The Phantom Unmasked by Kevin Patrick

The Phantom is a long-running newspaper comic strip that first appeared in the New York Journal in 1936.  He was a pulp-adventure hero who protected his jungle home while fighting piracy and crime around the world. His unique twist, at least visually, was his outfit of tights and trunks, with a domino mask to obscure his features. More than a year before the appearance of Superman, the Phantom was dressing like a superhero.

In parts of the world, people consider the Phantom to be the very first superhero. Though he persists in American newspaper pages, he has not been very popular in the U.S. in comparison to similar characters. In other part so of the world, notably Australia, Sweden and India, he is possibly the most well-known and followed comics characters. How did a middling American adventure comic become so popular overseas? Comics scholar Kevin Patrick wrote a dissertation about it, and has since turned than dissertation into his book, The Phantom Unmasked.

It started with the general popularity of newspaper comic strips in the United States. As the American market became saturated, the features syndicates that distributed comics sought to expand by marketing to foreign publishers. While they faced objections in some markets, they had the advantage of being cheap and plentiful. In addition, the American syndicates worked with local syndicates or publishers to adapt their comics to local tastes and customs. This included The Phantom.

Lee Falk, writer of the strip, conceived of a character who was likely to be popular by taking ideas from popular jungle stories and hero pulps. He noted that he took inspiration form Edgar Rice Burroughs’ Tarzan of the Apes (serialize in All-Story magazine) and Rudyard Kipling’s The Jungle Book. The name of the Phantom is suggested by The Shadow, one of the most popular pulp magazines. The Phantom marked his enemies with the stamp of his skull ring, similar to the signet of The Spider, who more often left his mark on a corpse than a living foe. The skull-mark itself may have been inspired by the death’s head ring of Operator 5; though that ring was loaded with an explosive charge.

Patrick traces the spread of The Phantom from the United States to overseas markets, especially Sweden, which would become a center of oversees Phantom media production, India and his homeland of Australia. While he considers the features of the strip that make it popular in these countries, he also explores the marketing and publishing practices of the features syndicates in America and abroad to show how The Phantom was a financial as well as a popular success. The Phantom Unmasked is as much a business history as it is a comics history, though the two have always fit closely together.

If you’re interested in this book, you may also be interested in

Comic Book Nation by Bradford W. Wright

Kirby by Mark Evanier

Men of Tomorrow by Gerard Jones

Miss Mizzou by J. B. Winter

Mr. America by Mark Adams

The Secret History of Wonder Woman by Jill Lepore

Superman versus the Ku Klux Klan by Rick Bowers

The Peerless Peer by Philip Jose Farmer

Why Comics? by Hilary Chute

Patrick, Kevin. The Phantom Umasked: America’s First Superhero. Iowa City: University of Iowa Press, 2017.

Investigating Lois Lane by Tim Hanley

Lois Lane is one of the most recognized names among superhero comic book characters even though she is not a superhero. The intrepid reporter made has been around for more than 80 years, and her history is recounted by Tim Hanley in Investigating Lois Lane.

Lois was not in the original Superman stories created by Jerry Siegel and Joe Schuster. As they worked and reworked the character, setting and supporting cast in an attempt to come up with something that would sell, they took inspiration or the girl reporter movies of the time to add a love interest for the man of steel. Several popular movies in the mid-1930s featured smart, tough, fast-talking, blonde female reporters such as Torchy Blane, a character that premiered in 1937’s Smart Blonde.

Schuster’s innovation was to make Lois brunette. He took inspiration from Jolan (Joanne) Kovacs, a high school student in Cleveland who advertised herself for modeling.  Schuster was apparently smitten with her—she was his model Lois, and all his other heroines resembled Lois—and they stayed in touch as she moved around the country pursuing her modeling career. They met up again in New York after World War II. He invited her to a ball—even rented a gown for her. Jerry Siegel was there, too, and she left with him. Siegel left his wife and young son to marry Kovaks.

