Reflections on the Durst
Reflections on the Durst Distinguished Lecture Series
This year we launch a new column reflecting on how visiting Durst Distinguished Lecturers transform the academic and creative ecosystem at Purchase College. The first two short essays below consider: “What thoughts from the lecture stayed with you? How did the guest writer compel you to think in a new way about your own writing, or your current approach to your academics and creative endeavors? How have these events inspired you to think in new ways about the relationship between literature and social or political issues?”
I.
“…a new perspective on life, a new culture, and problems that I would’ve never imagined for myself…”
-a reflection on Manuel Muñoz’s 2024 visit, by Timothy Higgins ’27
Manuel Muñoz read the first ten pages of the first story in his short story collection, The Consequences. Muñoz relies on setting to initially introduce characters, describing how they react to the setting around them. He tends to include very little dialogue. The same way the setting introduces the characters, the characters reiterate the setting based on how they react to those circumstances. The story Muñoz shared is from the point of view of a selfish, unlikeable character who makes all the wrong decisions, but who also doesn’t understand that he’s in the wrong. Muñoz also focuses on his characters’ emotions, writing characters as they would be in real life and understanding they can’t always know all of the details of the story unfolding around them, taking a very realistic approach. His psychological approach means placing himself in each character’s shoes: who they are, what they are doing, and why they are doing it. Muñoz dives further into these feelings by writing about one character from the point of view of another character.
Muñoz often finds himself going back to his roots or things that are important to him, and writes his stories with these things in mind as smaller, background details. Many of his stories involve the American Southwest, as he and his family were immigrants with a strong connection to that region. Something that Muñoz said that stuck with me was, “Once you take in a poem, story, or song it becomes yours in the sense of your own unique experience and how it makes you feel.”
Attending this lecture makes me feel more connected to Purchase because it exposes me to a new perspective on life, a new culture, and introduces me to problems that I would’ve never imagined for myself or my family having to live through. This relates to the concept of “Think Wide Open” and the purpose of it—to view the world outside of yourself and your own personal experiences, and to think about the world pertaining to other people. As a Music Production major, this concept helps me with songwriting, especially coming from a background of little to no hardship; it’s inspired me to write beyond my own experiences, and to write as far outside of myself as I possibly can and really place myself into the characters and setting that I’m writing about.The lecture was valuable and enjoyable in an unexpected way; which shows me how connected Purchase is as a liberal arts school—that I can attend a lecture about creative writing and apply what I learned to my music, and what I do in my major.
II.
The Durst in Retrospect:
Looking back at Lynda Barry’s 2021-2022 Residency
“The joyful part of creating something isn’t the final image, but the process of it.” a reflection on Lynda Barry’s conversation with Purchase College Associate Professor of Graphic Design Robin Lynch, by Sofia Nagle ’27
In a conversation between comic artist Lynda Barry and Purchase College faculty member Robin Lynch, Barry describe how people stop themselves from drawing. It feels like everyone’s minds get in their way when they’re trying to create something because there’s too much thought put into it. She explained the difference between how younger children draw and how they look at their drawing versus how older people will do the same. She spoke about how a child will finish and not put a second thought into it and throw it away, because they would rather enjoy the experience of making the piece. Whereas when an adult draws, they look back at their picture and think what do they do with it now? “Am I a genius…? Have I been wasting my time doing something else? Do I hang it? etc,” she said. She told a story of watching her younger brother set up all these tiny tiny little army men on a piece of paper, and then stand back from it and eat a bowl of cereal and go into a trance while staring at it. Once he was done, he put down his bowl of cereal and scribbled red crayon all over it, creating this narrative story of this war scene. She recounted how her brother would shout certain things, and create his own narrative, but when he was done, he didn’t think a second thought regarding the piece, he threw it away.
Barry also compared adult fears of drawing to a child’s fear of drawing; if an adult is scared of drawing, that’s perceived as normal, but if a child is scared of drawing that’s concerning. Why is it like this? She sat her college students next to younger children to hopefully inspire them to work together. She mentioned how you have to treat each drawing like it’s alive and like it has a story to tell, because you never know where that one drawing will eventually get you. She tells a story about how she drew one character and thought it wasn’t very important, but it became very close to her and it ended up guiding her whole career. She compares it to calling other people bad, such as saying your drawing is bad. it’s a hurtful thing and you can discard the person, but you’re missing out on an entire journey that you could’ve had if you did meet and talk with them, and go through this future with them. She relates to this with her characters.
