My metaphorical review delivered as a phone text:

Here is (the now-neglected) poet James Russel Lowell’s perspicacious 1860 review in The Atlantic:

Next on my list, a certain house with a certain number of gables.

Reader! Don’t ask, what is in the wallpaper? Ask, who:

Sometimes I think there are a great many women behind, and sometimes only one, and she crawls around fast, and her crawling shakes it all over.

Then in the very bright spots she keeps still, and in the very shady spots she just takes hold of the bars and shakes them hard.

And she is all the time trying to climb through. But nobody could climb through that pattern–it strangles so; I think that is why it has so many heads.

They get through, and then the pattern strangles them off and turns them upside down, and makes their eyes white!

“The Yellow Wallpaper” is 6,000 words of striking through the mask. In the quote below, from Ahab’s explanation of his pursuit of the White Whale, I have changed Melville’s word “man” to “woman”:

“Hark ye yet again—the little lower layer. All visible objects, woman, are but as pasteboard masks. But in each event—in the living act, the undoubted deed—there, some unknown but still reasoning thing puts forth the mouldings of its features from behind the unreasoning mask. If woman will strike, strike through the mask! How can the prisoner reach outside except by thrusting through the wall?”

With the husband/doctor’s infantilizing endearments such as “little girl,” the patronizing care of the woman suggests real domestic oppression. Clearly, the woman (sometimes women) in the wallpaper are in a prison:

“She just takes hold of the bars and shakes them hard.”

At the same time, the source of the narrator’s mental illness arrives ready-made from offstage.  1887 patriarchal oppression has a role here, and this is inescapable. But to limit it to that seems to trivialize the narrator’s humanity. A human being doesn’t need domestic or political oppression to have a problem with reality. Rather, what assumptions do we carry today that sanity is the default point of human equilibrium?

What everyday miracle (or hubris) of civilization helps us to feel that we are, most of the time, living in a shared reality?

This short story doesn’t answer. Instead, it offers delightful creepiness and narrative tricks to bring its full impact:

“Life is very much more exciting now than it used to be. You see I have something more to expect, to look forward to, to watch. I really do eat better, and am more quiet than I was.”

Warning bells go off when I read these assertions. Healthy, unconfined people do not need to offer such reassurance. As a reader I’m not prepared for the wallpaper’s assault on the senses, its unreal behavior, tactile disobedience, and odor. The ragged line of many one-sentence paragraphs at to the experience of unraveling. It also offers a generous readability.

Further claxons roar when the narrator hints that her husband and doctor do not want her to write. My initiation reaction as a reader what this was a male evil inflicted on her. However, after reading Gilman’s 1913 biographical statement about her story, I understand the author references this as part of a prescriptive “rest cure.” It is not simply evil to ask a person suffering a “nervous breakdown” (Gilman’s words) to abstain from work. Arguably, as compulsion, it was an act of medical ignorance. The evil part was to compel her to do so, and with the narrator’s dark liminal resources, it fails to take away her liberty. As the narrator declares from her state of creeping madness:

“I’ve got out at last,” said I, “in spite of you and Jane. And I’ve pulled off most of the paper, so you can’t put me back!”

Even today, there is an ethical question, often heartbreaking, of when compassionate authorities should compel people suffering mental illness to accept treatment. When is a mentally ill person responsible for determining her or his treatment, and when not? Treatment can still be invasive. Common wisdom and law on this question changed in my lifetime toward personal freedom. Relatedly, there are hundreds of mentally ill homeless people camped among garbage not far away as I write this. These are additional realms in which the story touches a discomfort between thresholds.

Gilman makes clear in her 1913 statement about that she needed to work to become healthy again:

“I went home and obeyed those directions for some three months, and came so near the borderline of utter mental ruin that I could see over.

“Then, using the remnants of intelligence that remained, and helped by a wise friend, I cast the noted specialist’s advice to the winds and went to work again–work, the normal life of every human being; work, in which is joy and growth and service, without which one is a pauper and a parasite–ultimately recovering some measure of power.”

Who was the “wise friend”? I don’t know.

In the story, the husband’s arrogant, sometimes infuriating good intentions and patriarchal power lead him to override the narrator’s repeated hints and evasions. These evasions turn inward in passive-aggressive rebellion, seeking solitude, locking the door, seeking to enter the wallpaper. Mental illness brings an illusion of freedom.

