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Reseda, California plays an important part in my novels. I grew up there in a middle-class Jewish family, and we experienced the turmoil of the 1960s and 1970s. My parents got divorced, and my brother and I were raised by our working mom until she became paralyzed by a stroke. I found refuge in writing. I wrote The Remainders in 2016 during a tumultuous time when issues of family conflict, homelessness, and the growing cruelty of society came into focus. Still, I believe decency and compassion will prevail. The books I write and enjoy reading seek to find light in the darkest of circumstances.

Out of all the flattering reviews of my books, my favourite is of a reader choking on her lunch. My book was about death. The reader, who survived, said it made her laugh so hard. I write about tough times by bringing out the it’s okay to smile now bits. The Midnight Years is about teen mental health, Happily Never After is about loneliness, and Flyaway Boy is about stereotyping. Making people laugh through tears is a tough task. Here are some books that cracked it.

I had been an exhibiting painter and an editorial cartoonist for years, but never a graphic book artist. Not until A Revolution in Three Acts. I was fortunate to have great guidance: my buddy David Hajdu (Positively Fourth Street, Lush Life, The Ten Cent Plague) wrote the words, did the research, and created the blueprint of every page and panel. My job was to lock myself up in my studio and draw, draw, draw. I think David and I did justice to three amazing figures of the American stage who dealt with the shifting societal forces of race, femininity, and gender: Bert Williams, Eva Tanguay, and Julian Eltinge.  

I had been an exhibiting painter and an editorial cartoonist for years, but never a graphic book artist. Not until A Revolution in Three Acts. I was fortunate to have great guidance: my buddy David Hajdu (Positively Fourth Street, Lush Life, The Ten Cent Plague) wrote the words, did the research, and created the blueprint of every page and panel. My job was to lock myself up in my studio and draw, draw, draw. I think David and I did justice to three amazing figures of the American stage who dealt with the shifting societal forces of race, femininity, and gender: Bert Williams, Eva Tanguay, and Julian Eltinge.  

I've been cartooning, or "curtooning," my entire life. As a child, I drew cartoons of everything, from animals to dinosaurs, and was the cartoonist for my elementary school, junior high school, high school, and college newspapers. My cartooning style with big eyes and simple lines came from my favorite cartoonists and their cartoon strips that I read every day in the newspapers. However, my most significant influence was reading every cartoon in Mad Magazine, including comics from Don Martin, Sergio Aragonés, and Al Jaffee. When cable came out with multiple channels in the 1980s, I felt there was not enough kid-friendly content, so I created my award-winning cable show titled It's Curtoon Time.

I am an illustrator of books, comics, and various other things, but no matter what I illustrate I can’t seem to keep a certain darkness out of my drawings. For most of my life I have been attracted to the macabre. This attraction first emerged out of fear but later out of amusement. It is rather comical to see the amount of effort people are willing to expend in order to avoid thinking and talking about death. I find it far more healthy to acknowledge it everywhere while simultaneously having a good chuckle.  

When I was in middle school, I’d spend much of my time in class daydreaming. Imagining myself in, say, a debate with someone I disagree with and going through a litany of scenarios where I’d try to convince that other person to change their mind. It’s a lot of fun. (My teachers would likely disagree.) When I grew older, I did more of that on my daily walks, and then about 11 years ago, I decided to start writing about creative ways to teach someone something they’re vehemently opposed to or just ambivalent about. I’ve published four books since then on this topic.

My name is Art Roche and I've been drawing cartoons and comic strips for over twenty-five years. I wish everyone drew comics! Comic strips are an amazing art form that has been around for thousands of years. With a simple pencil, pen, and paper the artist can tell thrilling stories, make hilarious jokes, or illustrate their own diaries. Once you learn the basic mechanics of how comics are designed and built, anyone can begin drawing them regardless of talent level or experience.

The me of me is a “late in life rider” and freelance writer—with an edge. I learned to ride horses in my ‘40s when we left the wonders of California for sweet tea, okra, and equine “yard art” of Tennessee. Horses and writing mixed to create Horse Sluts. My political bent led me to craft an exposé on the brutal “training” of Big Lick TN Walking Horses. I still ride and explore the more humorous sides of aging and riding. A stickler for "writing worth reading,” I eschew self-conscious, wandering-lost writing. The books I recommended are well crafted.

I’m a comic fan first, then a comic creator. I grew up on the classics—Calvin and Hobbes and The Far Side and excitedly watched as new comics popped up online. I love comic strips and have rows of collections lining my bookshelves. The coolest part of starting my own series has been becoming a member of a cartoonist community that I have always been a huge fan of.