Grotesque art is inconceivable without reference to the mimetic. It must always reflect a realistic template. The grotesque should be seen as the antithesis of the mimetic, and human imagination, whatever it is creating, constantly draws on familiar aspects of reality. The processes which the mimetic undergoes in grotesque art are inversion, distortion and blending. This article explores the creative work of Salomo Friedlaender/Mynona, with particular focus on inversion. Mynona’s literary oeuvre is generally considered as grotesque. To a considerable extent this is due to the fact that he described himself as a grotesque writer and his short works, for which he is known, simply as grotesques. According to Peter Fuss, inversion is a mimesis which imitates certain elements and relationships of its models but effects changes in direction and hierarchical sequence. Mynona uses the whole range of grotesque devices, including inversion. With the exception of one of the texts, the grotesques by Mynona which are analysed and interpreted here are taken from Rosa, die schone Schutzmannsfrau und andere Grotesken.