It began in childhood with the Red Skelton Show. Every Wednesday night it was a refuge for me. And refuge was a critical idea for me. I was a child hiding a terrible secret from the entire world. At times I hated myself. Twice as a teen I came very close to choosing suicide over life. The person I most needed to hide from was myself. And humor helped. Red Skelton’s gentle humor helped me to not only escape from myself for a while, it taught me to laugh at my own foibles and not take things quite so seriously.
media.npr.org
In my college years I discovered humor in written form. Mark Twain swiftly earned my utter devotion as I read not only Huckleberry Finn and Tom Sawyer, but Roughing It, A Connecticut Yankee in King Arthur’s Court, Pudd’nhead Wilson, The Mysterious Stranger, and The Autobiography of Mark Twain. You know, there are a large number of things in Mark Twain’s humorous books that make you cry, that make you angry, and make you think deep thoughts. I basically discovered that humor is a way that smart people choose to think of things which helps to keep you sane and basically un-suicided.
A beautiful portrait by artist Emily Stepp
It is obvious that some people become very skilled at humor because they have used it all their lives to fight the darkness . Robin Williams is only few years older than I am. In many ways his life has paralleled my own (obviously minus the wealth and fame in my case… but what would’ve happened if Robin had become a school teacher?) I have depended on Robin Williams’ movies to keep me going, giving me insights in how to talk to kids, how to be a parent, and how to empathize with others. Of course, I haven’t yet taken some of his movie advice. I never put on a mask and a dress to deceive my own children. But only time will tell.
I obsess about humor and how you create it. I gorge on things like the works of Dave Barry. Do you know who he is? Florida newspaper columnist who writes books about everyday life and the fools who live it? I have to do a post on Dave Barry, because he makes me laugh so hard that milk shoots out of my nose, sometimes when I am not even drinking milk… believe me, I don’t know how that works either.
A bust of Herman Munster
Doofy Fuddbugg here is an example of what a “Nolt” is.
I love to laugh. It makes the world right again. I have laughed an awful lot for almost an entire lifetime now. I treasure all the funny people I have known. And I need to continue to try to make people laugh up until the very end. Because the world is too often not a funny place. It can be full of badness and sadness and suffering. And as Mark Twain so aptly pointed out, “Against the assault of laughter… nothing can stand.”
Wizards do magical spells. It kinda goes without saying. But to do magical spells, you have to know how the magic works… and why.
Me, imprisoned in my own crystal ball by my naughty familiar.
The secret is in knowing what the word “magic” actually means. It is not supernatural power, nor the creation of something out of nothing. It is entirely the act of uncovering and understanding the underlying truth, the actual science that most people don’t yet comprehend that underpins the thing you are trying to accomplish. Jonas Salk was a wizard. His polio vaccine was a successful magical potion. But magic can be evil too. Albert Einstein and Robert Oppenheimer were wizards. And the atom bomb was an act of necromantic evil.
Me, in my early green wizard phase.
So, being a wizard, I have learned lessons over a lifetime that uncovered for me the secrets of practical interpersonal magic. Being a teacher has taught me far more than I taught to others.
So let me share with you some of my hard-won practical magic.
In a room full of rowdy children, most of whom are not minding any of the teacher’s directions, you can get their attention easily by shouting, “What the poop is going on here?” with the biggest evil grin on your face that you can manage. They will immediately quiet down like magic and look at you. Some will be wondering if their teacher is having a fatal stroke. Some will be wondering what punishments their behavior has earned as indicated by your evil grin (and here it should be noted, their little imaginations will cook up something much worse and much scarier than anything you could’ve thought of to unwisely threaten them with. A few will begin recording you with their cell phone cameras in hopes of future behavior they can post online and get you fired with. And the rest will laugh at the word “poop” and forget why they were acting out. At that point, with their full attention, you can ask them to sit down and look at page 32, and, not knowing what else to do, they will probably do it.