Not only was Lois a career woman, an unusual thing when she premiered with Superman in 1938, she was also headstrong, cunning, independent and determined to become a top reporter. However, the writers of Lois’ stories were men; the first Lois Lane story written by a woman, Tasmyn O’Flynn, was published in 1982.  Though she remained a working woman, she was often depicted as a damsel in distress or a love-struck cheerleader for Superman.

Depictions of Lois changed over time as the status of women changed in American society. Sometimes she was at the forefront, as she briefly was in the women’s liberation movement during the 1970s. Other time she lagged and reflecting traditional role for women, or Superman and others shamed her unfeminine ambition. Too often she was simply a background player in Superman stories, even though she was more than able to carry a story on her own in the hands of writers who cared.

Such ups and downs will likely be Lois’ fate for a while. We can hope that she get the treatment she deserves with stories that let her shine.

If you’re interested in this book, you may also be interested in

The Book of Lies by Brad Meltzer

The Caped Crusade by Glen Weldon

Comic Book Nation by Bradford W. Wright

The DC Comics Guide to Writing Comics by Dennis O’Neil

Men of Tomorrow by Gerard Jones

Miss Mizzou by J. B. Winter

Reading Comics by Douglas Wolk

Reckless by Chrissie Hynde

The Secret History of Wonder Woman by Jill Lepore

Seduction of the Innocent by Max Allan Collins

Suggestible You by Erik Vance

The Supergirls by Mike Madrid

Superman versus the Ku Klux Klan by Rick Bowers

The Ten-Cent Plague by David Hajdu

Why Comics? by Hilary Chute

Hanley, Tim. Investigating Lois Lane: The Turbulent History of the Daily Planet’s Ace Reporter. Chicago: Chicago Review Press, 2014.

Why Comics? by Hilary Chute

I enjoyed reading comic books as a kid. Sometimes I enjoy reading them as an adult. Comics have always been for adults (and kids, too). While popular superhero comics have told stories of the physical and moral paragons of our fantasies, comics have also been a place accessible to those who didn’t see themselves represented in other media. The combination of words and pictures, sometimes more of a juxtaposition, that are the language of comics can powerfully present a point of view. Hilary Chute considers the power of comics to communicate the experience of individuals and subcultures in Why Comics?

While Chute focuses on comic books, she considers cartooning more broadly, especially the early cartoons that appeared in British magazines (quickly imitated in the U.S.) and the American newspaper comic strip. While some newspaper comics were designed to appeal to kids, many were meant to attract adult readers. They often depicted people from poor and immigrant communities. In addition, cartooning could also be very artistic and even in the early days of comic strips some artists were recognized for the quality of their images and storytelling, such as Winsor McCay and George Herriman.

Because Chute generally focuses on groups that were historically or currently marginalized, much of the book focuses on underground and independent comics. I’ll admit that I’ve not particularly been a fan of underground comics. My earliest introduction to underground comics in the 1980s was mostly to 1960s and 1970s books that featured drug culture and bizarre or pornographic depictions of sex. In the subsequent years, I’ve come across some incredibly good underground, literary or artistic comics. Chute discusses some of them such as Art Spieglman’s Maus, Marjane Satrapi’s Persepolis and Harvey Pekar’s American Splendor. I’m a Midwesterner and I was amazed to see Pekar’s depictions of scenes I might see in my own town.

Comics were born as a mass media, which may explain some of the stigma attached to them, and mainstream comics have always been produced in factory-like manor with a division of labor (writer, penciler, inker, etc.). Some creators were uncredited, or one name appeared on the work of many (this practice was common in the newspaper comic strips, too). Undeground and art comics were more often the work of an auteur, who produced the entire work. This opened up comics to more individual perspectives that strayed farther from the mainstream. Comics can powerfully represent personal experience or memories because it is like memory: it mixes words and images, it can readily present comparisons and contrasts, and it can show past, present, future, real and imagined on the same page.

I don’t plan on adding a lot of underground comics to my reading list, but I did enjoy Chute’s book. If someone is looking for an introduction to comics that are outside the mainstream and done well, Why Comics? is a good place to start.

