+

My Australian Story

You can also read this personal essay at Brave the Castle. It’s an online magazine dedicated to making literature accessible and entertaining.

I never felt proud to be an Australian until I saw Sydney harbour.

There were days when I would have keelhauled anyone who disrespected the Australian flag. That was during my fascistic youth when I read Oswald Mosley, wanted a Napoleon bust in my bedroom, and was once tempted to put on a swastika armband, but that was jingoism not pride. It wasn’t what I felt when I joined Quillette as an intern for the first time over a winter holiday. Nor was it what I felt when I was dancing with my classmates at our high school graduation dinner. I didn’t feel the warm and sweet downpour from the solid-as-marble fact that I was part of something worth being a part of.

Photo by Alexa Soh on Unsplash.

I was never ashamed of being Australian. I just never saw anything particularly noteworthy about it. Until my last three years of high school all the history I learnt in school was Australian history and I’m astounded my interest in history survived. I suspect it killed any fascination let alone love for history in my classmates. Australian history for me could be told in one sentence: a lot of people came here in boats.

It wasn’t anything to tell my Scottish cousins about on the fortunate handful of times I could see them and who during one such visit regaled me with the tragic tale of Mary Queen of Scots who raised her voice against the English leviathan Elizabeth and was crushed. I’d tell the story differently: a French brat inherits the Scottish throne through sheer luck and sows dissent against her far more powerful and accomplished cousin. It would be cast as the ultimate Renaissance political catfight rather than a straight up martyr tale for Scottish nationalists but either way there’d still be an exciting story. I shook Australian history to find such stories and to my disappointment not a single apple fell from the tree.

Instead, I suckled my love of history through those years on such stories from the histories of other cultures: Britain, America, France, Ancient Greece and Rome, India, Germany, Japan, the Jews. I’d gaze at these gold coins in my spare time and go back to staring at cement dry in class. Australia just couldn’t compete with these civilisations for my attention. It has no Declaration of Independence, Exodus, or Battle of Thermopylae.

I just didn’t see that there was an Australian story worth telling and that I wanted to be a part of.

Until I visited Sydney this past New Year’s.

One day I took the ferry from Circular Quay out to Manley. The journey let me see the whole of Sydney Harbour. I found a seat upstairs and in the ferry’s rear clear of the canopy and right along the side of the ferry where there were no walls or glass or other passengers to block my view. The whole harbour was laid out before me and I watched all its curves rise and fall like in a slow pane over a reclined woman’s sexy silhouette in the opening credits of a James Bond film.

Houses filled the hills along and overlooking the water like spectators in a crowded football stadium. They crowded out the chaotic natural foliage. The swollen trees and shrubs seemed to be squashing in just to get a spot. The houses were built as close to the water’s edge as possible. It was like their architects and their occupants were daring the sea to rise up and swallow their castles as the sea does to every child’s sandcastle when the day at the beach ends, it’s time to go home, and the moon calls the tide up onto the beach in the night.

Boats were anchored in the harbour. They were reclined across the waves like sunbathers on the beach with their masts thrust up into the air like beach umbrella poles. I thought about all the people who could be lying inside those floating, long, wooden and steel space capsules reading Homer or Hemingway, playing chess, or cooking and eating lobster despite the fact that there was no earth beneath their feet. A boat passed the ferry and I saw a thin arch made from metal mesh standing on the top deck. Pale pink roses were woven into the mesh. A man and a woman stood under the arch. It was an altar. There was a wedding being held on the shifting tides of the sea! I looked over all the boats anchored in the harbour again and I could only think of Christ walking on water. The Bible treats it as a miracle. Here, the miracle is as common as walking on a concrete street.

On the ferry trip back from Manley, the ferry passed the Australian National Maritime Museum. My parents sitting nearby pointed to Captain Cook’s Endeavour anchored on the water outside the museum. They remarked at how brave Cook and his crew must have been to sail from the top to the bottom of the globe in that ship that looked as small and as fragile as a child’s toy compared to the WWII-era warship next to it. I thought about the Endeavour’s wooden hull and how easily any rock could have pierced through it if the navigator made a wrong turn, and I ran my eye up the mast and I thought that it would just take one cruel storm to tear the sales and the masts from the ship and leave Cook and his men stranded to die of thirst and starvation a world away from their parents and their children and their wives.