Here are some other rules of practical magic that apply to the wizarding arts of being a public school teacher;
Violence is never the answer. Change their actions and reactions by making them laugh, making them cry, or making them think about something else entirely. The last thing you would ever want to do is hit them, even if they hit you first.
Anything they can be forced to repeat eight times in eight different ways is something that will be fixed in their memory for more than just the duration of a class period. It moves things into their long-term memory, and that is itself a very magical thing.
Students laugh when you surprise them or present them with the absurd. Tell them they should imagine themselves as pigeons who have to act out Shakespeare’s play Romeo and Juliet. What costumes will they wear, and why? What stage directions are necessary to add to the play that are unique to pigeons, and how will they word them? How does pigeon Mercutio go about his death soliloquy when stabbed by pigeon Tibault? Will he have to say, “Look for me tomorrow and you will find me a very grave pigeon?” By the end of the lesson they will have learned more about this play they are supposed to learn about as ninth graders than they ever would have otherwise.
Being able to do any of those things is actually a manifestation of magical power, and only producible by a wizard. The simple fact is, every good teacher is a wizard.
Me, as a wizard in my blue period. The period at the end of this essay.
Communicating with a wife is complicated. In fact, I couldn’t do the whole writer-think thing about that topic without writing a book. But I can successfully ruminate for about 500 words on the that awkward first encounter, the first time I ever was embarrassed in front of a non-sister girl.
In grade school I met my first crush in kindergarten. Alicia Stewart was a honey-sweet little brown-haired girl with a bow in her hair. I was a boy. I was not allowed to like girls. Hating them was the only thing that made sense to my friends and I. But, secretly, I didn’t hate Alicia. In fact, if I was ever to be doomed to be married when I grew up, I would’ve only accepted that horrible fate if it was with her. And in my small town school I saw her practically every school day. In fact, in Miss Malkin’s music class on Tuesdays and Thursdays I sat right next to her in Miss Malkin’s seating chart for six years.
In Miss Malkin’s music class we always did musical stuff like listening to classical records, singing songs for the yearly musical review concert (we did the songs from the musical The Music Man one year… you don’t get more musicky than that), and we did square dancing. Yeah, you heard that right. Square dancing. You had to have a girl for a partner. And one year, Miss Malkin decided it would be cute to have the boys ask the girls to be their partners. Now, as boys… in top secret boy-conversations, we had generally agreed that if such a problem would ever occur, Alicia Stewart was the only acceptable choice. We all hated girls. But we all were secretly in love with Alicia. She was girl-hating-boy approved. When I was twelve, there was another girl that was making me uncomfortable too. Marla Carter was nine when I was twelve. She had big brown eyes and dimples. Her face was somehow heart-shaped, and only Alicia could make my palms sweat any worse than she did. But in top secret boy-conversations it was ruled that she was a booger-eating little girl and totally toxic. Well, I didn’t totally agree, but I was still subject to all girl-hating directives.
“Okay,” Miss Malkin said, “the boys will now pick their partners… one at a time in alphabetical order.”
My last name began with the letter “B”, but my best friend Mark had a last name starting with “A”.
“I pick Alicia,” Mark said.
My heart sank. I had my pick of any girl besides Alicia. Marla was standing about four feet away from me, her hands folded together behind her back, looking at me with those puppy-dog eyes. My throat was too dry to speak.
“Um, ah… I can’t pick anyone…” I croaked. “You pick it, I will dance with it.”
“Now, don’t be like that, Michael. Get on with it!” Miss Malkin commanded. Everyone loved the music teacher, and so everyone obeyed her. I had to submit.
I looked at Marla, dug my toe into the floorboards, and said, “I choose my cousin Diane.”
Talking to girls has always been a matter of embarrassment. The words are always awkward and shaped not by my brain, but by my bowels. This fact has always been a hindrance to my dealings with the female species, but it has been an unending source of potential for writing humor.
Journey back with me to the 1980’s, and hear once again the music of escape.
There was a time when I was young when I did not know where I would be when the next new dawn came. Yes, I once took the midnight train (except it was a bus) and I arrived in a teaching career in deep South Texas. I crossed borders into another culture, another way of life, another journey made of words and pictures that hasn’t reached the final station yet.