If you’re interested in this book, you may also be interested in

The Amazing Adventures of Kavalier & Clay by Michael Chabon

Amazing Fantastic Incredible by Stan Lee, Peter David & Colleen Doran

American Splendor

The Book of Lies by Brad Meltzer

Comic Book Nation by Bradford W. Wright

Maus by Art Spiegelman

Men of Tomorrow by Gerard Jones

Reading Comics by Douglas Wolk

The Secret History of Wonder Woman by Jill Lepore

Stan Lee by Bob Batchelor

Stan Lee by Jordan Raphael and Tom Spurgeon

Superman versus the Ku Klux Klan by Rick Bowers

The Ten-Cent Plague by David Hajdu

Will Eisner by Michael Schumacher

Chute, Hilary. Why Comics?: From Underground to Everywhere. New York: Harper, 2017.

Rising Tide by James M. Barry

The Mississippi River is powerful. I’ve seen it. I grew up in the northern tip of the river’s delta and now live near one of its major tributaries. John M. Barry’s history of the 1927 flood of the Mississippi, Rising Tide, is only partly about the power of the river. It is more about the power of men, particularly the political power of the men who have tried to exert control over the river.

The first political battle related to the river took place in the 19^th Century. It was a conflict between the nation’s military engineering establishment and their increasingly influential civilian counterparts over who would control Mississippi River policy. The principal actors and figureheads for the two sides were Andrew A. Humphreys, chief of the U.S. Army Corp of Engineers, and James B. Eads, St. Louis-based civil engineer. The Corp largely won this battle, maintaining a controlling voice in river policy, but the resulting agency, the Mississippi River Commission, adopted a theory of practice that neither Humphreys or Eads supported. It would lead to floods on the river becoming increasingly bad.

That conflict doesn’t completely disappear, but it is overtaken by the greater flow of money, politics, society, and race, mostly centered in New Orleans, Mississippi’s Yazoo Valley, and Washington, DC. It is hard to give each player his due in a brief review of Barry’s book. Barry focuses on Leroy Percy, who had great influence on river policy before, during and after the flood. He was a planter in the Mississippi-Yazoo Delta and, briefly, a U.S. Senator from Mississippi. He was also a relative of Walker Percy, one of my favorite authors.

The flood made political careers and had lasting effects. President Calvin Coolidge appointed his Secretary of Commerce, Herbert Hoover, to lead relief efforts after the flood. The publicity and public goodwill that accrued to Hoover during this period helped to usher him into the White House as Coolidge’s successor. Hoover’s lack of follow-through on promises to black leaders created a crack between in the relationship between African-American’s and the Republican Party that led to a serious split.

Huey P. Long also owed some of his success to the flood and its aftermath. New Orleans business leaders promised to provide relief to neighbors who would be flooded by the dynamiting of levees to protect the city. Afterward, these men did everything they could to minimize their liability and did not even pay one-tenth of the cost of damages caused by the flooding. Long rode a wave of resentment against New Orleans aristocrats into the Louisiana governor’s office. Once there, he used his position to strip the New Orleans elite of as much power as he could. As the city elites became more insular and focused on protecting what they had, rather than growing their businesses and community, New Orleans lost its position as the leading city of the South as other more welcoming cities grew.

If you’re interested in this book, you may also be interested in

The Big Thirst by Charles Fishman

Blue Revolution by Cynthia Barnett

Canals and Their Architecture by Robert Harris

Elixir by Brian Fagan

Life's Matrix by Philip Ball

Steam by Andrea Sutcliffe

Superman versus the Ku Klux Klan by Rick Bowers

Water by Marq de Villiers

Water by Steven Solomon

When the Rivers Run Dry by Fred Pearce

Barry, James M. Rising Tide: The Great Mississippi Flood of 1927 and How It Changed America. New York: Simon & Schuster, 1997.

The Secret History of Wonder Woman by Jill Lepore

Wonder Woman is one of most popular comic book characters. Because she is about to be featured in a film that will bring Batman and Superman together in epic battle, and is expected to be featured in a film of her own, the Internet is already beginning to buzz with concern over how badly she may be portrayed and hopes that the filmmakers will get her right. She has starred in some great stories, but often the stories about her have disappointed for various reasons. The difficulty of depicting a woman superhero has its roots in sorting out the roles of women in society, something we’re still working on. It is a struggle Wonder Woman was born to fight.