Yes, I decided and quietly agreed with my parents, they were brave men.

And their bravery made Sydney Harbour and Australia possible.

For centuries, humans told tales of the sea as an abyss filled with leviathans, krakens, and other monstrosities ready to rise up from the opaque depths to devour any human who dared trespass on their domain. It’s the exact same story told in sci-fi about outer space: a dark and impenetrable expanse lurking with monsters.

Then came men like Cook, Columbus, and Leith Erikson. These men defied the terror that girded the seas. They launched themselves out onto this chaotically swirling and undulating mass that had swallowed so many before them and they did it on fragile, rickety hulks and to discover what lay beyond the horizon, and they dared the sea to unleash all its monsters to try and stop them. Like Odysseus, they defied the cruel god of the sea.

Sydney Harbour is a monument to their victory. Here, humans traverse the sea like Christ and Cook everyday as effortlessly as crossing the street. Wrapped around the sea is a city fed by the people the boats ferry over the water to work in the offices occupying the skyscrapers peering over the harbour, manage sea-view restaurants, and eat dinner at those restaurants before going to the opera. The sea that was once humanity’s watery graveyard has been transformed into both an economic engine and aesthetic spectacle. It’s now something to use for profit and to gaze out at through one’s window for pleasure like a painting on your wall. Here, Odysseus has caught Poseidon in a fishing net, bound and gagged him, and is serving him up steamed with salad and melted butter.

I thought: this is what made Australia. The country wouldn’t exist without those men willing to leap into the face of the sea dragon to discover what treasure lay beneath its feet. Yes, Australia wasn’t founded on Life, Liberty, and the Pursuit of Happiness like America but it was founded on the principle of the Endeavour that Cook and his men carried through their quest into the horrifying and bountiful unknown.

That day, if you’d asked me if I preferred to be an American or an Australian I might have for the first time answered “An Australian.” I’d found an Australian story worth telling. It’s the story that I celebrated this Australia Day just passed.

+

Soccer Ball

You can also read this poem on my Substack.

Photo by Wesley Tingey on Unsplash.

Its black and white spots

Spin like race car wheels.

It’s a globe wrapped in dalmatian’s skin

That I launch off the ends of my feet across the green.

King Henry VI Part I by Shakespeare

You can also read this book review on my Substack.

King Henry VI: Wikimedia Commons.

Even Shakespeare had to start somewhere.

King Henry VI Part I is Shakespeare’s first play (allegedly). I read it as the first step on a long trek. I’ve pledged to read all Shakespeare’s plays in chronological order.

I read and studied Shakespeare through high school. All English students have and we’re told he was the greatest writer in the English language. After reading Romeo and Juliet, MacBeth, Othello, and Hamlet, I decided Shakespeare had earnt that title but he hadn’t earnt it yet when he wrote King Henry VI Part I. It’s the first Shakespeare play to bore me.

King Henry VI Part I is little more than a history lesson. It’s not the Shakespeare I studied in school and it’s not the Shakespeare I worship. The plot is scattered across a map of Middle Age France in a series of battles during the Hundred Years’ War and it amounts to: the French want freedom and the English won’t give it to them. That’s it. It’s not a story of love vs hate (Romeo and Juliet), action vs intellect (Hamlet), or ambition vs principle (MacBeth). The play is not the epic drama that made Shakespeare the greatest writer in the English language. That Shakespeare isn’t here.

He does spring up. There are flashes of Shakespeare’s later wordsmithing. Lord Talbot asks his son John to flee before the battle in which they will both die and he asks John if “all thy mother’s hopes [will] lie in one tomb?”[1] Talbot doesn’t ask if those hopes will lie in a grave but in a tomb. A tomb is a cold stone palace that’s built for the dead to sleep in until Doomsday. It’s not just concrete and specific. It’s also grander than just a hole in the ground. So is Joan of Arc asking the would-be King of France to “receive [her] for [his] warlike mate”[2] and Richard Plantagenet saying that the “truth appears so naked at [his] side.”[3] Here is the Shakespeare who can make not just emotions and thoughts but even politics and metaphysics into cathedrals and statues standing before your eyes. These are words penned by the greatest writer in the English language.

