Candle-lit nightmares become stories and keep me awake late at night.
I am now closing in on the publication of The Baby Werewolf, a novel whose story began with a nightmare in 1978. It was a dream I had about being a monster. I woke up in a cold sweat and realized, to my complete horror, that I had been repressing the memory of being sexually assaulted for twelve years, the thing that almost brought me to suicide in 1973 and that I couldn’t put into words when I talked to counselors and ministers and friends who tried to keep me alive without even knowing that that was what the dark black words were about.
I don’t normally write horror stories. Yes, it is true, a character of some sort dies at the end of practically every novel I have ever written, but those are comedies. I am sort of the anti-Shakespeare in that sense. The Bard wrote comedies that ended with weddings and tragedies that end in death. So, since my comedies all seem to end in death, I guess if I ever write a tragedy, it will have to end with a wedding.
Torrie Brownfield
But writing this horror story is no joke for me, though I admit to using humor in it liberally. It is a necessary act of confession and redemption for me to put all those dark and terrible feelings into words.
The main theme of the story is coming to grips with feeling like you are a monster when it is actually someone else’s fault that you feel that way. Torrie, the main character, is not the real werewolf of the story. He is merely a boy with hypertrichosis, the werewolf-hair disorder. He has been made to feel like a monster because of the psychological and physical abuse heaped upon him by the real werewolf of the story, an unhappy child pornographer and abuser who is enabled by other adults who should know better and who should not be so easily fooled. The basis of the tale is the suffering I myself experienced as a child victim.
It is not easy to write a story like this, draining pain from scars on my own soul to paint a portrait of something that still terrifies me to this day, even though I am more than sixty years old and my abuser is now dead. But as I continue to reread and edit this book, I can’t help but feel like it has been worth the pain and the striving. No one else in the entire world may ever want to read this book, but I am proud of it. It allowed me to put a silver bullet in the heart of a werewolf who has been chasing me for fifty-two years. And that’s how the monster movie in my head is supposed to end, with the monster dead, even though I know the possibility of more monsters in the darkness still exists.
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.
He was one of my all-time favorite students. I know I say that about an awful lot of kids. I can’t help it. Once you get to know them well enough to teach them anything, you tend to be hooked for life. They are your kid. You are their teacher. And that means almost as much as if they were born to you.
I first got to know Johnny on one frightful morning in September of 1984. He was a tiny, frail little seventh-grade boy sitting in the second seat of the second row. And as I was trying to get them to read a short story in the literature book, he kept nodding off, falling asleep. Sleeping is not an effective reading strategy. Three times I tried to wake him up and get him on task. He could have told me then, but he was painfully shy, and the only word I had heard from him was, “Here,” spoken during roll call. So, the fourth time I took him outside the classroom door to ask him what was wrong. He was deathly pale.
“What’s wrong? What do we need to do to make it better?”
He looked towards the boys’ restroom. “I gotta go…”
I told him to go, then followed him down to the restroom because I knew it was something serious. Serious enough to leave my class unattended. But they were deathly quiet, because unlike me, they knew what was wrong. I found him throwing up in the trash can. He told me he was sick in a barely audible voice.
Immediately I went to the office and told the secretary that he was ill.
“They have juice for him in the refrigerator in the ESL room,” Ms. Lawler said. “I’m sorry we haven’t gotten the nurse’s list out to teachers yet. He’s got juvenile diabetes.”
Whoa! I didn’t know much about diabetes then, but I did know it was too deadly of a thing to allow myself not to know everything I needed to know. At the time the school nurse had to take care of all four campuses in the school district, and she was only at the Junior High on Thursdays.
Thankfully, over time, not only did I learn more about handling that disease, but medical science did too. When I would later develop adult-onset diabetes in 2000, treatment for diabetics would become much more effective, rendering the disease far less destructive.
