Chances are… I could wear a foolish grin, like a Johnny Mathis Moon in the sky…
I could waltz… all alone in a dark room, never seizing on the chances to fly…
But there’s a time… meant to let the summer in…
And love songs… all make me wonder… Why?
Silly, I know. But silly and surreal is how I go, how I deal with the time. A song in my head leads to rhythm and metaphor and rhyme. And it takes me from old winter and the waning of the moon… to the silly month of June… And my dancing shoes were never quite so spry.
Chances are… if you really read this, you will know I am depressed.
My life is all unfairly messed.
And I barely can get dressed…
To go tripping cross the floor, dancing awkwardly toward the door, ’cause I’m in need of so much more.
But in a poem I find it… the very reason that I rhymed it… like the crooning song that’s stuck in my old head…
I will catch it, and I’ll bind it, like a fool who hopes you’ll find it, and the treasure will be revealed before we’re dead…
Chances are… that you hear that silly tune, as it reels across the page in silent spread. And the song will slowly stop, as I dance a final hop, and the answer is brightly shining in my head.
Yes, I admit it. I am a Surrealist. I also hope that it is not too terrible a thing to be. Because I truly think that everyone who was raised by television, and lived through the revolution where computers took over human life, is one too.
a 20th-century art form in which an artist or writer combines unrelated images or events in a very strange and dreamlike way
Full Definition of surrealism;
the principles, ideals, or practice of producing fantastic or incongruous imagery or effects in art, literature, film, or theater by means of unnatural or irrational juxtapositions and combinations
There is a certain satisfaction to be had in knowing for certain how to define oneself. I learned about Surrealism in high school art class back in the early 70’s. I saw and admired the works of Salvador Dali, Rene Magritte, and Max Ernst. And I realized that everything I wanted to do in the Realm of Art, whether it was weird paintings, cartoons, comic book art, or bizarre puppet shows… fantasy, science fiction, or humor… it was ALL Surrealism. Surrealism saturates out culture and our very thinking. We are drawn to watch baseball by the antics of a giant pantomime chicken. Our food choices are influenced by a happy red, yellow, and white clown who battles a blobby purple monster and a hamburglar over shakes and French fries. It is only natural then, that I would want to draw bug-sized fairies who would saddle and ride a red rooster. I have embraced surrealism as a way of life.
I have no trouble writing a poem about the difficulties of life by writing about a game of bowling where you have to roll a moose down the alley into the pins.
Surrealism is all about creating things by lumping all kinds of disparate goodies into the same pot and cooking it up as a stew. It is important that the stew tastes good in the end, so the mixture has to have large doses of reality and realism in it. Dali painted melting watches and boneless soft-sculpture people with almost photographic realism. I am compelled to do that too.
And what is humor, after all, if not lumping strange things together into a reality sandwich that makes you laugh because it takes you by surprise? I don’t shy away from weirdness. I embrace it. It makes life all the funnier.
And why did I put bullet points on everything in this post? Because it allows me to mash bits of wit and wisdom together in a weird way that only seems to have no connection, one to the other, and only seems to make no sense.
Sometimes we just have to look at things sideways.
I was recently accused of being eclectic in my posting topics by one regular commentator. I could wear that word like a badge of honor.
This describes a combination of many different individual elements of styles, themes, mediums or inspirations pooled from many sources. It can refer to musical tastes, dress sense, interior design…many things.
She has an ecletic sense of style, today she wears biker boots, pink fishnet stockings, a pencil skirt, a military jacket, a baseball hat, a my little pony t-shirt and a dunlop bag covered in badges from all her favourite bands from ABBA to Kooks
Sitting nude amidst the flowers, while being a plastic doll.
As a writer and an artist, I am basically a Surrealist. But do you know what I mean by that?
Salvador Dali was a Surrealist. As was Paul Klee, Greg Hildebrandt and his brother Tim, Larry Elmore, Boris Vallejo, every other fantasy artist, and every science fiction artist. It means being an artist who can paint or draw something extremely unreal in a way that makes it seem entirely real.
I have been that since childhood. Childhood trauma, a vivid imagination, and a need to live mostly in my own head has forced me to be that.
Radasha, my faun, whom only I can see and talk to.
Surrealism is taking things that do not go together in real life and forcing them together in Realistic Art.
