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In Geoff Nicholson's "Bedlam Burning," a first-time novelist named Gregory Collins doesn't look like a genius either, and Nicholson uses Gregory's anxiety about his jacket photo as the premise for an entertaining and lively comedy of errors that involves madness, false identities and the nature of authorship itself.
But then, nobody ever called any one of the Five Royales a genius either.
Don't act like a genius, either.
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Nor does he claim to be a financial genius, either, pulling out a copy of "Principles of Corporate Finance" from under his desk as an example of his nighttime reading.
It didn't turn the Monkees into geniuses, either, but you can't blame a boy band for trying.
"It is easy to be seen as either a genius or a crank," he said.
A French journalist declared him "a poet"; Pele said he was "either a genius or a madman".
Pelé called it the work of "either a genius or a madman," and Panenkas have been tried by both over the years.
You risk it anyway because, in the subsequent words of a gasping Pelé, you are "either a genius or a madman".
He is either a genius or a freak, and it may not matter which, because his books are compulsively readable, created by a literary mind that seems to have no precedent.
Visitors were sometimes overawed: in 1865 Anny Thackeray, daughter of the novelist, herself renowned as an eccentric, wrote: "Everybody is either a genius or a poet or a painter or peculiar in some way".
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com