5.125 × 8.25 in.
Long stitch softcover
Offset insides with letterpress covers
I’m a sucker for a character that breaks the fourth wall. The camera shifts, eyes meet through the screen, and we are brought in on real-time reactions and feelings. That slicing of time — cut! — interjected with an aside, a quick quip or snide remark shatters. It can also transform: morphing into a dreamy Vaseline-on-the-lens flashback … or better yet, a reimagined fantasy of what could have been. These tropes of teen-driven movies and sitcoms? We get them all in the memoir-as-artists’-book, a story, the truth, and a screenplay, by Ruby Figueroa.
Figueroa delivers a poignant narrative in four sections, woven together by a keen aesthetic treatment of photographs and screenplay interjections. Overall, the book bears markers of a trade paperback in its production and scale: tidily bound and offset printed. Unique letterpress-printed covers usher the reader in with roller-washy, lakeshore lapping tidelines in hues of magenta, peach, teal, maybe even hints of Chicago common brick (at least on this reader’s copy) and pink, directed towards the use of color in the interior.
While most of the book is set in a black serif typeface with a traditional book page layout, the addition of fluorescent pink ink in the typewriter face Courier, formatted like a screenplay, and vivid full-bleed photographic images in duotones of that same fluorescent pink and a peachy-orange ink activate the jump-cut of flashback or fantasy. Memory and nostalgia are described bluntly by the author throughout, with a hazy honesty of knowing what was, remembering it another way, and wishing it to be. These interjected pages, both the photographic images and the pink screenplay texts, feel like they’ve been applied with a swipe of the finger — a uniform Instagram-style filter through which to process disparate information.
Figueroa breaks these aesthetic decisions down in what was, to me, the most self-aware and least compelling part of the project. In this last, most reflective and experimental section, there is a concerted effort to explain the reasoning for the duotone and the pink that feels like a heavy-handed artists’ statement. Up to this moment, the reader is generously left to connect with and follow the sentimental narrative of Figueroa’s coming-of-age story with those interjections as guiding signposts. The didactic explanation of intent is understandable considering the book, presented alongside a series of monoprints, was Figueroa’s thesis project as a Master of Fine Arts candidate in Interdisciplinary Book, Paper, and Print Arts from Columbia College Chicago.
With or without pointed direction from the artist, the day-glo filters over the screenplay skits and images are key to appreciating the book. These photographic images act as stages: cinematic in their dimensions, and I hold them in my vision with a Ken Burns effect, panning and zooming as I read the corresponding sections. This parallax view, the images as still-shots and visual echoes that resonate, joins the duotone images in a list of duos, pairs: Figueroa tells us this is a story about Ruby and their sister, about Ruby and their mother, about Ruby’s mother and father, the dichotomy of growing up in Humboldt Park and moving to a Chicago suburb, about Ruby as a first-generation Mexican-American person, but ultimately it is a story about Ruby-then and Ruby-now.
Am I brushing past the very meat of the story? Maybe so. The ways that Figueroa shares, divulges, confesses, dishes, and leads the reader through their evolving understanding of self (selves?) is so intimate and generous that to sum it up in any way feels reductive. We follow Ruby reflecting on childhood, adolescence, and early adulthood through the lenses of family, sexuality, relationships, home, and community. The screenplay snippets speak to the underlying presence of media geared toward teens and tweens from the late-1990s through mid-2000s, and the prescriptive ways that it set expectations for “coming of age,” gender norms, and sexuality. Comedy of this era was, at its worst, gag-driven with a gross-out vibe, but at its best delivered with the dead-pan, eye-rolling attitude that Figueroa carries throughout. When the diaristic qualities of Figueroa’s memoir narrative become too saccharine, mistily rose-tinted, or deeply shrouded in regret, Figueroa is the first to interrupt themself with a clarifying parenthetical, sometimes a direct apology to the reader or just a quick “(barf).”
It’s these moments of levity that bring me back to the on-screen character who breaks the fourth wall. Figueroa’s angle is less a coddling “Dear reader,” and more an elbow jab at your side, “Get a load of this, reader…” This gesture of familiarity allows the reader to become entangled in the project, yielding one as of yet overlooked duo: Ruby and the reader. From the onset in the book’s preface, we are led into the narrative with a tight grip from Figueroa delivering a warning that most of what we are about to read is true, but some stories are victim to “false memories and dramatization.” With this awareness, Figueroa actively cultivates a relationship between Ruby and the reader built upon trust. That trust is reflected in a genuine gratitude extended to the reader for participating in this project. Like a healthy relationship, there is a balanced exchange here between all parties: Figueroa, Ruby, and the reader.