
Once I settled into a publishing plan where I was basically in control of the whole process, the center of my world became the execution of my overall plan to commit acts of actual literature. I had to decide what I wanted to write and the reasons why I was going to write it.

Surrealist Reasons for the Season.
I began the most serious part of my journey into authorship once I was fully retired from my last teaching job. And the darkest part of that truth is that if I weren’t ill enough to be forced to leave teaching, I would still be doing that. It is what God made me for, if there is a God. But since I am stuck in this retirement reality, I really have to use fiction for what fiction-writing is for.
And let me assure you, I know what writing fiction needs to mean for me. I need to rewrite the story of my life in the surreal reality of perceived truth. And what does that mean in simple words? I have to lie a lot. Because fiction is lying in order to reveal the truth.
Two of the most important books I wrote tell the same story for the same purpose.
The Two Stories are really One Story.

I had a childhood full of monsters. And who I became in adult life was not done in spite of what those monsters did to me, but because of it. I was sexually assaulted as a ten-year-old. What he did to me was not pleasurable in any way. He tortured me because causing pain turned him on. I was severely traumatized by the experience. So much so that I experienced PTSD-induced amnesia for a while. These two books are about my fear of monsters and evil, and the deeply embedded fear that when directly faced with evil, I would not know what it really was.
Things in the two novels are not exactly what they seem.
Torrie Brownfield, the Baby Werewolf, is not a monster. He is a boy who suffers from a genetic hair disorder called hypertrichosis, the same disorder that caused the star of Barnum’s freak show, Jojo the dog-faced boy, to have excessive hair growth.
He looks like a monster, but he is really the sweetest, most innocent character in the story.
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The Cobble Sisters, both Sherry and Shelly, are nudists. That is a detail that was both kinda true about the real twin girls that inspired the characters, and true enough about these characters in the story to make fans of my fiction from real nudists I befriended on Twitter.
Nudism, however, symbolizes innocence and truthfulness. Sherry labors in both books to get the other members of the Pirates’ Liars’ Club to accept nudism and try it for themselves. Sherry tells them repeatedly that nudists are more honest than other people because they don’t hide anything about themselves.
The ultimate villain of both novels is, ironically, one who hides everything and manipulates from the shadows.
Grandma Gretel is the main character of Recipes for Gingerbread Children. She is a storyteller who has to come to terms with her own monsters from the past. She is a survivor of the Holocaust during WWII. She lost her entire family to the monsters of the Third Reich.
Ironically, she is the one who, through stories and her own keen perceptions, reveals the ultimate villain and his evil. She also, through stories, is coming to terms with her own trauma and loss.
So, what I am saying about my bookish journey at this point is that I have to write the novels I am writing because they allow me to rewrite the world I live in and the facts of my past life in it. I am rewriting myself. I am becoming the me I need to be by writing.
Of course, I am not yet done talking about my bookish journey. Keep an eye out for Part V.






























During my middle-school teaching years I also bought and read copies of The Prince and the Pauper, Roughing It, and Life on the Mississippi. I would later use a selection from Roughing It as part of a thematic unit on Mark Twain where I used Will Vinton’s glorious claymation movie, The Adventures of Mark Twain as a way to painlessly introduce my kids to the notion that Mark Twain was funny and complex and wise.
The Art of Being Mickey
I have published my eighth novel in the last six years. (This is, of course, a re-post of an old essay.) Sure, it is through mostly self-publishing of novels that no one but me has ever read. Catch a Falling Star and Snow Babies both had a professional editor, one who had worked for Harcourt and one who worked for PDMI. Magical Miss Morgan has had a proofreader who made numerous stupid mistake errors that I had to change back to the original meticulously by hand. But all three of those novels won an award or were finalists in a young adult novel contest. I do have reason to believe I am a competent writer and better even than some who have achieved commercial success.
But what is the real reason that I am so intent on producing the maximum amount of creative work possible in this decade? Well, to be coldly objective, I am a diabetic who cannot currently afford insulin. I have been betrayed by the for-profit healthcare system that treats me as a source of unending profit. I am like a laying hen in the chicken house, giving my eggs of effort away to a farmer who means to eat my very children if time and circumstance allows. I am the victim of six incurable diseases and conditions that I got most likely as a result of exposure to toxic farm chemicals in the early 70’s. I am also a cancer survivor from a malignant melanoma in 1983, and for three years now I have not been able to get the preventative cancer tests I am supposed to be receiving every year for the rest of my life. My prostate could very well be cancerous as I write this. If that is so, it will kill me unawares, because I don’t even want to know about having a disease I can’t possibly afford to fight all over again.’
So, the basic reason I am going through the most productive and creative period of my entire life is because I have a great rage to create before I die and I could be dying as soon as tonight. All of the countless stories in my head clamoring to be written down before it is too late cry out to me desperately for my immediate attention.
I will, then, continue to write stories and draw cartoons and other Paffoonies for as long as I am still able, and possibly even afterward. I have, after all, threatened repeatedly to become a ghostwriter after I die. And, yes, I understand when you scream at my essay that that is not what a ghostwriter is. But if a woman can channel the ghost of Franz Schubert and finish his unfinished symphony…(https://en.wikipedia.org/wiki/Rosemary_Brown_(spiritualist))
—then I should also be able to tell my stories from beyond the grave. I have been percolating them in my head and writing and drawing them in whole or in part since 1974. I have too much time and too many daydreams wrapped up in them to let it all just evaporate into the ether. In summation, I am claiming stupidly that my novels, crack-brained and wacky as they are, are somehow destined to exist, either because of me or in spite of me. So just be happy that I write what I write, for there is an art to being Mickey, and I am the one artist and writer who is the best Mickey possible if truly there ever was a real Mickey.
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