Maybe the sick woman’s confinement has something in common with modern prison solitary confinement—a condition that induces madness and, in prisons could arguably qualify as a cruel and unusual punishment.

Without intellectual stimulation, there is a fungus of decay. The wallpaper has become her psychic expression, in it, of it, behind it.

“I determine for the thousandth time that I will follow that pointless pattern to some sort of a conclusion.”

We have all seen faces in patterns… The word “pattern” appears 25 times in the story. The human mind is a pattern seeker… how potent the imagery of the wallpaper, its color, weavings, its smell and movement. It’s delightfully creepy, and reminds me of the Lovecraft’s story of an early radio operator who finds a way to make visible the horrible animalculae who inhabit in its waves. There’s the mediocre Twilight Zone’s “Little Girl Lost” who gets lost between walls, with 4th dimension…

How effective the hint of a creeping woman going round and round her room like Doré‘s image of prisoner exercise, revisited in yellow by Van Gogh in the year of his suicide.

What is it about the color yellow? Is mental health the baseline state? Or is it an aberration? Is it connected to artistic people like Gilman or Van Gogh? How does the nuclear family, the demands of small children, commodity consumption, relate to mental instability? Is it something about women and modern living? Something about her upper middle class life? Does the narrator’s servant Jennie have the opportunity to succumb to madness? She’d probably die in a wallpaperless ditch, like Bartleby the Scriviner, in a prison yard.

The theme of a woman’s unhealthy descent toward the liminal in “The Yellow Wallpaper” made me think of another character, Beret. She is the wife of the protagonist Per Hansa, in the novel Giants in the Earth (published 1924, set in 1873) by Ole Edvart Rølvaag. Per Hansa is a man of action who thrives in the challenges of homesteading in the north American plains; she, however, suffers from loneliness and desolation. To make her feel more at home, he painted the walls of their half-sunken sod home white. Like the all-too-permeable yellow wallpaper, the white walls pushes the woman’s mental health deeper into depression.

The lime had been mixed according to directions, and spread over the walls–three coats of it, no less; now the sod hut shone so brightly inside that it dazzled the eyes. . . . Before the snow came, Beret thought it delightful to have such walls; but after there was nothing but whiteness outside–pure whiteness as far as the eye could see and the thought could reach–she regretted that he had touched them. Her eyes were blinded wherever she looked, either outdoors or indoors.

She becomes more religious without becoming less melancholic. Unlike the narrator of “The Yellow Wallpaper,” there is no “rest cure” available to a pioneer woman. Unlike the real Gilman, the regime of work does not ease her mental distress of Beret:

Beret went about her work with a greater determination; but her sad mood did not lift.

During a harsh winter, over many days, she wants Per Hansa to make a journey to fetch a minister for a dying neighbor. Over the course of many pages, she pushes and pushes Per Hansa to make a dangerous trip in the cold. She remorselessly threatens to do so herself. Finally he relents, attempts it, and freezes to death.

I bring this up because I want mention that Gilman’s story recognizes that the suffering of women impacts the suffering of men. As Gilman points out, there is a liminal issue, a trap door of our shared problem with the fragility of the relation between our self and our reality. “The Yellow Wallpaper” ends with ghoulish, wink of misunderstanding of the man’s utter horror, or possibly worse:

Now why should that man have fainted? But he did, and right across my path by the wall, so that I had to creep over him every time!

As a helpless kid in the 60s-70s, I grew up hearing of how much women hated being housewives, of the lurking option of putting their heads in the oven. Without claiming expertise on the genre, you could put “The Yellow Wallpaper” on the unhappy shelf with Diary of a Mad Housewife, and The Bell Jar. There are others, old and new; let’s not forget Bertha Mason in Jane Eyre. Since rumor has it, women even with careers continue to be unhappy, there may be further such works. Alternatively, you could frame this story in a way that emphasizes our shared suffering (7 out of 10 suicides in the USA 2015 were white men). You could place “The Yellow Wallpaper” among categories of human literature among those that poke reality and find it more fragile than we might have otherwise assumed.

“The Yellow Wallpaper” is a much stronger work than Gilman’s Herland. It’s more interesting to explore problems than perfection. From the first paragraph to the last, this is highly effective, creepy, feminist gothic. “The paper stains everything it touches.”

You can read “The Yellow Wallpaper” here for free.

You can listen to The Yellow Wallpaper here for free.

