M. Laszlo Interview Published on: 26, Jun 2025
The pseudonym M. Laszlo is rumored to be inspired by Victor Laszlo from Casablanca. What drew you to that character, and why did you choose to adopt his name for your own?
Honestly, the reason why I chose that name follows from the fact that my parents had a friend who was a professional gambler, and he was often in trouble or owed someone something, so whenever he checked himself in at some hospital somewhere, he would use an alias and give his name as Victor Laszlo. That’s why I chose the name, but the M stands for my proper Christian name, Matthew.
Your novel, “Anastasia's Midnight Song”, explores intense psychological themes like schizophrenia and obsession. What inspired you to write about the mental states of Anastasia and Jack in such a hallucinatory way?I had to push the limits of what a youthful mind can be because I wanted my tale to say something about the whole coming-of-age process. Just as Shakespeare’s Romeo and Juliet encompasses evil and hatred and violence and suicide, I had to go to similar extremes. It is out along the extremes that writers stumble upon ways to really truly address the human condition.
Anastasia’s belief in the imaginary Arctic fox living in her womb is a striking metaphor. Could you unpack the symbolism behind this imagery?Firstly, let me say that I love foxes! Anastasia’s nemesis had to be a fox because most people can plainly see how innocent and how good foxes are. By choosing something beautiful as the villain, the reader is left off balance. Of course, the fox represents childhood trauma and repressed memories of childhood trauma, but again, because a fox is so gentle and beautiful, the reader is left feeling unsure. That anxiety contributes to the conflict and the intrigue and the suspense.
Jack’s flight from conscription and his feelings of cowardice are central to the story. How do you think his internal struggles reflect broader themes about war and fear?There is no shame in fear, that’s one thing. Also, whether we’re talking about WWI or the U.S. phase of the Vietnam Civil War, we all pretty much know that those two wars served no purpose. I’m not attacking patriotism. I’m just saying that if the war doesn’t make sense, an intelligent young person has no choice but to question said war.
The setting of Sinai’s mirror factories is unusual and evocative. What significance do the mirrors hold in the story, and why did you choose this specific location?The mirrors provide a fulcrum for Anastasia’s belief that perhaps she can overcome her hysteria by counterpoising it with something equally fantastical or irrational. I chose mirrors and put the mirror manufactory in Sinai due to all the Judeo-Christian legends about Lilith. She is said to be a demoness who lives in Sinai and contacts her victims by vanishing through her mirror and emerging from other reflective surfaces here and there all throughout the world. I’m Catholic, so my writing tends to reflect biblical and monotheistic influences.
Ohio is often overlooked in literary circles — how does your environment influence the themes or settings in your work?Ohio has awesome metroparks everywhere, and Ohio boasts an absolutely breathtaking national park, which includes Virginia Kendall Park. The beauty of these parks cannot be put into words. Plus, in Ohio, we witness the changing of the four seasons. All of this reinvigorates me. The beauty of the creation augments my faith and compels me to create point-of-view characters from whom the reader can and will learn eternal truths about the phenomenological world.
How do you feel about the rumors and mystery surrounding your identity? Does it add to the allure of your work?I think it’s funny. I don’t take myself too seriously. If this or that reader does find it all rather alluring, that’s fine. But again, I think it’s funny more than anything. And life does tend to be a comedy much of the time.
Your books often explore complex characters — how do you approach character development, especially in a solitary writing life?Solitude permits careful reflection, which forces me to keep journals and to describe the various complicated people I have known. These descriptions then come together in the composite characters who become my point-of-view characters or protagonists.
How do you handle criticism or feedback, given your preference for privacy?It all depends on the criticism and/or feedback. Valid points challenge me to try to do better. People who despise my work and give me zero-star reviews and such tend to shatter my self-confidence. I’m pretty sensitive.
Do you ever imagine meeting your readers in person, or do you prefer to maintain the mystique behind the pseudonym?I don’t know. I have mixed feelings. Any reader is potentially a fascinating person with his or her own unique story. Everyone has a story. On the other hand, solitude tends to work for me.
You live a reclusive life in Ohio. How does your environment and personal solitude influence your writing process and the themes you explore?A reclusive life necessitates spirituality and prayer. Spirituality and prayer force me to consider God’s point of view. As such, my work has to be imbued with a great deal of psychology and philosophy. I tend to agree with Plato: ‘the unexamined life is not worth living.’
How do you stay motivated and inspired during moments of creative struggle or isolation?For me motivation, inspiration, and creative struggle are all one and the same. With regard to isolation, I have enough friends in and out of church that there’s always someone to see. Hiking and kayaking in groups are always good for the soul, and so is meeting a friend for breakfast.
If you could give one piece of advice to aspiring authors who may feel overshadowed or hesitant to share their work, what would it be?My advice never changes: whoever you are and wherever you are, have no fear. Keep doing what you do and take care. Everything will align one day.
Were there any personal experiences or stories that directly inspired aspects of your novel, “On the Threshold” or is it purely a product of imagination?Several personal experiences went into it. Jean’s obsession with phenomenological film theory follows from my own fascination with that way of processing cinema. There’s also a scene in which Fingal sees a moth destroyed by a candle’s flame. That really did happen to me, and it inspired my epiphany regarding (what Fingal calls) the immolation of the gods.
As an active member of AllAuthor, how has it helped you connect with readers, and what advice would you offer other authors looking to engage with their audience through such platforms?Over time, I’ve exchanged ideas and good cheer with all kinds of people I never would have met otherwise. But authors must be patient! The process takes time.