But those words are embroiled in a thicket of mistakes every beginning writer makes (myself included). These include: too much figurative language, general words, and cliches. Characters’ dialogue runs off into lists of metaphors more than once. The Earl of Warwick calls two feuding noble factions dogs, hawks, blades, horses, and girls in the same breath.[4] In one scene Shakespeare described a knight as “resolute in most extreme”[5] and I yawned at the bland words and in another he compared Joan of Arc to a phoenix[6] and I rolled my eyes at the cliché. This is Shakespeare as a young writer and fine tuning his craft. He wasn’t always the Bard. 

Shakespeare should have made this play about Lord Talbot and his son and not King Henry VI. The sapling king is a slight presence in the play. You could count the scenes he’s in on one hand. He doesn’t fill every scene like the titular protagonists of Shakespeare’s later and more famous plays. He’s not MacBeth, Hamlet, or Othello, but in the Talbots Shakespeare finds the stuff of his greatest plays. Lord Talbot wants to save his beloved son from death on the battlefield but his son refuses to abandon the father he loves on the eve of battle, brand himself a coward, and tarnish the honour his father has won for their name. This is a tripart duel between love and Earth’s most immovable obstacles: the love of a parent stands against the love of a child, love against duty, and love against death. Herein lies the score of Shakespeare’s greatest songs. This footnote in a plodding history play will become the recipe for Romeo and Juliet, Hamlet, and MacBeth. This is the stuff Shakespeare’s greatest dramas are made of.

It would be healthy for all writers to read King Henry VI Part I. The play humbled Shakespeare in my eyes. I saw that even Shakespeare didn’t always write like Shakespeare. He had to learn. He did learn. And if he did, so could I.


[1] King Henry VI Part I, 22. In The Complete Works of William Shakespeare, edited by Arthur Henry Bullen, 2015 Barnes & Noble Collectible Edition.

[2] 4.

[3] 10.

[4] 10.

[5] 19

[6] 24.

The Hatchet

You can also read this flash fiction story on my Substack.

“To bury the hatchet.” It’s a phrase meaning to end a quarrel and it’s derived from the Native American practice of burying one’s weapons to signal the end of fighting.

“I’m sitting in the front,” she told me.

I was holding the doorhandle but I let it go and I gave way for her to grab the handle, pull the door open and climb into the truck’s front passenger seat next to Dad.

I sat in the back with Dad’s toolbox. The box had the width and length of a cat’s coffin. I pressed my cheek against the window to fit myself inside the cabin. Dad turned the key in the ignition, I heard the click, and I felt the engine kick a shudder through the truck’s guts and shell.

Dad drove us away from the barn. We left the farmyard and crossed into the paddock. The truck’s wheels bumped against rocks and hills and into holes and the thumps travelled up the truck’s tyres and its side and through the glass and finally into my jaw smudged against the window.

I heard her talking to me. She was telling me how to fix the barbed wire fence on the other side of the paddock. That’s where we were driving to. That’s what we were going to fix.

“I know how to fix the fence,” I said.

“Sure you do,” she said. She turned on Dad.  “You didn’t fix it yesterday.”

“I had to go to the shop to get milk yesterday.”

I let my eyes slip to the side and I saw the hatchet. It was lying head down inside Dad’s toolbox. Its wooden handle curved out towards me like a hand offered by a woman on a dance floor.

“Why?”

“Why what?”

“Why did you have to get milk yesterday instead of fixing the fence?”

“You wanted some.”

I looked at her neck. She kept wobbling her tongue and the rings of fat around her neck were jiggling like a rotund belly dancer. I could have reached out and touched them if I wanted to.

“You should have gotten some the day before yesterday.”

“You didn’t ask me to go and get any milk until yesterday.”

“How’s that my fault?”

I took the hatchet’s handle.

I swung its curved metal head into her neck.

Dad stopped the car.

He looked sideways.

