I started this chapter on the practice of making art as creative writing, focused on text-image work, to share how it conveys stories differently, inviting us to see as we read. Then, history, via the Kent State shootings, the 2024 election for president in the USA, and questions of accuracy in writing/artmaking, intruded, and I read Ester Kinsky’s novel Seeing Further. For Kinsky, seeing further takes place in a movie theater, a community setting that shapes seeing. She writes: “There are two aspects of seeing: what you see and how you see it. This investigation into seeing further will involve only the question how.” Imbued by Kinsky and letting text-image work such as Derf Backderf’s Kent State: Four Dead in Ohio, Nora Krug’s Belonging: A German Reckons with History and Home, Marguerite Abouet/Clement Oubrerie’s Aya: Life in Yop City, and Judith Schalansky’s Inventory of Losses guide me, I reflect on current events and how seeing (visually through image) and seeing again (through language) furthers our capacity for and ability to care—about and for ourselves, our cultures and communities.