You can read Gilman’s 1913 statement “Why I Wrote The Yellow Wallpaper” here.

To prepare for #theFutureIsFemale, I thought I’d read the 1915 utopian novel Herland. As seems fitting, it offers both more and less what, I guess, Gilman details in the story. A land of women without the influence of men is a fun concept that fits in the fecund genre of that time concerning the discovery of lost worlds. In short, three men find the hidden land and, with some trials, learn their ways. The men leave with some companions who want to learn about our world in Gilman’s sequel novels.

UTOPIA, HOW BORING

Is there an earnest, non-humorous, non-satiric utopian story anywhere that succeeds? Yes, most people want to live in a beautiful place. But that’s only part of utopia. Who wants to live in a place that purports to have solved all problems? Without problems, is the human experience reduced to that of a beautiful machine?

The women of Herland treat the captive men well, and with patience. They are physical, aesthetic, intellectual superiors, though not god-like. They agree with each other. Herland once had men, but lost them all through war and the natural disaster that sealed the land from the rest of the world. Herland has replanted all of its forests with fruit and nut trees, a gesture toward permaculture at the expense of wilderness. Herland has many cats bred to lose their meow and ability to hunt birds. Yes, like a late 1990s Internet email, Herland takes time to discuss the idea that women prefer cats, men prefer dogs. Herland educates its young through play, the USA does not—well, a man remembers, there is the Montessori method. Herland raises its children apart from the biological mother.

Is this engaging reading? Meanwhile, there are references to drama, dance, music, religion, and education. I don’t want to shock you, but all of these are superlative accomplishments. They also don’t have disease: apparently, all it took was 2,000 years without unsanitary men, and there you go, cured. I don’t recall seeing any reference to politics, industry, economic classes, money, energy sources. The Herland guards pick up the men and drive them in electric motors (cars), which, unless I missed it, they never mention again. Herland references communications system that are different but equivalent to USA’s, but does not explain.

MORE THAN INTENDED

The female utopia Gilman envision is a realm of mutants. These women reproduce by parthenogenesis. Individuals have some control over self-pregnancy through will and diet. A reader could question, then, to what extent they are human. If they are not human, is this even a utopian novel, or a novel about a visit to female elf-land? I believe most human women would say their reproductive system is important to their experience in life. However, a most generous gesture as a reader I think would be to accept the parthenogenesis as an ultimate form of birth control. It’s also a way of avoiding social censure of a disreputable concept.

My guess is that Gilman did not intend the following interpretation, but she does anticipate the future. We already are see trans-human intersections of our birthed selves with technological implants and genetic medicine. I assume without particular knowledge that in my lifetime, real human women will be able to reproduce without any kind of male contribution. Then what happens? Does this novel lend insight?

LESS THAN INTENDED

Unfortunately, by literary standards, the only real characters in the book are the men. Characterization of the three men show them as three individuals, with different values, different personalities. They even disagree with each other. In their relations with women, one is a chauvinist cad, one puts women on a pedestal, and one is moderate.

There are pale hints of differences between the women of Herland, their size, age, intellect. In one part of the book, the women differentiate themselves in reaction to the three male types. Herland fails the Bechdal test.

For the most part, the women are not even mutant humans. They are cardboard cutouts of Gilman’s ideology. They are smart, beautiful, poetic, unconvincing, polemic machines. Once in a while they rise from one dimension to two. Sometimes their combination of strength and kindness hints of a richness to them that the text never fully realizes.

I think the novel might have been stronger (and less predictable) if three women of USA 1915 visited Herland and brought different opinions in argument with each other and the women of Herland.

CONTRADICTIONS

Herland over and over asserts ways, specific and general, the way woman is a social construct. Herland smashes restrictive roles for women that the men describe. When Herland is not making those strong arguments, it is asserting Motherhood as essential to womanhood. It often does so with quasi-religious feeling.

PLATO’S CAVE

As I was reading this, I felt an urge to stop reading it and instead meta-read it. Instead of taking the words as Gilman wrote them, I sometimes wanted to find the shadow of Gilman’s personal life and world, its restrictions, prejudices, and privileges. I heard some hints about her life that I wondered about as I read. I don’t know if this is fair, but it might be a more generous way for a modern reader to plow through the preachy passages of the text. I don’t think Gilman would have liked this anthropological attitude, though. Of course, readers will bring their own non-literary motivation to the reading, and that might suffice.