Her jugular’s blood had splattered up the tomahawk’s head and handle and onto my fingers.

I let go of the tomahawk. It slipped from her neck and blood fell out from the smiley-faced gash I’d made in her neck and her head tipped sidewise like the Tower of Pisa. I held my hand out as far away from me as I could.

Dad and I both looked into the rear-view mirror. We saw the reflection of Mum’s empty eyes inside her fat head bobbing up and down inside the mirror and Dad said: “Thank you.”

+

Get Away

Roald Dahl photographed in 1954 by Carl Van Vechten. Source: Wikipedia.

You can also read this article on my Substack.

There had been a lot of noise, so much so that Matilda thought she might permanently require some very thick earmuffs just to block it all out and go about her business. She’d never thought such a ruckus could be kicked up when Mr Dahl had been dead for some years.

Matilda was quite confused how there was a Roald Dahl Story Company when Mr Dahl was dead but there was, and they’d said the changes weren’t unusual and were only small and were “carefully considered.”

Matilda didn’t think they were usual, or small, or very terribly well considered at all.

The biggest changes had happened in the chocolate factory. Charlie was still there but Matilda noticed that nobody called the Oompa-Loompas “small men” anymore. Everyone called them “small people.” Anybody can be “people,” she thought. Only men could be men. Nobody said Augustus Gloop was “enormously fat.” Mr Dahl had only ever been the one brave enough to say it to Gloop’s face. Now everyone said he was just “enormous.” Well, Matilda thought, the library’s enormous, and an elephant’s enormous, and there are enormous clouds. You could be enormous in so many ways. This great gobbling glutton of a boy was enormous because he was fat, and he could only be fat. He couldn’t be plump. That’s what you called kindly old ladies who weighed a good deal. With the amount he eats and the way he eats he could only be fat. It’s who he is.

Matilda tried to leave the chocolate factory but all the nicely specific directions on the signs had been rubbed away and now the directions were just vague and useless, and they told her nothing.

It was very bad at the chocolate factory but even worse at Matilda’s school. What was extra horrible about it was Matilda never thought she’d be sorry for Ms Trunchbull. Ms Trunchbull used to have “a great horsey face.” There used to be a horse’s head strapped onto those shoulders and it was bloated like a balloon. It was ghastly but it was a lot more interesting than just “a face.” Just “a face” was all she had now. Everyone has a face, Matilda thought, there’s nothing special about that. What’s special and funny and scary is what kind of face someone has. Just “a face” is as boring as fresh cement.

Matilda asks: Why have you done this to them?

To ensure they can “continued to be enjoyed by all today”?

Enjoyed? Look what you’ve done to them! You’ve sucked away all their colours and bleached them white.

Leave them alone. You care more about “inclusion and accessibility in children’s education” than you care about them. For “inclusion and accessibility in children’s education,” whatever that is, you’d dress us all in grey and bend us all straight to wring out all our twists and curls.

“Get away,” Matilda screamed. “Get away.”

After Barry Died

You can also read this poem on my Substack.

Photo by Maurits Bausenhart on Unsplash.

I carried my empty birdcage

From the vet,

And I walked across the street to

The pet shop.

I cried

The whole way.

Maus

Grade: A

There’s a scene in To Kill A Mockingbird when Scout Finch learns about the Holocaust. “Old Hitler,” Cecil Jacobs tells Scout’s class, “has been after the Jews and he’s puttin’ ’em in prisons and he’s taking away all their property and he won’t let any of ’em out of the country.”[1]

Maus, Art Spiegelman’s graphic novel about the Holocaust, should stand beside Harper Lee’s novel on the high school English reading list.

It’s a literary genre and form of its own. Maus is Spiegelman’s dad’s story of surviving the Holocaust but it’s also Spiegelman’s story of telling his dad’s story. There are scenes where Spiegelman is inside the book acting as a character and he’s sitting at his father’s kitchen table writing down his father’s story for the book he’s going to write about his father’s story. A story about telling the story is laid over the story. Spiegelman’s written a meta-memoir. Maus is both a memoir of the Holocaust and of the memoir’s own creation.