Her interview was very casual, but she had amazing things to say. The joyful part of creating something isn’t the final image, but it’s the process of it. This is something that I heavily relate to regarding my work. She mentioned that she’s very still close with the teacher who inspired her journey. I really look up to my professors here and I want to learn from them. I think finding joy through what you create and the people who create around you is the best experience one can have.
What thoughts from the lecture stayed with you? How did Barry compel you to think in a new way about your own writing, or your approach to your academics and creative endeavors? What insights will you bring to your own writing or creative process?
Something From Within
Lynda Barry’s reconnects those who work in the art industry and revives the love of drawing. She started her lecture by explaining how both drawing and writing leave an impactful mark on the page. She also suggested that as we get older, we become our own hardest critics, in everything we do. Barry wants to erase the idea of being “good enough” to have the work recognized. She encouraged us to experiment with different techniques to sketch fearlessly. She discusses how drawings can have a life of their own and break from our initial intentions. This shows that drawing is a natural form of expression and that it should be embraced and not feared. As an adult, she explains that even she has anxiety and doubts when it comes to her work. Barry mentions that she only uses inexpensive supplies for her artwork. This reminds those who may be pursuing drawing or illustrating that you don’t need the fanciest paint or pencils to make good artwork. Barry also believes that an artist’s background or age shouldn’t limit their personal abilities.
One thing that I’ve learned from Barry is to let go of the strict “rules” of making art and to let my creative mind run free. As an actor, I’m always very self-conscious of the way I present myself both on stage and even in everyday life as the thought of what others think surrounds me constantly. Barry has helped me understand that creativity is not something that anyone can perfect, it is something that is felt from within. Her lecture has shown me that it’s alright to let go of trying to be perfect, so that my creative mind can flourish.—Luca Dimnet ’27
Connection not Competition
Lynda Barry believes that when people are very young they draw without shame, but after they grow up, they become hesitant or dismissive of drawing. Personally, I’ve never stopped drawing, and now I am an art major. However, I was inspired by how she talked about writing relating to art and how all disciplines of study are not and should not be so separate. She describes how staying within one discipline can be isolating and uninspiring. I understand this because I am interdisciplinary in painting and drawing, and printmaking, which is not typically the path people take in the art program. The way Lynda Barry discusses this need for overlap reaffirms my passion for both subjects, especially because opportunities can be missed in a strictly concentrated study.
I think it’s interesting that Barry doesn’t put people’s work up for critique on the wall “as if it isn’t a part of us.” Critiques in art school can be very awkward and intense; I do wish it was a more personal experience, especially if people don’t create art as their career. Art, and the world in general, is very individualized: we all focus on our success as individuals rather than our success as a community. I appreciate and enjoy how Barry strives for connection and joy in a world that promotes competition and profit above all else. —Robin Adams ’27
You Don’t Need Fancy Tools or Utensils to be a Good Artist
As we grow up, we become far more critical of ourselves and our art. I struggle with this constantly. I am always second guessing what I am making, doubting myself, and trying to be perfect— my perfectionism is always fighting with my creative process. In drawing every day, we can learn to remove judgment and stimulate the creative process. Barry talked about how she struggles with this herself. She talked about her anxiety can get in the way of her art making. I really connected with this. Something I also connected with was her Filipino ancestry. I have a single Filipina mother and found her mentions of her heritage relatable and real. I also really appreciated her approach of not using the most expensive art materials when she is drawing. It really proved the point that you don’t need fancy tools or utensils to be a good artist; being an artist comes from your creativity and mind. You can make art out of anything if you put your mind to it. I am going to try and start doodling once every day in the mornings, and I am sure this will help me become a better artist, writer, and musician.—Riana Aquino ’27
A Loose and Creative Mindset
Lynda Barry describes how writing and drawing are very similar. Neither can be put on paper directly from an idea, but rather it is a process of putting down ideas and then going from there. She compared this to how a four-year-old draws by making lines without concern for what to do next.
This stuck with me because I’ve had difficulty expressing my thoughts and ideas in a coherent form, and instead I get stuck staring at the page. I found it interesting how adults benefitted from attempting to copy a child’s drawing because they were able to loosen up and not be as rigid with their thoughts. This is something that I will remember because I have found that the creative processes in my writing are often pushed aside when I get stuck somewhere. Barry discussed writing as a creative and imaginative process that gets lost as people age and technology is introduced. She reminded me that writing is a process that takes time and that it is important to continuously writing, as if you did not have a delete button, so you can revisit and alter the work later.