As for Johnny himself, he became a part of the small group of housing-project kids who would come to my apartment on Saturdays, and sometimes after school to hang out, use my computer, and play table-top role-playing games. I made a special effort to engage Johnny in conversations about a little of everything. He was a very bright boy when he felt well. I got to know his seriously diabetic mother too. And his older sister would later become a nurse at the local doctor’s office, so I got to know her as well. Johnny didn’t have a father at the time, which also applied to each of the other boys from the project, except for the Camacho brothers whose father was a seriously depressed Vietnam veteran. I suppose that’s why Johnny became like a son to me, one of five boys who at the time treated me like a second father. I taught him. I entertained him. And occasionally I cooked for him.
One of my two girlfriends at the time that I was mentoring Johnny liked to give him sugar-free candy. She got so accustomed to always having some available at her place that she actually got hooked on it herself.
In school Johnny opened up the way a cactus flower blooms when it gets a little rain. He began to talk to other kids a lot. He made himself into a group leader, and he even went out for high school football. Truthfully, I was amazed by him on the football field. He played defensive back. And he played like a star. I watched him intercept the ball about three times and run it back the other way. The coaches soon felt about him the same way I did. He was part of their family too.
And it turns out that being physically fit practically cures juvenile diabetes.
He got stronger and healthier with each season. He gave me the football portrait not because I had anything to do with his success, but because he loved me. I have hugged that boy three times in my lifetime, and each time is a cherished memory that I hope to carry with me to Xibalba, the Mayan Land of the Dead.
When I developed diabetes myself, Johnny’s older sister kept track of my wellness charts herself. Johnny’s family was experienced with handling diabetes, and they looked after me like a member of their family.
The last time I saw Johnny it was in the hallway at school. It was only a year before I left Cotulla for good. He had come especially to see me. I didn’t even recognize him at first because I hadn’t seen him for a decade. I wanted to talk to him and catch up. But I had to pick up my eldest son that day from second grade as he had been ill. I was not feeling well myself. So, I asked for a rain check. He still had that beautiful smile. And he didn’t tell me that that was the only chance he had to see me before leaving town again. It broke my heart when they told me that later.
But I see him again now as I tell you the story of Sugar-Free Johnny. He was probably the sweetest kid I ever taught. He will always be a part of my story. And apparently I am part of his story too.
No man is an island. John Donne the English poet stated that. And Ernest Hemingway quoted it… and wove it into his stories as a major theme… and proceeded to try to disprove it. We need other people. I married an island girl from the island of Luzon in the Philippines. She may have actually needed me too, though she will never admit it.
When I was a young junior high school teacher in the early eighties, they called me Mr. Gilligan. My classroom was known as Gilligan’s Island. This came about because a goofball student in the very first class on the very first day said, “You look like Gilligan’s Island!” By which he meant I reminded him of Bob Denver, the actor that played Gilligan. But as he said it, he was actually accusing me of being an island. And no man is an island. Thank you, Fabian, you were sorta dumb, but I loved you for it.
You see, being Gilligan on Gilligan’s Island was not a bad thing to be. It was who I was as a teacher. Nerdy, awkward, telling stories about when I was young, and my doofy friends like Skinny Mulligan. Being a teacher gave me an identity. And Gilligan was stranded on the Island with two beautiful single women, Mary Ann and Ginger. Not a bad thing to be. And I loved teaching and telling stories to kids who would later be the doofy students in new stories.
But we go through life searching for who we are and why we are here. Now that I am retired, and no longer a teacher… who am I now? We never really find the answer. Answers change over time. And so do I.
I have now embarked on my seventieth year of life. I have had a thirty-one-year career as a public school teacher. I have been married for thirty years. I have three grown children. I wrote and published 25 books. You would think that as my life nears completion, I would have answers to some of the big questions. I do not. I do, however, know enough to ask them.
Is mankind and his (or her) civilization going to survive?
Will AI computer programs destroy us rather than help us?
Will aliens a board 3I Atlas destroy us rather than help us?
Will the massive caldera under Yellowstone Park explode as a super volcano and wipe out life in North America?
Why are so many of the big questions about destruction and dying?
Why is the Pumpkinhead President not dead or in prison yet?
Why is art important, and why is my art a defining part of me?
What comes next if the world does end?