It’s also a fable. The characters walk and talk like humans but they’ve got the faces and bodies of mice, cats, dogs, fish, and even bugs. But Maus isn’t a Disney cartoon or a children’s bedtime story. It’s about the bureaucratically organised extermination of millions based on their race, yet Spiegelman uses the fable’s anthropomorphism to unravel the idea that made this mass murder possible. The animals he chooses for his characters aren’t random. Jews are mice, Germans are cats, Americans are dogs, etc. Every character’s animal identity is their racial identity but these identities are artificial. Spiegelman shows they are. In the book, his wife asks him what animal he’ll draw her as and he says since she’s French he’ll make her a frog. A Frenchman appears as a frog a few chapters later. Race in Maus is as fictional as the cartoonish transmutation of animals into humans and vice versa that Spiegelman appropriates from the fable.

Like To Kill A Mockingbird, Maus dissects the skins in which we are wrapped but through a form far more complex than Lee’s traditionally crafted novel.


[1] P 266, Vintage 2004 edition published by Penguin Random House.

Car Alarm

Photo by JD Weiher on Unsplash.

You can also read this flash fiction story on my Substack.

Sunday’s church bells are ringing. I’m waking up from a dream and inside the dream I’d drunk a gin and tonic with Humphrey Bogart in a New York bar.

Then I hear a car alarm.

The thief wrenches open Ms Hayworth’s car parked outside her house next door and crawls behind the wheel.

I look out my bedroom window. I’m in my boxer shorts.

I jump across my room, over my Hammett and Chandler and Spillane novels and my five Sin City volumes, and run down the hall.

Mum’s already downstairs making breakfast. I run to her room and grab her umbrella stand, and I break the lock off her special cupboard.

I swipe her car keys and her 44 Magnum from the closet and run away from the police badge hanging from a hook at the back of the cupboard.

Mum shouts something at me when I run past the kitchen out the front door. I don’t listen.

The thief’s pulling away and Ms Hayworth (that’s just what I call her) is out on her front porch screaming loud enough to summon dolphins. I jump inside Mum’s car, shove her gun in the cupholder, and take off after the thief.

I’m still only wearing my boxer shorts.

The Sunday traffic is light but not light enough. I bolt zig zags between a freight truck and two family-sized Fords to keep up with the thief. It spins my stomach clockwise and anti-clockwise inside my trunk thrice both ways. But he doesn’t lose me.

He turns hard into an exit lane. I turn hard after him. I see a yellow bug pass behind me in the rear-view mirror. The bug’s nose just misses my rear end.

We’re on the highway now.

The traffic’s gone.

I whip the Magnum out of the cupholder. I keep my free hand on the wheel and I lean over towards the window and I reach out the window and I stretch my arm forwards.

I aim for his shoulder through the rear window.

I keep the wheel steady with my free hand.

It’s just like in the books and films.

I’m like Bogart now.

And I’m smiling.

I shoot.

I shot him through the shoulder and he jumped off the accelerator. Ms Hayworth’s car lurched sidewise and stopped. I pulled up, got out, and walked up alongside the car to check he wasn’t dead.

He wasn’t.

When I was walking up I saw myself in the rear view mirror. I was still holding Mum’s gun and I was still in my boxer shorts. The glass was cracked but I was framed in the glass’s centre. It was like seeing myself inside a cracked movie screen and I was the hero.

Stan Lee’s Superpower: Part X: The Cataclysmic Conclusion

You can also read this article on my Substack.

I’ve shown you the innards of Marvel’s heroes. I’ve split open Spiderman’s chest and removed Dr Strange’s heart to show you what Stan Lee put inside them to prove he deserves the title “great writer.”

But this “great writer” may not be the real Stan Lee. “I don’t think [Stan Lee] was a great writer,” Mark Selan, owner of Greenlight Comics told me. “A lot of the work was done by the artists. All that heavy lifting of that storytelling, and Stan Lee was really just a scripter.”