Going forward, I will remember multiple things Barry mentioned, for my own writing. I will focus on continuing my writing when I feel like there is nowhere to go to keep the creative ideas flowing. I will also remember to not be as rigid or worried going into my creative endeavors, and to approach them with a loose and creative mindset. —Caroline Courtney ’27
Releasing Fear
What stood out to me was Lynda Barry’s stance on the creative process, and the fear of judgement that can form as you grow older. “As you grow older, you become insecure about your work out of fear of being judged or ridiculed by others,” she said. I could be remembering myself wrong, perhaps I had a different heart when I was way younger, but even as a kid I still was uncomfortable about sharing my work or with people watching me while I drew. As an adult I’m still not invincible from feeling insecure about my work, especially if I’m early or in the middle of a drawing or stuck because of a few mistakes.
One thing that made me think positively though is Barry’s advice on considering a “bad” drawing an idea or concept, where if you think something you made looks like a four-year- old drew it, view it as an idea. I’ve been through the frustration of having an idea in my head and not having the abilities to execute it in my work, where I felt as if I’ll never be able to live up to my creative ambitions. There have been moments where I feel like I’m a bad artist, especially when I compare myself to others. As I grew up and connected with other artists who have evaluated my work, they’ve told me that I shouldn’t feel bad about creative expression, and that I should view drawings that I don’t like as ideas and try to explore them more. That was something that stuck around with me for a while, but hearing Barry repeat the same advice, I felt like that further validated my thoughts and feelings towards the same words that I heard a few years back during my art school years.—Chris Kramer ’27
Releasing Shame
My high school English teacher said that writers get better at writing when they write “bad shit, you have to go through the shitty stuff to get to the good stuff.” This is true and relatable for me, because I don’t like writing unless I know it’s going to come out perfectly. But now I feel comfortable with not-so-good writing in order to revise and make it better. Barry said kids express themselves without a second thought and draw and write and enjoy doing it, while writers are full-grown adults and find it hard to express themselves because of the fear of being judged. Barry says when people draw they feel ashamed when people ask what they did —that stuck with me the most.
What I will bring to my academic work and creative writing career from this talk is that I shouldn’t be afraid to express myself in my writing, which connects to Barry’s observation about how we become ashamed of showing our creativity. All of my English teachers would tell me that I shouldn’t be afraid to show my writing or be embarrassed about it. Unfortunately, a lot of people in adulthood go through being anxious to express themselves when they could very easily be successful artists. —Nysine Ordonez Blanco ’27
Ideas in Motion
Lynda Barry discusses how writings and drawings share similarities, as neither can be created directly from an idea, but reflect an idea that needs to or is being developed. She compares this to a four-year-old child drawing lines on paper without concern for what comes next. Adults benefit from copying children’s drawing to lose their rigidity. Barry also discusses how writing is a creative and imaginative process that can get lost as people age and technology develops. This lecture reminded me to write less rigidly and allow myself to make mistakes to create work that can be developed. —Ash Flippen ’27
The Willingness to Make a Mark
Lynda Barry’s talked about how doctors and nurses would say that they were drawing poorly but in Barry’s mind, they were drawing “poorly” because they had an idea. I thought it was interesting how she used the term “make a mark” instead of “drawing,” and how she says that the willingness to make marks is where drawing and writing come from. I also like how Barry describes that she likes drawing not to make a nice picture but as a way of inquiry and discovery.
Barry says that what makes grad students miserable is focusing on one topic for way too long, which I very much agree with. When I focus on something for too long become irritated and confused. She definitely made me think about taking more risks with my writing instead of staying with a similar format every time. —Alana Warnick ’27
The Scribble Technique
When Lynda Barry mentioned interacting and loosening up your mind by using the scribble technique, I was immediately intrigued. I have heard of the scribble technique about studying—the hand motions are supposed to make you remember information better. Barry talked about unwinding and letting your brain form an idea instead of focusing on the end-product, describing a study of a little kid drawing as adults try to copy the drawing, Barry talks about how little kids draw from the heart and the natural movements of their hands. In contrast, adults draw with the end goal in mind. But when comparing an adult’s sketch to a little kid’s sketch the line forms are similar. When analyzing, we can see the formation of a new idea. I personally never realized that the two connected. As an artist myself, I never questioned why the loose sketches helped, I just drew. But like Barry, I have also had experience making a mini graphic novel too, and the process relates heavily to the build-up of a good idea. Graphic novels typically start off as a bunch of messy thumbnail sketches that eventually turn into clean-lined illustrations. I never thought about my natural ability to let my hands do most of my talking, as a Painting and Drawing major, and I have now been reminded of the powerful relationship that creating and natural instincts have.