At the outset, we all take a risk. Born and raised in South Detroit (although it was really North Central Iowa) I passed through established procedures, rules, and regulations to do things that desperately needed doing for people who could only help themselves in very limited ways.
Some spoke mostly Spanish. Some lived in broken homes. One boy lived for a while under the bridge of the Nueces River, but attended school every day because he was hungry to learn, and because free school lunch was the majority of the food he got to eat. He got on a midnight train, and I never saw him or heard from him again. His sister, though, lived with a tia who treated her like a daughter, and grew up to be a school teacher. I let her teach the lesson for me during one class period, as part of an educational experiment, and it put her on her own midnight train.
It was a train going on the same track I followed. Not because of me and what I did for her. But because she came to realize it was the right journey to take for her. It was the perfect anywhere for her.
But there is danger inherent in getting on a midnight train going anywhere. You don’t know who is waiting for you down the line, or what your circumstances will be at the next station along the way. There may be strangers waiting up and down the boulevard, their shadows searching in the night. I befriended other teachers, mentored some, learned from many, even married one. I had a run in or two with people who sell drugs to kids. I had all four of my car tires slashed one night. I had a car window broken out. I had a boy once tell me he would kill me with a knife. I later had that boy tell me he had a good job and a girlfriend and he was grateful that I talked him out of it and never turned him in to the police.
And we end up paying anything to roll the dice just one more time… At one time or another we have all been there, aboard that midnight train to anywhere. There is a moment in everyone’s life when… well, some will win, and some will lose. Some were born to sing the blues. I have been there. I have done that. And it occurs to me, that song plays on in my head still. I am still on that journey. And I won’t stop believing. Because it goes on and on and on and on…
Imagination is always the place I go in times of trouble. I have a part of my silly old brain devoted to dancing the cartoon dance of the dundering doofus. It has to be there that I flee to and hide because problems and mistakes and guilt and pessimism are constantly building un-funny tiger-traps of gloom for me to rot at the bottom of. You combat the darkness with bright light. You combat hatred with love. You combat unhappiness with silly cartoonish imaginings. Well… maybe you don’t. But I do.
When reading the Sunday funnies in the newspaper on lazy Sunday afternoons, I spent years admiring Bill Watterson’s Calvin and Hobbes for its artistry and imaginative humor, believing it was about a kid who actually had a pet talking tiger. I didn’t get the notion that Hobbes was actually a toy tiger for the longest time. That’s because it was basically the story of my own boyhood. I had a stuffed tiger when I was small. He talked. He went on adventures with me. And he talked me into breaking stuff and getting into trouble with Mom and Dad. It was absolutely realistic to me.
I have always lived in my imagination. Few people see the world the way I view it. I have at least four imaginary children to go along with the three that everybody insists are real. There’s Radasha, the boy faun, my novel characters Tim Kellogg and Valerie Clarke, and the ghost dog that lurks around the house, especially at night. That plus Dorin, Henry, and the Princess (the three fake names that I use in this blog for my three real children).
Have you noticed how Watterson’s water-color backgrounds fade into white nothingness the way daydreams do? Calvin and Hobbes were always a cartoon about turning the unreal into the real, turning ideas upside down and looking at them through the filter-glasses of Spaceman Spiff.
Unique and wonderful solutions to life’s problems can come about that way. I mean, I can’t actually use a bloggular raygun to vaporize city pool inspectors, but I can put ideas together in unusual ways to overcome challenges. I almost got the pool running again by problem-solving and repairing cracks myself.
So, I am now facing the tasks of working out a chapter 13 bankruptcy and having a swimming pool removed. The Princess will need to be driven to and from school each day. I will need to help Henry find another after-school job. And the cool thing is, my imaginary friends will all be along for the ride. Thank you, Calvin. Thank you, Hobbes. You made it all possible. So, please, keep dancing the dance of the dundering doofus.