Why does any of this matter?
So, let me take a stab at some answers…
Probably not. Humanity’s civilizations have broken apart or been destroyed before.
AI programs are still fairly stupid, though smarter than certain American voter groups. If they kill us, it will be a side effect, not a goal.
The alien things are almost too massive to be mere hoaxes. Science fiction movies suggest it will not end well.
Skip this one for fear of not enough relevant details.
Because old people think a lot about dying. No passes possible on this one.
You’ve seen the smug smirk on his orange clown face. He’s too big of a criminal to get caught in the act.
Art comes from the soul, and it makes it possible to shape your entire life and its meanings.
A Vogon Insterstellar Bypass will be built.
It probably doesn’t matter, and my answers are all wrong anyway.
Well, I have a thing for collecting old books. This one is 100 years old. It is a modern edition, though, re-published in 2003.
Here’s my Goodreads review;
This book is an ancient treasure in many ways, being now more than 100 years old. The illustrations by John O’Neill, too, have a very antique charm. The book is a little short on plot. Dorothy wanders off from the Kansas farm, meets the hobo Shaggy Man, and Button Bright, one of the stupidest little boys in literature. They meet old friends along the way; Jack Pumpkinhead, H.M. Wogglebug T.E., the Tin Man, the Scarecrow, the Cowardly Lion, the Hungry Tiger, Tik Tok the mechanical man, Billina the Talking Yellow Chicken, and the living Sawhorse. And they all end the story at Princess Ozma”s birthday party where Santa Claus is the favorite guest. This is a potboiler novel for Baum, obviously written only because the readers all begged for it, and it has a lot in it to be enjoyed by true fans of Oz, but not much in the way of suspense or excitement. It can easily be summed up in the words of Button Bright, “I don’t know,” which he says in answer to every question.
I find the illustrations more compelling than the story itself, but I have to admit that the story itself is incredibly visual.
I love this book, even though I don’t respect it much as a storyteller myself. But it is the fourth Oz book I have read since childhood. And it isn’t because of the story. Frank L. Baum is a genius at creating loveable and memorable characters. And these illustrations are wonderful. The Shaggy Man with the head of a donkey? Absolutely fabulous! You can’t beat that. (Well, you can. But whether he’s a donkey or a man, it’s still a crime. )
So, my new life in Iowa is going slowly. Unable to drive a car. Unable to stay in writer mode for more than a few minutes at a time. I am basically just getting by. Paying bills on time. Staying alive one day at a time. Reposting old posts on WordPress most of the time instead of writing new ones.
We have gotten snow on the ground since Saturday. You can see it is going away. The snow is sublimating, going from snow crystals to water vapor in the afternoon sun. This picture of the actual yard and snowy cornfields beyond is what I used AI tools on to make the first Paffooney in this post.
None of the planned novel writing I meant to do has started. I have been drawing and playing with digital art tools, but even that has its arthritic limitations, and it takes AI manipulations to make the junk into gems.
I made this snowy butterfly gem while my sister was working on making holiday Christmas wreaths at Butch Aldrich’s Christmas Tree farm. I haven’t told her about seeing the ghost again, nor what the ghost told me, if ghosts are real and really do have telepathic abilities. The ghost could be lying.
I have been seeing things that aren’t really there a lot recently. Grandpa Aldrich’s black cat, Midnight, hopped up on the bed two weeks ago, though Midnight died at twenty-two years of age more than twenty years ago. If ghosts are real, he still prowls and protects the farm house in a spiritual sense.
Two nights ago I fell asleep in the easy chair while watching TV with my sister. I awoke with a start. An old woman with gray hair in a bun was shaking my right arm and asking, “Are you alright?” I realized with a sudden shock that it wasn’t my sister, Nancy. And as I realized it, she dissolved right before my eyes. That same night, I got up in the middle of the night, went out to the kitchen, and suddenly saw the same old woman standing over the ironing board that Nancy had left set up in the dining room. She was holding an old flat iron of the kind you heat up on the wood-burning stove before using, like Great Grandma Hinckley had shown me about sixty years ago. She was looking at me. Not moving. And fading away into nothing as I watched her with my mouth hanging open. That might’ve been a dream, but an extremely vivid one.