If you do a realistic painting of a tiger withlagle wings, you create a surrealistic image. Al Capp’s Lil Abner newspaper cartoon strip was surrealist every day. Almost all cartoon strips were or are. Calvin and Hobbs perchance? The talking cartoon bee on the cereal box in every Honey Combs or Honey-nut Cheerios commercials? In the modern world we are increasingly surrounded by Surrealism. AI-created art is nothing but surrealistic images slammed together by a randomizimg AI mind responding to the wicked thoughts of users. A girl in a bikini with a canine chihuahua head? Or more likely, a girl without a bikini and a chihuahua’s head.
A Telleron frog-boy from outer space.
The movie, The Birds, by Alfred Hitchcock is Surrealism. Having an orange-faced criminal for a president like the current President Pumpkinhead is definitely Surrealism. As the world becomes increasingly nonsensical, it becomes more surrealistic. And hence, the need for Surrealists like me.
Alice in Wonderland by Lewis Carroll is Surrealism.
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.
..
..
..
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.
The 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 story-teller that 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.
Chances are… I could wear a foolish grin, like a Johnny Mathis Moon in the sky…
I could waltz… all alone in a dark room, never seizing on the chances to fly…
But there’s a time… meant to let the summer in…
And love songs… all make me wonder… Why?
Silly, I know. But silly and surreal is how I go, how I deal with the time. A song in my head leads to rhythm and metaphor and rhyme. And it takes me from old winter and the waning of the moon… to the silly month of June… And my dancing shoes were never quite so spry.
Chances are… if you really read this, you will know I am depressed.
My life is all unfairly messed.
And I barely can get dressed…
To go tripping cross the floor, dancing awkwardly toward the door, ’cause I’m in need of so much more.
But in a poem I find it… the very reason that I rhymed it… like the crooning song that’s stuck in my old head…
I will catch it, and I’ll bind it, like a fool who hopes you’ll find it, and the treasure will be revealed before we’re dead…
Chances are… that you hear that silly tune, as it reels across the page in silent spread. And the song will slowly stop, as I dance a final hop, and the answer is brightly shining in my head.
Being an artist is a matter of genetics, luck, and loads of practice. I began drawing when I was only four or five years old. I drew skulls and skeletons, crocodiles and deer on everything. My kindergarten and first grade teachers were constantly gritting their teeth over the marked-up margins of every workbook and worksheet. I drew and colored on everything. I eventually got rather good, drawing in pencil, crayon, ink, and as you see here, colored pencil. I loved to draw the people and things around me. I also drew the things of my imagination. I drew my best girl, Alicia, and I drew the half-cobra half-man that lived in the secret cavern under our house. I drew a picture of the house across the underpass from Grandma Mary’s house. I drew cardinals, and I drew Snoopy cartoons. I drew my sports heroes in football and hockey, Donny Anderson and Gordie Howe. I drew monsters with fangs and fuzzy animals with huge soulful eyes. I still draw and it’s mostly the same things that I drew when I was a child. I will post more of the drawings here in the near future to dazzle you with my talents and ridiculous sense of the absurd.
Being an artist is a matter of genetics, luck, and loads of practice. I began drawing when I was only four or five years old. I drew skulls and skeletons, crocodiles and deer on everything. My kindergarten and first grade teachers were constantly gritting their teeth over the marked-up margins of every workbook and worksheet. I drew and colored on everything. I eventually got rather good, drawing in pencil, crayon, ink, and as you see here, colored pencil. I loved to draw the people and things around me. I also drew the things of my imagination. I drew my best girl, Alicia, and I drew the half-cobra half-man that lived in the secret cavern under our house. I drew a picture of the house across the underpass from Grandma Mary’s house. I drew cardinals, and I drew Snoopy cartoons. I drew my sports heroes in football and hockey, Donny Anderson and Gordie Howe. I drew monsters with fangs and fuzzy animals with huge soulful eyes. I still draw and it’s mostly the same things that I drew when I was a child. I will post more of the drawings here in the near future to dazzle you with my talents and ridiculous sense of the absurd.
Try not to be upset with me for drawing a naked lady. You see, she is not really a lady, she is a caryatid, a stone pillar for holding up a building. Besides, I have been recently very ill, and drawing naked ladies makes me happy, even though it is a sin and means I will probably burn in hell. I am a hopeless sinner in this regard. I got kicked off Pinterest for liking an oil painting of a naked lady. I think it was a painting by William Adolphe Bouguereau. How could I be so terrible? You should check out my post about his sinful, horrible paintings so you can see how terrible I am for yourself. (Bouguereau) Of course, This post is not about naked ladies at all, so why am I fuming and ranting and telling all my darkest secrets about that?