CONFLICT AND CARNALITY

As a reader, I don’t understand why the three Herland women marry the three men. It happens in the context of their curiosity of the outside world, and urge to explore. I have the impression that it happens for no reason other than narrative necessity, to bring the utopians into 1915 USA for their critique in the next novel, which I haven’t read. If this was an opportunity to draw lines of, perhaps, females struggling with conflicted human complexity, the novel avoided such messiness. Was it just too much to imagine independent women carrying their ideas across international borders of propriety?

Surprise! Men bring mess and conflict to the utopia. It’s sometimes difficult to pin down the evasive language, but I think the utopian women of Herland have no sexual desire. The male narrator patiently and ethereally accepts his bride’s request to wait before intercourse, and it never happens in the book.

The only sexual intercourse that may or may not happen is the chauvinist cad’s attempt of marital rape. This upset is the part of the book that feels the most real. The women who fight him off even kick him in his private parts, the book makes clear. So urgent is the narrative feeling against this male violence that the sanitized curtain rents apart. Aside from that, Gilman’s female utopia conceives no sexual happiness, only relations as cloud-tripping with Oos and Ahhs.

The other two times the men bring conflict is their attempt to escape, which never had a chance to succeed, and introducing harsh ideas from human history. It turns out that all of Herland is like a North American university of 2017, one big safe space. When the narrator vaguely explains concepts of Damnation and Hell, she runs “blinded and screaming” to a temple to have the idea removed:

Although #theFutureIsFemale excludes me, still, I am not comfortable with this novel’s connection between an uber-female’s sanity and the sanitization of ideas. How does Gilman intend the reader to interpret this utopian female weakness? Is it a hint that the utopia harbors a stagnancy? Or is the book merely trying to offer the isolated mutant woman’s reaction as an objective assessment of dark human history? That’s probably too generous, because the utopia has such a ready way to remove unpleasant ideas. This may be an unintended hint of the cost to our human natures to establish and hold on to a state of perfection (even if only brain-suffocating, mutant perfection). The idea that the unsanitary is “male” continues, however. Some of my female friends who attend the Michigan Womyn’s Festival tell me that the only men allowed in are the ones who clean the portable toilets. A google search today offers 2,460,000 results to the term “toxic masculinity,” part of the ready vocabulary of the current androphobic sex panic.

Listen to Herland for free here.

Read Herland for free here.

Here are the first four screen shots from the Afterward to the new ebook edition of ISLAND OF THE MOTHS (art by the pen-wielding bon vivant Neal Skorpen). These are excerpts from our email correspondence in 2006. As you can see, I suggested we stop a current project (which I was writing as he drew, a bit like trapeze artists). And not just stop that project and go home crying, as usual, but start a new one. This one would take a different artistic approach on the same grimace-faced Urge and grumpy, brooding Irritation (“that the girls love”) that motivated me (I think Neal too in his individual, cryptic, thousand-mile-stare way). And I would complete writing the text before asking him to draw… But first, he had to agree with the proposal! Would he?  Tremble, tremble….

Ha! I read that I had the flu when writing that email…. so it all started with a fever dream. At this moment, October 2015, I’m getting over the flu again, so there is something going on here.

The Plume references are the project we halted to begin… ISLAND OF THE MOTHS (which I request you say in a certain ominous and intriguing  tone of voice).  What I called in the 2006 email “the Zonny project” is happily now finally available for you as a quite inexpensive ebook, DANGEROUS BICYCLE MYSTERY QUEST, available in popular eBook formats around the world, and will be available as a paperback in a few months.

How did that curious twinkle-eyed fellow and martial arts board-chopper Mr. Skorpen reply, back in that primitive year, 2006? Between “hiiiii-YAAA” cracks of his steely metacarpus against birch and pine blocks, which I assume supplemented his living, did he agree or decline? Well I can’t tell you, for it’s in the book; but okay, yes I can at least tell you that Neal replied with style ideas and specific graphic novel examples. You can read his actual historically-inscribed words through the dust of time, and see ACTUAL ARTISTIC EXAMPLES (don’t call them scribbles please) of his initial probing, experimental drawings, along with the rest of our first correspondence, in the ISLAND OF THE MOTHS ebook Afterward.

This is how the cover looks on the iPad. Curmudgeonly face optional!