This is the updated version of that last post. I have written more books. I have published more books. And I have gotten more people to read and like my work since 2018.
Here is a better idea how things currently stand;
And of course, I left out the book I was using to copy the list from, The Wizard in his Keep.
So, now I stand revealed as the published author, hard-working writer, and total fool that I am.
And here’s a link to the book I forgot. Only a dollar if you’re interested.
Forgive me for putting a picture of a bear-chested girl in this post.
It has been my intention for a while now to tell funny stories on Friday. Specifically, funny stories about being a teacher and dealing with kids, the thing I know best in life. But, with the things that have happened, the pandemic, the screwball gangster President and his Friday follies, ill health, and other things pressing on my mind, I have failed rather badly.
So, bear with me (pun intended) as I give it another try with a story about Hope and Beauty.
Going back to the last millennium, in the year 1996, I had one solitary class of sixth grade English while teaching mostly seventh graders in a school building that was being renovated while we were learning within it. Often to the sound of electric drills and hammering. (A new wing was being added as our junior high school of grades 7 and 8 was being magically transformed by a school grant, and the addition of 6th graders, to become a middle school.
Esperanza and Bonita were the leaders of that sixth grade class. Fourteen kids, 7 girls and 7 boys. Esperanza and Bonita were the leaders because they were the two biggest 6th graders in the whole school. Not biggest by weight, the fattest boy in 6th grade was also in that class. The most mature. Bonita was hoping to go out for boys’ football in seventh grade, because she had been told that girls had won the right in court to play football if they wished. And she loved to tackle boys. The midgets in that 6th grade class were all terrified of her. One of the midgets spent his 6th-grade days pining in the back row to sit next to her but was too afraid to ever tell her that.
You may already know that this is not Bonita. It is the character in my book The Bicycle-Wheel Genius that I turned her into.
Esperanza and Bonita were best friends, and they were also the two best students in my class. They sat side by side in the front row. They would answer every single question in class if I let them. Of course, I didn’t let them. I got as much of a laugh out of other students’ wrong answers as they did. They were merciless about every goof Sammy Sanchez made, but Sammy had a good sense of humor about it, and I swear, he made some mistakes on purpose just because he loved to hear Esperanza laughing. She was probably the prettiest girl in 6th grade and had an equally pretty laugh. (That is not, of course, Sammy’s real name. I protect students’ real names in my writing. But the double S’s in his name were paired with the word “Stupid” in real life.) I was fond of both girls. And most of the time they were fond of me too.
“You’re my favorite teacher,” Esperanza once told me. “It’s because we can really talk about stuff in your class. Not just book stuff. But real-life stuff.”
Most of the “stuff” she meant was in journal writing that they did at the beginning of class. That is where I learned that she was a virgin. And it was where I advised her that it was entirely up to her when she gave it up and to whom. I told her no boy had the right to pressure her into doing anything she didn’t want to do. I gave similar advice to the boy in question privately after school, and he was actually a bit relieved to get the advice. I know that I was overstepping boundaries to give such advice. But they both believed that nobody else would ever be told about it. I was the only one who read that journal entry, and they knew that. And I have never told it until now, a fact about which you still don’t know the real names to go with it.
That class wanted badly to have a “class party” after Spring Break when the year was winding down. I only agreed if they would turn it into a learning experience. So, Esperanza and Bonita took charge. They planned and executed the lesson; “How to make and appreciate different kinds of Mexican Food”. The two of them taught it. Bonita was in charge of discipline. Esperanza taught us about all the ingredients in her aunt’s prize-winning sopapillas. Sammy gave us a memorable and even remotely possible run-down on how Doritos were probably made. And Max, the white kid, shared his Grandma’s recipe for German chocolate cake. You can’t get better Mexican food than that. And a certain mournful midget got to sit next to Bonita while they ate cake.
Both girls were in my class for two more years after that. I had the honor of being their teacher in both the seventh and the eighth grade.
