The Animators

“A wildly original novel that pulses with heart and truth . . . That this powerful exploration of friendship, desire, ambition, and secrets manages to be ebullient, gripping, heartbreaking, and deeply deeply funny is a testament to Kayla Rae Whitaker’s formidable gifts. I was so sorry to reach the final page. Sharon and Mel will stay with me for a very long time.”--Cynthia D’Aprix Sweeney, author of The Nest NAMED ONE OF THE BEST BOOKS OF THE YEAR BY Entertainment Weekly • NPR • Kirkus Reviews • BookPage She was the first person to see me as I had always wanted to be seen. It was enough to indebt me to her forever. In the male-dominated field of animation, Mel Vaught and Sharon Kisses are a dynamic duo, the friction of their differences driving them: Sharon, quietly ambitious but self-doubting; Mel, brash and unapologetic, always the life of the party. Best friends and artistic partners since the first week of college, where they bonded over their working-class roots and obvious talent, they spent their twenties ensconced in a gritty Brooklyn studio. Working, drinking, laughing. Drawing: Mel, to understand her tumultuous past, and Sharon, to lose herself altogether. Now, after a decade of striving, the two are finally celebrating the release of their first full-length feature, which transforms Mel’s difficult childhood into a provocative and visually daring work of art. The toast of the indie film scene, they stand at the cusp of making it big. But with their success come doubt and destruction, cracks in their relationship threatening the delicate balance of their partnership. Sharon begins to feel expendable, suspecting that the ever-more raucous Mel is the real artist. During a trip to Sharon’s home state of Kentucky, the only other partner she has ever truly known--her troubled, charismatic childhood best friend, Teddy--reenters her life, and long-buried resentments rise to the surface, hastening a reckoning no one sees coming. A funny, heartbreaking novel of friendship, art, and trauma, The Animators is about the secrets we keep and the burdens we shed on the road to adulthood. “Suffused with humor, tragedy and deep insights about art and friendship.”-- People “[A] stunning debut.”-- Variety “A compulsively readable portrait of women as incandescent artists and intimate collaborators.”-- Elle ...

Autorentext

Kayla Rae Whitaker was born and raised in Kentucky. She is a graduate of the University of Kentucky and of New York University’s MFA program, which she attended as a Jack Kent Cooke Graduate Scholar. She lives in Louisville. This is her first novel.

Leseprobe
This excerpt is from an advance uncorrected copy proof

Copyright © 2017 Kayla Rae Whitaker

PROLOGUE:

INTRODUCTION TO SKETCH

IntroductIon to Sketch was held In Prebble hall, a building Professor McIntosh called “Ballister’s dirtiest secret” during our first class. Prebble was an ancient, pipe-clanking fortress on the edge of campus with heating problems, leaky ceilings, and those 1930s wall radiators we used to melt crayons on in grade school. “You pay fifty thousand dollars a year to attend this institution,” he said, “and they stick you in a *hovel *for four years. It’s because they *hate *art.”

The tuition comment didn’t hold much weight for me. I was on scholarship. My peers talked about skiing in Aspen and summers in the Hamptons. Ballister was their safety school when Stanford and Duke eluded them. They spoke with the opaque, offhand world knowledge of the privileged. My first weekend there, I watched a girl at a party barf into a five-hundred-dollar Coach purse. Terrified of the cafeteria’s clamor, I had taken to eating three meals of ramen noodles a day in my dorm room.

I went to Ballister because of the visual arts program, because they’d given me their Poor Appalachian Kid scholarship, and because it was as far away from home as I could manage. I had chosen art because I needed something to make use of the bright lights that had existed in my head for as long as I could remember, my fervent, neon wish to be someone else. In high school, I sampled my way up and down the artistic spectrum methodically, like the good student I was, hoping I’d land on something that sparked me: I sketched, I constructed shadowboxes, I threw some rudimentary pots, trying a little of everything, committing seriously to nothing. Too scared, at that point, to put myself at stake for fear of failure. The revelation, maybe, that I had nothing to give. I had yet to encounter anything that made the risk seem worthwhile. I came to Ballister hoping that being there would put an end to my floundering. That I would finally buckle down and find what I was supposed to make, and that it would *mean *something.

I had taken the Amtrak train twenty-two hours out of Maysville, Kentucky, to the tiny upstate New York town in which Ballister was located. Ballister was, I was surprised to learn, not too terribly removed from Canada. My parents’ geographic sense of the north wasn’t much better than mine. They didn’t believe me at first, when I told them I was five hours from New York City and hence out of harm’s reach. Before I left, my father cleared his throat and thumped me on the back like I was another man. My mother gave me a fierce hug, something with a degree of pain to it, and said with her chin hooked over my shoulder, “Don’t you come back pregnant.”

My parents met working in a factory that made lawnmower parts. The brand’s claim to fame: George Jones had once drunkenly straddled its luxury model while pursued by the Texas State Police. They were resigned to their jobs, to each other, and to us, their children, who had all the fish sticks and Nintendo we needed. They watched Wheel of Fortune with three feet of space between them on the couch. They fought often, and loudly. Neither had gone to college; they hoped I would become something useful, like a CPA.

The closest I had come to finding something that lit me up was in a summer gifted-and-talented program, just before my senior year. In an art course there, I made a graphic novella of the night my mom threw an ottoman at my dad, laboring over how the glass patio door shattered, shards tumbling in an arc of beauty into the green holler bottom below. I painted a textured oil backdrop to simulate the night air wadding itself into a tornado: the Horror of ’89, which touched down that very night in regions of East Kentucky, West Virginia, and the golden triangle of Kingsport, Johnson City, and Bristol, Tennessee. The instructor, upon seeing it, complimented me but grimaced. Said, “I like the little cartoons, but how about we fit your skills into a more serious framework?” And pushed a pamphlet for architecture school at me.

McIntosh scared me as much as the rest of Ballister did. He was a serious artist, or had been at one point—a sort of eighties gallery darling whose decline had acted as a chute into teaching, a profession for which he had no real passion. “Oh yah, McIntosh is intense,” said the senior VA major who’d given me a tour at orientation. But McIntosh was more than just intense. He was a carnivore who loved to eviscerate freshmen, a real crinkle of joy seaming his mouth as he did. We were instructed to bring a sketch to the first class for discussion, and McIntosh made a blonde with perfect posture, daughter of a D.C. diplomat, tear up when he put her sketch of a woman striding down a crosswalk on the projector. “I want you to pay attention here,” he told us. “This is a case in point as to the importance of exactness in your line work, and the price paid when …