And last night I saw her again through the open bathroom door as she stood in the living room. She told me without opening or moving her mouth, “Don’t be afraid. I am watching over you. You are family. I love you though you were born after I passed on.”
I know it could’ve been another dream. It was more likely the onset of Parkinson’s Disease. Hallucinations are a symptom of that disease. It is how I rationalize seeing the ghosts of the ghot dog in Carrollton, and the ghost of my late dog, Jade before I moved to Iowa. But more intriguing is the notion that it is someone who lived and died in this house, my Great Grandma Emily Brannen, Grandpa Aldrich’s mother. That notion is more appealing than Parkinson’s or dementia.
Sometimes when you get to be moldy old and decomposing you have to stop and have a rethink about the meaning of certain things. You have to let the computer in your head reset, reboot, and download the various needed patches in the old software. It is the only way to move forward and get things done.
This is a logo-doodle…wouldn’t that make an excellent name for an alien science fiction character? Logodoodle, Prince of the Black Hole Kingdom.
I have been so obsessed with all the terrible details of the new orange monkey that has taken over our government that I completely forgot about an idea I had for a logo using my family name. That is, until I began doodling while binging on Penny Dreadful on Netflix. (Gawd, I have to talk about that show in a post too… horribly wonderful stuff!) Yes the name-plate art you see above, not inspired by Trump’s gold letter fetish, no, not at all, is merely a doodle. No rulers were used. I eyeballed everything and let it flow. I do admit to going over the pencil drawing in ink and editing at that point.
My family name, you see, is a very old and common German name. Beyer means “a man from Bavaria” or auf Deutsch, “ein Mann aus Bayern”. We were originally peasant farmers, but achieved nobility and a coat of arms in the middle ages. I know this because in 1990 I was invited the to world-wide Beyer family reunion in Munich due to the genealogical research Uncle Skip did into the family name. They sent me a book and I paid for the book, but did not attend. (On a teacher’s salary? Are you kidding me?)
But I was thinking about my brand. It does have a meaning, and it does stand for something. I underlined the illuminated letters of the name with a broken sword. My ancestors were once warlike. My great uncle died in the US Navy during World War II. My dad was in the Navy during the Korean Conflict. But having been a school teacher for so many years, I am dedicated to the belief that conflict is best resolved through wit and negotiation. I would sooner be killed than have to shoot at another human being. Of course, that part of the Beyer brand only applies to me. Both my son the Marine, and my brother the retired Texas prison guard, are gun nuts. And they are both very good shots. I don’t recommend getting into serious arguments with them.
My family name also stands for farming and farmer’s values. We were once stewards of the land. Both my mother and my father grew up on farms. I was raised in a small farm town less than five miles from the Aldrich family farms of my grandparents and uncles. I have worked on farms. I have shoveled cow poop… a unique thing to look upon as a badge of honor. My octogenarian parents are living now in my grandparents’ farm house on land that has been in my family for more than 100 years.
My family name also stands for service. I am not the only teacher in the clan. My mother and two of my cousins are long-time registered nurses and all have seen the craziness of the ER. (And I don’t mean by watching the television show with Clooney in it.) I have a brother who was a prison guard and a sister who is a county health inspector. We put the welfare of others before our own. Our success in life has been measured by the success of the communities we serve.
While it is true that I could never make money off the Beyer brand the way gold-letter-using Mr. Trump has, I think it is safe to say, “My brand is priceless.”
This is an old post, but still pertinent since the Pumpkinhead President is sending troops into Chicago and other American cities, planning on making himself a king, and tearing down a third of the White House while the government is shut down.
When you are a writer, you look for conflict constantly. It is a fact of the writing life that stories need conflict to drive them forward, whether they are non-fiction reports, biographies, or histories, or they are fiction stories full of made-up people and made-up events. But we are in a time in history where the conflict in real life is hitting everywhere. No place, in reality, is safe.