As an eighth grader, Bonita broke my heart with a story she wrote about forgiving her stepfather for beating her in the third grade. It was a beautiful story. But I was torn. Teachers, by law, have to report child abuse. But Bonita pointed out that the man no longer lived with her, and besides, the assignment was to write a fiction story. (I never told anybody but my wife about my being sexually assaulted at the age of ten at that point in my life, but it was the reason I could clearly see what was true and what was fiction.) That story made more than just me cry.
And in the end, Bonita never got a chance to play boys’ football in middle school… or high school either. The boys eventually got bigger, and she didn’t. But that was a good thing too. Bonita at linebacker… the boys would never have survived it.
I will end by letting you in on a secret. In Spanish, Esperanza means “Hope,” and Bonita means “Little Pretty One,” or even “Beauty.”
I remember when Scooby Doo, Where Are You? premiered on Saturday Morning Cartoons in 1969. I was thirteen and in the 7th grade. I had been six during the Cuban Missile Crisis of 1962, seven when Kennedy was assassinated in 1963, ten when I was sexually assaulted in 1966, and still twelve when Neil Armstrong walked on the Moon in the Summer of 1969. I was obsessed with monsters, horror comics, 20,000 Leagues Under the Sea, and the Pirates threatening Jim Hawkins in Treasure Island. I knew what fear was. And I was mad to find ways to combat the monsters I feared.
Don’t get me wrong. I was under no illusions that Fred, Daphne, Velma, Norville “Shaggy” Rogers and Scooby Doo were the answer to all my fears as viable heroes and heroines. They were goofballs, all of them, based on the characters I vaguely remembered from The Many Loves of Dobie Gillis. I was aware that Shaggy was just Maynard Krebs in cartoon form (the hippie character portrayed by Gilligan’s Island actor Bob Denver.)
One of the critical things about the show for me was the fact that there was a rational explanation for the monsters. They were men in masks, special effects and projector tricks, or remote-controlled mechanical things.
And the way you overcame them and saved the day was by having Shaggy and Scooby act as bait, cause the traps to get sprung at the wrong time, and then fall on the villains, trapping them under the butt of the talking dog.
Villains and horror could be overcome by laughing at them. They were more likely to be clowns than carnivores. And even if they were carnivores, the teeth were not real.
There was a universal truth in that. Danger and horror and fear were easier to handle when you could laugh in spite of those things.
And to top it all off, those meddling kids and their stupid talking dog were with me my whole life. Those cartoons got remade and spun off so many times that my kids learned to love them as much as I did. And those four meddling kids and that talking dog are still making new stories even now.
Most of my novel stories have lived in my head since the 1970’s. I began recording the ideas in a notebook that I called the libretto. I drew illustrations to solidify the characters and some of the plot elements in my mind. But the basic natures of the characters and the style of my artwork grew from these original artistical notations.
I got better at art over time. And the characters benefited from my teaching experience in that I was able to depict numerous characters with nuances and details gained from students and other people I hadn’t met yet when I drew these pictures. Dorin Dobbs, for instance, is based in large part on my eldest son, who wouldn’t be born for another 18 years when I drew these pictures (He’s the yellow-haired boy in both of the first two pictures.)
Francois, the singing sad clown from my book Sing Sad Songs, is based on a student from the 80’s who was actually Spanish speaking and of Mexican-American descent.
I drew this picture of him in 1976.
I taught the boy in 1983.
I wrote and published the book in 2018.
The inter-dimensional traveler, the Man-Cat, is an idea from a story I have not written yet, and probably never will.
Disney-Michael Stewart and his gang of Milk-Lovers is another story I haven’t written yet, and though more likely, is still probably a novel I will never get to.
Invisible Captain Dettbarn and Francois ended up in separate stories from this picture. The other three boys in the picture were babies or not yet born when their stories happen.
So, today was a chance to look at and re-evaluate the past. All of these drawings were done in the 1970’s. All I did was scan them with a good scanner and crop them a little to make them better compositions. And they allow me to keep track of where my mind has already been, that I might successfully chart the future of where it is going.