After hearing Barry talk about process, I felt more aware of how my sketching process varies across different mediums. She also brought up the analogy of when people say their drawings are so bad, looking like a four-year-old drew them, and how the focus shouldn’t be on how it’s not a “good drawing” but the idea behind it and the willingness to be free and experimental.—Sienna Cruz ’27
Where Children and Scientists are Alike
Barry delves into how drawing can change someone’s mood. She understands other creative processes and how they are all similar, starting with lines or scribbles. She compares the drawings of scientists and four-year-olds; she thinks a bad drawing to others may be what someone needs to make to create a good idea. It doesn’t matter if you can or can’t draw because ideas flow from anything. She also explains that sometimes having intentions for something and it not coming out the way you intended can still work.
I hope in my writing process I can go more with the flow rather than think so hard about the what the final outcome should be. Barry reminds me to have more fun in the creative process and not take it so seriously and nothing needs to be perfect as it is a work in progress. —Teresa Della Monica ’27
Art and writing are similar in ways I barely thought about before Barry’s interview. Just as a painting can evoke emotions and tell a story without using any text, a well-written piece of literature can do the same by creating vivid scenes and settings. It was intriguing to hear more on that because for a while, I didn’t enjoy showing my forms of writing and felt uncomfortable with “writing the wrong way.” This changes my perspective a bit, as I’ve been realizing everyone has different creative processes, like relying on sketches or mood boards to help visualize ideas (like the scientists Barry described observing) while others may prefer to work with music playing in the background to help set the tone for their creative process, which is common among children. —Kris Sorano ’27
Lynda Barry was enlightening and informative. The way Barry detailed her experience with art and creativity put me in a mode where I was looking into details of my own creative process and work. I really enjoyed her answer about the similarities between the process of scientists and young children’s approach to drawing. Barry talks about how when we have an idea in our head, it looks like “a four-year-old drew it,” but it’s more of a specific idea when your hand moves as you’re creating something. It has always fascinated me how, iun the artistic process of drawing, one can take a simple idea and make it clear and concise for others to understand; I have thought I would never be able to take an idea in my head and process it out for others to cohesively understand. Barry changed my point of view. It’s not a standard of how good it looks but how your brain works and processes ideas and creativity. Everyone has a different strategy and way to put ideas down. Just like a scientist, a very intelligent position, the drawing may not look as good as something a talented artist would draw, but it’s how it’s portrayed and the process that you are able to understand and dissect it. —Matthew Nelsen ’27
Making Time for Creative Pursuits
Lynda Barry strives to summon people’s childlike desire to draw and connect people from many disciplines through drawing. She started her lecture saying that writing and drawing are connected because they both make a mark. This impacted me, because it made me realize that art helps people make a mark or an impact on the world. However, at some point we accept writing as the main form of art and become scared of drawing and whether it is good or not. We do not care about whether our drawings are good or bad when we are drawing them as kids.
Barry takes away the stigma of drawing and encourages people to draw and engage in creating images through multiple forms of art. Barry also talks about how images of any nature can have their own life and journey, or that sometimes when you draw you start to lose your initial drawing goal in the process. This supposes Barry’s theory that drawing happens when you are mid-thought. Barry says that drawing can bring both nervousness but also joy when you are older, and that can make it a great medium of art.
I found it very relatable that Lynda Barry said she uses cheap paper and I found her subjective experiences so fascinating. It is interesting that she has interacted and collaborated with medical surgeons to help them draw and express themselves without rating the art. They revisit their childhood innocence and draw without judgement. Barry strives to unite people from different disciplines and various times of life because she believes that when you focus and study in one area, it can feel like you can’t ever study in another area again—we suppress our childlike desire to draw and do other artistic things.
This has inspired me because in my major, we do the same thing every week. We watch two movies, read a few articles, and write a response or do a quiz. There is not a lot of time for creative writing or my other artistic passions like crocheting or quilting. I also recall drawing when I was younger and not judging the quality as much. Because of this lecture, I think that I should make more time for my artistic pursuits and not fear the result or even set a timeline to complete them by. —Victoria Hines ’27