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With comics, it’s always this interesting tug of war between what you can convey with words that can’t be conveyed with just image, and what you can convey with image that words can’t do justice to. So it’s always a combination of both when I come up with the stories because the two things are inseparable to me.
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My art, what do you want to say about it? Do you think you can explain the merits of a picture to those who do not see them? . . . I can find the best and clearest words to explain my meaning, and I have spoken to the most intelligent people about art, and they have not understood; but among people who understand, words are not necessary, you say humph, he, ha and everything has been said.
Among the most supported theories is that what is actually most useful about telling our secrets goes further than simple stress release; putting our experiences into words helps us begin to make sense of our thoughts and feelings. Remember, especially for children, secrets are often the product of moments when we say to ourselves, if we say anything at all, “There are no words. I don’t know what to do with that. I don’t know where to put that.” What does it mean, then, to take a feeling or an experience and, literally, “put it into words”? Words are labels and categories. They are boxes that organize the scattered contents of our minds. So when we talk about our experiences we are sorting them out, whether we intend to be or not, just by putting them into places where they might fit. We are able to say, “There are words. I do know what to do with that. I do know where to put that.” The very act of doing so makes our most confusing or disturbing experiences more organized and understandable, and it makes them less scary and upsetting as well. Like P. D. James said about the detective story, putting feelings into words can be a restoration of order.
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