I recently posted about being synesthetic and discovering how I am different from normal people. Here is the post if you are interested.. Then I discovered that Kanye West is also synesthetic as he gushed some southern-fried crappie-doo about how wonderful he is as an artist because he sees the colors of his music. Well, now I don’t want that mental affliction any more. I don’t wish to be anything like him. Of course, it has to be incurable, doesn’t it.
Now I am wasting today’s post on another metacognative thinking-about-thinking style of paragraph pile when I could be rhapsodizing about the humor of Dave Barry or the wisdom of Robert Fulghum, the author of
All I Really Need to Know I Learned in Kindergarten.
I could be shamelessly promoting the work of artists whose works I love instead of examining the random filing cabinets in the back rooms of my stupid old head. But I can’t because I now need to explain myself to myself again. Self doubt and self examination are features of being an artist. We reach a point where we have to think about how we do what we do, because if you don’t know where the magic comes from, you might not be able to call on it the next time you need it.
I am a self-taught artist. I have had art classes in high school and college, but never professional art training. I know how to manipulate the rule of thirds, directional composition, movement, perspective, and lots of other artsy-craftsy techniques, but it is all a matter of trial and error and an instinct for repeating what works. I have had a good deal more professional training as a writer. But I do that mostly by instinct as well. Trained instinct. I have reached a point where my art is very complex and detailed. And I don’t mean to suggest there are no flaws. In fact, I am capable enough to see huge, glaring mistakes that really skew my original intent and make me feel hopelessly incompetent. But others who see it and don’t know the inner workings of the process can look past those mistakes and not even see them. Given enough time to look at my own work with new eyes, I am able to see at least some of what they see.
Now that I have totally wasted 500-plus words on goofy talking-to-myself, what have I really accomplished beyond boring you to death? What’s that you say? You are not dead yet? Well, that’s probably only because you looked at the pictures and didn’t read any of my sugar-noodle brain-scrapings in loosely paragraph-like form. And if you did read this awful post by a colorblind artist who doubts his own abilities, you probably didn’t learn anything from it. But that’s not the point. The point is, I care about doing this, and I need to do it right. And I managed to learn something… how to ramble and meander and make something that is either a hot mess… or something that vaguely resembles self-reflective art.
Catch a Falling Star 
Why We Doo
I remember when Scooby Doo, Where Are You? premiered on Saturday Morning Cartoons in 1969. I was thirteen and in the 7th grade. I had been six during the Cuban Missile Crisis of 1962, seven when Kennedy was assassinated in 1963, ten when I was sexually assaulted in 1966, and still twelve when Neil Armstrong walked on the Moon in the Summer of 1969. I was obsessed with monsters, horror comics, 20,000 Leagues Under the Sea, and the Pirates threatening Jim Hawkins in Treasure Island. I knew what fear was. And I was mad to find ways to combat the monsters I feared.
Don’t get me wrong. I was under no illusions that Fred, Daphne, Velma, Norville “Shaggy” Rogers and Scooby Doo were the answer to all my fears as viable heroes and heroines. They were goofballs, all of them, based on the characters I vaguely remembered from The Many Loves of Dobie Gillis. I was aware that Shaggy was just Maynard Krebs in cartoon form (the hippie character portrayed by Gilligan’s Island actor Bob Denver.)
One of the critical things about the show for me was the fact that there was a rational explanation for the monsters. They were men in masks, special effects and projector tricks, or remote-controlled mechanical things.
And the way you overcame them and saved the day was by having Shaggy and Scooby act as bait, cause the traps to get sprung at the wrong time, and then fall on the villains, trapping them under the butt of the talking dog.
Villains and horror could be overcome by laughing at them. They were more likely to be clowns than carnivores. And even if they were carnivores, the teeth were not real.
There was a universal truth in that. Danger and horror and fear were easier to handle when you could laugh in spite of those things.
And to top it all off, those meddling kids and their stupid talking dog were with me my whole life. Those cartoons got remade and spun off so many times that my kids learned to love them as much as I did. And those four meddling kids and that talking dog are still making new stories even now.
And that is why we do the Doo!
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