experience, and a reader being able to project themselves into the [experience of the] people about whom they're reading.
Nate Powell / Novelist
Media
Reading
Thinking
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The rules have changed as information and technology evolve, but it's essential that people stay in the streets, stay visible in their communities, on the news, on the Internet, and in this crucial public discussion. There are a million people just like you (or me), sharing the same doubts, fears, and insecurities that keep us from speaking out. Finding each other in our neighborhoods, online, in the streets - this is what keeps us from believing we're alone, from giving in to hopelessness.
Nate Powell / Novelist
Technology
Believe
People
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