The stunning and surprising ISLAND OF THE MOTHS ebook is available here in radiant pixels on Kindle …. as well as Nook.

It’s also available on your local non-USA amazon.com websites, as well as other ebook distributors such as Kobo, Scribd, Tolino, and Page Foundry. At this time the price is quite cheap! 

The large paper version is available here (glorious large paper-from-willing-trees format with rich black–and whites at no extra cost, but without the new Afterward). 

This is an example of Neal Skorpen’s exploratory artwork before starting ISLAND OF THE MOTHS. I love the fat cumbersome suite, the enormous helmet with lantern… must weight about eighty pounds. I don’t see a breathing tube but….

Neal Skorpen’s colorful website of comics ferment is NealSkorpen.com . Check out his new project, AETHERNAUT.

In his blog, Professor DG Meyers reviews PK Dick’s THE MAN IN THE HIGH CASTLE. If you don’t know, in this novel, Japan and Germany won World War II, but characters in it discover, through a book within the book called the Grasshopper Lies Heavy, that their world is a fiction. I have a different opinion that Meyers about a key part of the book. Meyers writes:

***
The Grasshopper Lies Heavy is not alternate history, after all. It is the true history no one is willing to face. The United States won the war, and yet capitulated to the Axis, acquiesced to partition and foreign occupation, nevertheless.

Dick’s political message has become something of a thematic commonplace in alternate history: even if the events had been different, the outcome would have been the same. War may decide the occupier, but not the sequel of occupation. If the U.S. had not developed the atomic bomb, another country would have—and would still have threatened Japan with it!

***

I think this navigates the wrong slice of understanding. It misses some meta-magic that the book offers. My opinion is that The Grasshopper Lies Heavy isn’t telling the characters that the USA really won the alternate history war. The fictional USA didn’t win the war, then capitulate. The fictional USA lost the fictional war in the most straightforward sense.

No, the fictional novel Grasshopper Lies Heavy is telling the characters that the alternate history is fiction, that the reader’s USA really won WWII in the true reality of the reader’s world. That is what is so wonderfully shocking–not just telling the fictional characters, but the writer’s respect it shows to the fictional character’s reality. The novel gives further clues to this interpretation, but take note, it is aesthetic talismans that make this possible, those of beauty and ugliness.

Examine the middle part of chapter 14. There, after viewing “the imperishable seeds. Of Beauty” of Mr. Childan’s silver work, Mr. Tagami shudders into crisis and epiphany. Among several pages of wonderful probing upon the artifact, he willfully staggers through a different reality (“The veil of maya will fall more if I–” The light disappeared.) Here a Yank policeman breaks his reverie, but a page later Mr. Tagami realizes he already crossed the barrier. The barrier to what? “God, what is that? He stopped, gaped at hideous misshapen thing on skyline, like nightmare of roller coaster suspected…” A man tells him, “Awful ain’t it? That’s the Embarcadero Freeway. A lot of people think it stinks up the view.” And it certain did.

The Embarcadero Freeway existed in PK Dick’s world, the reader’s world, not the character’s. It was an emotional issue at the time for people who lived in the area (and still is). Throughout US cities, such highway monstrosities have brutal effect on their neighborhoods. (It is its own symbol of brutality, helping Mr. Tagami confront the Germans later that chapter.)

Powered by the sublime talisman of Childan’s silver work, and its connection to the ugly talisman of the Embarcadero Freeway, Mr. Tagami has painfully traveled across realities. This is similar to the way fictional novel The Grasshopper Lies Heavy, powered by the oracle I-ching, connects the fiction to the reader’s real world. Side note, I think PKD uses some of the same language of permeability between worlds in UBIK.

I do think there is another meaning to The Grasshopper Lies Heavy conclusion about the war. Childan’s silver artifact with its beauty/truth sublime power, and artifacts like it that Childan sells, conveys some hyper sense of the “real” reality to the fictional world. And that has some kind of impact to the sense of sensitive people in the fictional novel that there is some kind of way in which truth/beauty can win in that fictional world. This would only be a victory for the fictional USA, and a loss for the fictional Japan/German axis, to the extent that the book is fiction and thus their victory is not truth. I think it is, roughly, a mystical, poetic, philosophic or aesthetic victory, though, something invisible and in its way unstoppable. Transformative aesthetics gives the fictional world a change to stop the nuclear war. –What magic do we have to help our real world? Sadly, Childan’s sublime silver work is fictional, whereas we had the Embarcadero Freeway as our talisman… The fictional world with a nightmarish Japan/German control yet has the beauty that Childan discovered that our real world does not. Because we have the triumph of the Embarcadero Freeway aesthetic.

