The premise was drawn, as you might expect, from my experiences trying to deal with a toddler in church. When you are getting glared at by a hundred old people, your mind begins searching for any escape, and somehow this story kind of appeared in my head during the course of one very traumatizing baptism.

What drew me to “Hansel and Gretel” was a Yiddish word, “gunsel,” that I happened upon in the dictionary. One of its several definitions went something like, “a youth, particularly a homosexual one, kept by a tramp.” So there’d been a time and place in which tramps commonly kept boys for sexual purposes—so commonly that there was a word for it? I immediately wanted to set a story there, and to tell it from the point of view of a gunsel.

I find that I want to be good at everything I do, but it’s impossible. Every day, I fail someone I love, on some level, and that includes failing at my own career ambitions. But that’s life. I can’t be good at half the jobs I have.

Stories just come to me, sometimes over a period of years, sometimes over a few days. I’m not into self-analysis, so I don’t explore their origins, but in this case it was obvious. I was an abused child, and a very angry teenager and young man. I don’t think I’ve ever gotten over being angry—so in this case I was more or less blending some autobiographical stuff with fantasy. When I was a kid, I believed anger was magic of a kind, power, and I wanted to convey that feeling in the main character. I got angry when I was writing it.

It’s easy to write a WWII story, especially one set in Germany, and have it be an easy-out in terms of insta-setting. It evokes an immediate response of pain and despair. But that doesn’t mean WWII is not what it is, a giant psychic scar, and thus an opening for horror and the numinous. Just because the war’s over doesn’t mean the scar is gone.