Marvel’s Golden Age comics weren’t created through a linear process from writer to paper as I’m used to as a short story writer, essayist, and poet. Selan described the Marvel Method to me: “The way that comics were made back in that time was the writer and the artist would talk a little bit and say ‘Let’s have Spider-Man fight a guy made out of sand, and we’ll have this scene in it at the Daily Bugle,’ and they’d write maybe five or eight sentences together and then the artist would go out and they would draw the whole thing, all sixteen or twenty-two pages of it, and then it would come back to Stan Lee and Stan Lee would go through and write all the dialogue.”

The porous flow of creativity between writers and artists within the Marvel Method has split a dichotomy through Marvel’s fans. Selan is on the side that treats the artists as the creators of Spider-Man, the Fantastic Four, the Hulk and company. And Stan Lee? “He was a really good salesperson,” Selan said, able to sell those characters using his own character. I have come to believe in this ‘character’ and maybe at the expense of granting the credit to those whom it is due. ‘Writer’ may have been Stan Lee’s mask that concealed his secret and true identity: a salesman. But it also may have obscured the true identity of the creators of Spider-Man, the FF, Iron Man, and the other characters I have written about in this series and loved since I was a kid. I idolised Stan Lee for creating them. I may have been worshipping at the wrong altar.

Or not. “I think Stan was a good comic book writer,” Peter Spandiro of the Adelaide Comics Centre said. “He knew how to take the then present-day science fact and fiction and dramatically create a disaster that would test the hero of the story.  Whether it was an exposure to gamma radiation or a disastrous space flight that resulted in the astronauts all suffering mutations that gave them superpowers.  For adults it was a colourful escape from the everyday and for kids it was this glorious new world where the heroes dealt with the everyday drama’s we all face as well as saving the planet.” Spandiro was speaking to me from the other side of the writer/artist dichotomy that Selan mentioned. On that side, Stan Lee is a great writer. But on the other side he is just a scripter and salesman. Which was Stan Lee’s true identity?

I don’t have the time or the resources to bridge the dichotomy and find the real Stan Lee. All I have is a collection of Marvel Firsts from the 60s and the last few months in which I have journeyed through its pages and excavated and examined the roots of the characters I’ve loved since I was a boy. The secret identity of their creator may elude me, but I do know the true identities of these characters. I don’t just know Peter Parker is Spider-Man, that Iron Man is Tony Stark, and that Matt Murdoch is Daredevil. I know they are great characters, whether Stan Lee wrote them or not.

+

From the River to the Sea

You can also read this poem on my Substack.

Photo by Dawid Matyszczyk on Unsplash.
May your sands,
The crystal grain fields,
Lie still, 
Still like frozen seas,
Bathing under the sun, 
Across the desserts, and
Never again
Scurry and scatter, 
Dusting the blue sky,
Before the pounding 
Of charging soldiers’ boots.

The wind won’t howl 
Into skull’s ears
Tomorrow.

Doves will ride it
To your shores
Again.
+

The Death of a Killer?

Photo by Irham Setyaki on Unsplash.

You can also read this short story on my Substack.

Every now and again a little victim is spared because she smiled, because he’s got freckles, because they begged. And that’s how you live with yourself. That’s how you slaughter millions. Because once in a while, on a whim, if the wind’s in the right direction, you happen to be kind.

Doctor Who, “Boom Town”

She was my last job.

My name’s not on any list of mass murderers. But that’s only because I have so many names and I pick them up and put them away again so often and so easily that no recordkeeper human or otherwise knows me as one man.

I quit the Service when I figured out that I could make more scratch with my gun without my badge but the Service still wanted to hire me for jobs and I would work them if they paid me well. They always did.

 They paid me five hundred grand for her.

That should have told me how good, how important, she was. That and they weren’t even willing to let her live and write in exile where her words could carry back home on anything as droplet sized as a Tweet.

She was lucky I was thorough.

I’d learnt the best jobs are the end of days or maybe even weeks of observation, and once I landed in New Delhi I became like a fly on her wall.

She slept in her apartment in Jor Bagh and I was in my white van parked on the other side of the street.

She woke up at 6am and ate breakfast, oatmeal with mango and coconut and chai, bathed, dressed, and left her apartment and drove to Delhi University, where she taught postgrads about Shakespeare, Simic, and Stallings, every day Monday to Friday. And I followed her.