I am hardly an expert in Bay Area infrastructure and its history, but I have lived in San Francisco, and I do still visit the area frequently (including a few weeks ago). In the 1980s, various San Francisco leadership entities proposed tearing down the Embarcadero Freeway, but afraid of change, the voters, lead by local merchants, voted to preserve it. After the 1989 Loma Prieta earthquake damaged it, Bay Area authorities just barely managed the political will to tear it down. Now it’s a boulevard lined by palm trees and supported by the Muni light rail. So much better!

In the 1990s, I wrote bicycle journalism. I attended civic meetings in Portland for the opening of the Eastbank Esplanade, which is not too far from where I live. Not just an eastside park, the Esplanade reflected a kind of technological update of urban infrastructure. The designers spoke not just of joining the west side river park with the east side, but of integrating the citizens with the river, making citizens see and feel the river ecology, understand the fish as part of the city.

The designers consciously conceived and advocated the Eastbank Esplanade as a natural and pleasant advocate for change. They recognized a problem, however, which is Interstate Highway 5. It crosses the Willamette River from the west side to the east and then parallels the river headed north. It is adjacent a large part of Esplanade. Despite the high concrete walls, it is painfully loud and impacts conversation of people walking along the Esplanade.

I suspect that Portland’s Esplanade is on this stretch an unpleasant advocate for change, by exposing pedestrian citizens to the aesthetic violence of the highway. The Esplanade even includes a sculpture, the Echo Gate, that portrays an act of trying to hear the river despite the authoritarian, ugly noise of the freeway:

Former Mayor Katz (whose statue sits in the Esplanade) spoke of removing the Marquam Bride which carries the I-5, and moving it underground. We can dream that someday it will happen, and I would support that. But think also what it means to need an infrastructure so aesthetically violent that it “rips the veil of maya”? That we need to bury it not for practical reasons but because it is so ugly and awful? What are the engineering coefficients for livability? Of “the imperishable seeds. Of Beauty”?

Highway infrastructure demands a brutal aesthetic. This is one reason why I remember that passage in PK Dick’s novel so well: the vision of the real Embarcadero Freeway is such an embodiment of ugliness, it helps give the sensitive fictional character a heart attack.

Our automobile madness seems like a 1930s utopian vision of the future that of course did not turn out the way its advocates expected. Master builder and urban planner Robert Moses didn’t even want to drive a car on his own freeways. This says something about human limits being separate from engineering limits, doesn’t it?

So what if these cars and trucks control themselves? Google’s self-driving cars seem to me misguided application of genius to an outdated form of transportation, like putting google glasses on the faces of oxen pulling canal barges. Highways driven by robots will still be brutal and degrading. There is a popular feeling that automobile culture is more of a cowboy thing than mass transit, but it mass transit; serviced by big government, automobiles moves the masses. Unfortunately it serves rural communities more efficiently and more pleasantly, subsidized by city dollars, and the USA’s political structure deliberately gives rural citizens disproportionate power, which itself is shrinking under the global corporate hydrocarbon economy.

What would happen if the hydrocarbons were suddenly not available?

My novel DANGEROUS BICYCLE MYSTERY QUEST is an adventure story that explores the role of energy by removing most of it. Not only does this oil shock shut down economies, it reveals cracks in the social order that cheap energy obscured. The character use bicycles to find out what happened and to try to help Portland survive. But things do not turn out as they intend.

It’s available as an eBook in popular formats around the world. Here’s a review.

Kindle USA http://goo.gl/yrIid7 (also available from your non-USA amazon.com )

iBook http://goo.gl/ffJGTK

Nook http://goo.gl/URm0Mq

Also available on Kobo, Inktera, Scribd, Tolino, and Oyster.

I’ve priced my novel cheap for now… but soon the price will go up. This is a good time to check it out.

It will be available as a paper book around September, 2015. [Update: The publisher and I have delayed the paper book version of DANGEROUS BICYCLE MYSTERY QUEST as  I prepare the e-Book version of the graphic novel ISLAND OF THE MOTHS.]

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Note: Wikipedia is the source for the pictures above, except for my book cover.