This post is about architecture, about giving structure to things, about holding things together and holding things up. Is it clever that I drew this picture of an ornate pillar and placed it in this post so it looks like it is standing on later paragraphs and holding up the introduction? I find weird surrealist things like that help me write stuff that makes a few people laugh. It helps me because I can focus on nonsensical side-stuff like that (mixed up with obscure puns and alliterations like “pillar” and “placed” that, when cooked together with goofy rhythms in over-long sentences end up sounding funnier than they really are), and then I can say stuff that is actually funny because I don’t realize how wrong, or weird, or silly some of these words I am futzing it all up with truly are. (And I am amazed that the Pinterest police haven’t come and kicked me off WordPress for using a word like “futzing”, even though they don’t know what it means. Heck, even the spell-checker didn’t object to the word!)
But someone like me who is trying to be funny needs structure more than anyone else you can think of. Why? Because the sad-clown-crying-on-the-inside is so very true. The dark dips of depression… pain, illness, and more pain… family stress from others in my family who also suffer… That’s what makes the laughing so very necessary. You need the lighter stuff to fill up the room (somewhat like a really big fart) because you depend on the sheer buoyancy of it to lift the entire house up and keep it from sinking to the very center of the earth. (And the stink of it can also help keep you awake when otherwise you might never get out of bed again)… (But please don’t light any matches around my house.)
So, in conclusion, this stuff I write does have basic structures, basic rules. It has a beginning, a middle, and an end. It has a theme, a point that needs to be made, And then it needs to end with some kind of a kicker line or punch line… because when that finally hits me square in the face (like a pie thrown by a pie-whacker clown), it helps me remember… I am still alive, and I can still laugh about it.
Last night the Princess and I went to see Alice, Through the Looking Glass, the latest Tim Burton movie. Of course we loved it. Burton is one of the most interesting story-tellers of our time. Did you know he is two years younger than me? And also, like me, he began as a cartoonist and is totally dedicated to the idea that every artist is a surrealist and must exaggerate, elucidate, equivocate, and numerous other things that start with the letter “e” and end with the suffix “ate” simply because that’s how surrealism starts. You notice a little bit of weirdness in real life and blow it all out of proportion with lies and coloring of meaning and relentless “what-iffing?” If you don’t see surrealism in those last two sentences of purple paisley prose… then maybe you can see it visually in Burton’s many masterpieces.
Tim Burton began his legacy as an apprentice Disney animator specializing in stop-motion animation. But he was just another creative nobody like me until the launch of his small-budget monster hit, Pee-Wee’s Big Adventure.
Of course, any time you can pull in huge profits for little investments, you will have Hollywood executives ramming the heads of their unpaid interns like battering rams against your door so they can get in and throw money at you.
Hence, Batman.
Batman was the first time I actually took notice of Tim. And not just as a director of a film… eventually two films. He was gifted at assembling a cast. And this would work to his advantage as several singular talents attached themselves to him and worked in his movie projects repeatedly.
And his repeated collaboration with Danny Elfman and his music was easily as great a master-stroke of genius as John Williams with Spielberg and Lucas.
He has repeatedly used his movies to describe and rewrite his own life story as a misunderstood genius flubbing horribly in the quest to fit in with a world full of “regular people”.
Poster for the film ‘Edward Scissorhands’ (directed by Tim Burton), 1990. (Photo by Buyenlarge/Getty Images)
His sense of humor, of course, is distinctly and colorfully bizarre.
DSTF-0046r JOHNNY DEPP as Barnabas Collins in Warner Bros. Pictures and Village Roadshow Pictures DARK SHADOWS, a Warner Bros. Pictures release.
Burton is, just like me, a child of the 70’s. He references things like the old gothic soap opera, Dark Shadows, that were a part of his impressionable youth just as they were mine. He picks stories about things he truly cares about, and that is also just like me.
So, in a rather bizarre coincidence that is entirely appropriate to surrealists, I love any Tim Burton movie simply because it is a Tim Burton movie. He is probably me in an alternate dimension. And as such, I already know I will love his next movie, whatever the heck it is.
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.
..
..
..
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.
The 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 story-teller that 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.
Catch a Falling Star 