Using straw men in arguments comes with the caution that some who have straw for brains can actually solve problems.
What do I mean about there being no real-life safety?
Well, barring a technological magic bullet and a complete revolution in the way corrupt capitalists do politics, the Earth will probably become a lifeless hot rock more like the surface of the planet Venus than any kind of Edenic utopia. If the Republicans take back power next month, kiss goodbye the human race in any form but zoo animals in alien zoos on other worlds.
And Nancy Pelosi’s husband was attacked in the head with a hammer because of Don Cheetoh Trumpaloney’s Neanderthal political practices. Men in camo and bullet-proof vests watch polling places to presumably threaten non-white, non-Trumpy voters. Republicans are probably out-voting Democrats, thus sealing our fate. Republicans choose profits for themselves over life on Earth.
An early Christmas greeting because I am very optimistic for a pessimist, as well as chronically early.
I, of course, am no more safe than anybody else. In some ways, as a writer of fiction, I am less safe than the rest of you. My imagination gives me near prescience about the bad things that can happen to me. And I write fiction about love and forgiveness and a sense of community good in solving the chaotic conflicts of life, All you have to do is get naked, figuratively and in reality both, in order to combat the dangerous world around you. But, of course, it means you have no sort of armor at all to protect you from the wounds of life’s many predators.
This last week, I faced a predator like that, in the form of a marketing service wanting to make my book Catch a Falling Star available at a library conference in New Orleans. Of course, only for the slight fee of $850.00. Now, it goes without saying, I could really use exposure like this to help sell my books. But the price is far more than I would ever recoup from royalties. And the salesman tried to hurry my decision. He offered to talk to his manager about giving me three payment installments, a used-car-dealer tactic. And he urged me to sign up before he would give me a chance to google his company, his emails, and his Better-Business-Bureau rating. He had no mercy for the fact that his efforts to keep me talking caused me to have a coughing fit. I ended the ordeal by hanging up on him. I did not answer when he called me back.
The world is ending. I am living in a house that threatens to fall upon my head at any moment. And two book-marketing schemers have now contacted me, one to scam me out of my publishing rights, and another trying to get a lot of my money for very little real value.
How will this story end? I have yet to learn how the conflict will be resolved. But I know it will not be safe.
There are many ways to tell a story. I have yet to try them all. But I don’t intend to stop trying until I either get a lot nearer, or I am fertilizing the flowers.
So let’s start with the Snoopy way.
We start with a cliche, and goof it up to make it more interesting.
It was a dark and stormy night…
And that was because the lights went out at George’s house while he was arguing with Mabel. There was lightning involved. Mabel got so mad about George watching football that she stabbed the toaster in a fit of uncontrolled anger. Unfortunately, she stabbed it with a metal fork and it was plugged in. Her hair never stood up so high and never glowed that particular color before. Her eyes shown like car headlights. And she was the main reason it went dark.
Okay, maybe not. Let’s try again.
It was a dork and smarmy knight…
Sir Jiggs Giggly was a knight from King Percy’s Royal Court, but his manners were so bad that he drove all the women away from the court. The other knights all decided that their choices were limited. Either they had to reform Sir Jiggs, or they all had to become gay. So, they went to the wizard. The wizard’s name was Wizzyfritz. And Wizzyfritz had a boy working for him who also happened to be his legal ward. So Wizzyfritz the wizard assigned his Wizzyfritz ward to be the watcher over the wastrel Jiggs. And so, well… that wizard ward was a dork.
Yeah, not this one either.
It was a stark and dormy night…
At Tilbury College in the women’s dormitory, there was a party. There was lots of beer. And the local fraternity decided that when they attended the party, they would show up as streakers and be stark naked. Unfortunately, the Sigma Frakka Pi fraternity were all skinny geeks who wore glasses and had no body hair. So a large number of women in that dorm died laughing.
Nope, that isn’t it either.
Hmmm…. maybe there’s a good reason this particular story-telling method is always shown in a cartoon as part of a joke.
Catch a Falling Star 
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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