It was Thursday November 9 2023 and at 1:30pm she gave a reading of her poetry. I was in the audience.

That was when I heard it.

Her words rose from her mouth like the smouldering mist from the cracked, concave head of a volcano. They twirled upwards around her almond face and bushy raven mane and her butterfly eyes, and they filled the lecture hall ceiling and then they grew so heavy they rained down on me, dripping and then pouring and then rushing inside my ears.

They were still there the night after next when I was ready to pull the trigger.

I tried to ignore them. I was in the back of my van parked across the street from her apartment. I was holding my rifle up. Its tip was aimed out the side window. I’d opened the side window. The bullet wouldn’t shatter the glass and attract attention or make a mess. I aimed the rifle up towards her study window on the left-hand side of her apartment facing the street. She always wrote at her desk in front of that window on a Saturday night with the window open. The bullet wouldn’t shatter her window either. There would be no sound. No footprint of glass shards anyone could follow back to me. I looked through my rifle scope. I tilted the rifle slightly up. The target etched in red lines inside the scope’s eye was in the dead centre of her forehead.

But I could still hear her words.

I couldn’t stop hearing them.

I didn’t want to stop hearing them.

In that business, if you mess up a job you don’t just get a bad reference.

I got the first flight out of Delhi and migrated towards my safe house buried in the snow, where I only see the sun for six months a year, via Abu Dhabi, London, and Reykjavik.

I stopped at a bookstore at Heathrow and bought a copy of a book of her poetry. Its title was a question: The Death of a Killer? I thought it was like she was asking me that question.

Stan Lee’s Super Power Part VIII: The X-Men

You can also read this article on my Substack.

Who or what could be stranger than Dr Strange? After creating the Master of Black Magic in April 1963 Stan Lee gave his answer in July that same year: the X-Men.

But the original X-Men were not the X-Men I have known and loved through the 90s animated series, Wolverine and the X-Men, and Bryan Singer’s films. They were simultaneously one of Stan’s most impressive feats in characterisation but also one of his greatest failures.

Every writer can learn from how Stan created the X-Men.

Stan faced a problem. He wanted to create a superhero team but he’d hit the FF with cosmic rays, Bruce Banner with gamma rays, and sent a radioactive spider to bite Peter Parker. He was running out of miracles to grant his heroes powers.

Stan described what he did next as the coward’s way out. The heroes would be born with their powers rather than receive them by some turn or twist on that highway called Fate.

I disagree that what Stan did was cowardly. Einstein said that we can’t solve our problems with the thinking that created them. Stan solved the problem of where the X-Men would come from by throwing out the thinking that made the problem. He thought he needed a miracle but he couldn’t find one, and he ditched the need for a miracle. The characterisation gridlock he was stuck in then melted away. Stan solved his problem by overcoming the thinking that created it. This is what makes a “Eureka!” moment.

“How Stan Lee Created the X-Men” is a story that every writer should sit down and listen to when they find themselves in that same gridlock, that seemingly inescapable and circular grind between two irreconcilable needs of your writing, that Stan was in and that every writer finds themselves trapped in at least once.

But the original X-Men are also a lesson in how not to write characters

They’re a badly orchestrated band. There are five original X-Men (Cyclops, Angel, Beast, Ice-Man, and Jean Grey), and except for those last two they’re all the same character. Cyclops, Angel, and Beast stand peering out the window watching Jean arrive at their school for the first time, and there’s not a fingernail’s worth of difference between their dialogue. “Wow! She’s a living doll!” Cyclops says. “Look at that face…and the rest of her!” Angel says. “All of a sudden, I’m in no hurry to graduate from this place,” Beast says. All three are horny teenage boys. There’s not the nuance, the fine shades, of character in Disney Channel high school sitcoms that have dumb nerds and popular brainiacs in one show, or in the trio of Jim, Judy, and Plato in Rebel Without A Cause who are all troubled teens but with completely different troubles. These teenagers made Stan’s original X-Men taste bland like vanilla for me. A band that sings one song all in the same key just sounds flat.

Stan forgot this when making the X-Men, and it turned his eureka moment of characterisation into a cautionary tale for all writers about character.