The Job

The Job
Woody Leslie
2019
Large Home Tiny Idea
woodyleslie.com

4 × 5 in.
32 pages
Binding: 5-hole pamphlet stitch
Ink jet cover and laser inside

The Job, cover

The Job is the second book in Woody Leslie’s “Tiny Ideas” chapbook series. Through his imprint, Large Home Tiny Idea, Leslie harnesses the authority of the book form in order to examine everyday phenomena, often through the lens of language. The Job achieves this by reflecting on Leslie’s experience working in restaurants, and the familiar struggle to balance work with one’s outside interests. Tellingly, that tension never resolves. The workplace that inspires the book is, in Leslie’s words, “no place for creative writing.”

The Job, inside spread 1

Though it touches on political issues, The Job remains resolutely personal. The writing expresses a common sense solidarity with fellow food service workers (and a visceral resentment of those who profit off their work) that is more sympathetic than an ideological label. Even when Leslie uses insider slang, the specificity is relatable rather than exclusive. Many readers will have shared the experience of starting a new job and finding something funny or confusing, only to accept it and forget how weird it is until they quit or another new employee joins. In fact, the similarities among jobs – whether the author’s or the reader’s – is another powerful political point made implicitly through the observations in The Job.

Fans of Leslie’s work will find plenty of continuity with previous pieces. Considered alongside his 2011 comic, The Adventures of Super Cafe Douche Bag Man, The Job shows the evolution of Leslie’s work-inspired art. Words and Vegetables (2017) shares its highly detailed introspective style. The organization of ideas, not quite stream of consciousness, is similar to Some Definitions of Vegetables (2019) and Parsely (2016), with which it also shares an emphasis on the visual arrangement of text on the page.

The Job, inside spread 2

The visual treatment of text in The Job is subtle, but it is enough to put this work of nonfiction into dialogue with visual poetry. In some passages, the text is treated as prose. Elsewhere, enjambment gives a more poetic feel to the few lines on a page. The conversation with visual poetry begins in earnest on the fourth spread, where a map of Leslie’s workplace is rendered on the recto. Interestingly, it’s not clear if the representation is spacial or temporal, or some psychogeographic mixture. This uncertainty is later complexified when the same layout is used to visualize Leslie’s body, mapping the aches and pains of restaurant work.

The Job, inside spread 3

As a text in the book form, The Job does more than visual poetry alone. On a basic level, layout on a page or a spread within a codex is different than, say, a broadside. For example, a recto that says only, “Waste.” has a different meaning than the same word with the same amount of white space around it on a broadside. The page is a unit, and the word uses (or perhaps wastes) the entire unit. A similarly sparse page bearing the phrase “I quit.” highlights other features of the codex. Has the author quit writing; are the subsequent pages blank? The way the turn of a page conceals and reveals adds to the impact of The Job – it would be a different piece outside the book form.

The Job, inside spread 4

Leslie also engages the codex as a mnemonic device. In the first half of the book, he writes:

So much of The Job is about short term memory.
Remember for five seconds to ten minutes,
and then forget.
Too many things are the same,
or slightly different, repeated over and over.
You must forget each to remember the next.

The same text, with identical formatting, repeats in the second half of the book. The self-reflexive relationship between form and content tempts the reader to flip back to the first instance. Is the phrase the same or slightly different? The codex is ideal for this sort of non-linear access.

Even with this short text, Leslie takes full advantage of these affordances to play with linear and cyclical progression throughout the book. The page as a temporal unit is disrupted to convey a quintessential experience of an unsatisfying job: the days are long, but the years are short. The opening page features the repeated phrase, “We set up the blocks, they knock them over.” Time crawls by, and the page ends with “Day after day.” Later in the book, Leslie ruminates on mopping:

Leaves.
Slush and salt.
Mud.
Grass.

A whole year flies by, just like that. The stakes are raised as the pamphlet’s bulk shifts from the reader’s right hand to the left hand. Will the author escape The Job and focus on his creative work? Or will an earlier phrase repeat and place the reader back into the cyclical existence of wage labor? The suspense of each progressive revelation is heightened in the user-determined, time-based medium of the book.

In fact, The Job’s successful marriage of form and content points to the historical role of the chapbook as a democratic form. Leslie is subverting the authority of the book to assert the importance of the personal and quotidian, but he is doing so within a long tradition. The Job is noteworthy for the ease with which book art, visual poetry and non-fiction meet and make meaning in a humble pamphlet. Perhaps it is a large idea in a tiny home.