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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.

I started to write poetry because I loved the poetry my father recited. I've kept writing poems because poems brought me closest to the mystery my father and mother were to me. Both my parents lived through the Depression in England and the Second World War that followed. Both of them suffered, one as a civilian casualty, the other as a soldier, and both carried to their deathbeds the things they did and the things that were done to them. The books that move me most offer me the words that lift the weight of sorrow and the understanding that replaces grief and anger with compassion.

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.

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.

My journey as a writer began in correlation with my career as a family doctor. After reading Dr. Jacques Ferron’s, books, I knew I wanted to be an author as well as a doctor. While pursuing my medical career, I wrote medical articles and books. My husband and I have also been featured in Chicken Soup for the Soul of Quebecers with the story Witness of the Last Breath. This is the story of the last night of my daughter-in-law dying of lung cancer. Before she died, I promised Marie-Noëlle that I would pursue my writing career to change the world one young reader at a time. And I did.

My passion for hunting Tibetan wildlife (with a camera) started with tracking the near-mythical Takin in Bhutan for BBC Wildlife Magazine. The Takin is a beast about the size of a moose and surprisingly agile on steep mountain slopes. Where wild animals live, there is always lots of beautiful wild scenery! But Wilderness is in very short supply on the planet these days. So, my passion branched into speaking up for these wild animals and for preserving their precious habitats. In various books, such as my guidebook to Tibet (Bradt Travel Guides), I profile the incredible animals of Tibet. But the biggest inspiration is the readers themselves. 

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.

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.