Jill Lepore explores the birth of this female superhero in The Secret History of Wonder Woman. In one of her various comics origins, the demigoddess was formed from the mud of Paradise Island, but Lepore describes how she was formed in the suffrage and feminist movements of the late 19^th and early 20^th centuries, and an unusual family with strong ties to these movements.

Wonder Woman first appeared in print in 1941. When she became the title character of her own comic, her creator came from behind his pseudonym, with some fanfare, and revealed himself as psychologist William Moulton Marston.

Marston’s lifestyle is known now, but it was a closely held secret during his lifetime. For all practical purposes, if not legally, he had two wives. Surprisingly, both women were feminists. They both loved Marston and found in this arrangement a way to live the lives they wanted. They had a pragmatic, flexible feminism that was accepting of the unconventional. I can hardly do it justice in a few words, but Lepore explores the early days of feminism that shaped the arrangement Marston had with these two women.

Marston met Elizabeth Holloway while they were undergraduates, he at Harvard and she at Mount Holyoke. They were both advocates of women’s suffrage. They married in 1915. Marston received a doctorate and Holloway a master’s degree. Holloway claimed to be deeply involved in Marston’s early research. The Marston household became full of writers and editors, and overtime attribution became a matter of convenience or marketing rather than identification of individual authorship.

Olive Byrne met Marston as an undergraduate at Tufts, where she became his research assistant. She quickly became more and moved into the Marston household. Eventually they worked out the arrangement that Holloway would work full-time (over time she had several jobs as an editor) while Byrne raised the children (each had two children with Marston). Byrne eventually felt the need to contribute the finances and in the 1930s wrote for Family Circle as Oliver Richards (Richards from the marriage and widowhood she faked to obscure the parentage of her children). Byrne, like the Marstons she joined, had ties to the feminist and birth control movements. She was the daughter of Ethel Byrne  and her aunt was the more famous Margaret Sanger.

Holloway, Byrne, and even Sanger, were to varying degrees the models for Wonder Woman. She was to be feminist propaganda, and under Marston’s pen she was. One would guess that this would have attracted criticism, but it was not the feminism of Wonder Woman that most stirred up critics.

Bondage was depicted on almost every page of Marston’s comics. In addition, Wonder Woman’s costume was skimpy. Lepore links the bondage in these comics to the use of bondage as a symbol used by suffragists and feminists. Sometimes Marston drew very consciously on images associated with these movements. In addition, the bondage represented notions of domination and submission rooted in Marston’s theories of personality and the relationship between the sexes. Bonds, and the breaking of them, represented the misappropriation of power by men and the power of women to free themselves and take their place as leaders in society. Similarly, Wonder Woman’s bare limbs were emblematic of her athleticism, strength, power and essential equality to make heroes. It’s hard to say that the depiction of Wonder Woman is completely free of sexual undertone, Marston wanted her to be beautiful. Lepore shows the clear link between the symbolism of Wonder Woman and the symbolism  of suffrage and feminism that Marston consciously referenced.

When Marston passed away in 1947, Wonder Woman fell into the hands of writers and editors who did not share his vision. She hasn’t been the same since. After World War II, the feminism she represented was not welcome in the broader culture or by the men who wrote her comics. Even after the second wave of feminism adopted her as an emblem in the 1970s, she’s not been quite at home. Perhaps we’ll have trouble getting Wonder Woman right as long as we have conflict about the roles of women in our culture.

If you’re interested in either comics or feminism, I recommend Lepore’s book. It is thoroughly researched and thoroughly readable.

If you’re interested in this book, you may also be interested in

Comic Book Nation by Bradford W. Wright

Kirby by Mark Evanier

Men of Tomorrow by Gerard Jones

Miss Mizzou by J. B. Winter

Reading Comics by Douglas Wolk

Stan Lee by Jordan Raphael and Tom Spurgeon

Superman versus the Ku Klux Klan by Rick Bowers

The Ten-Cent Plague by David Hajdu

Will Eisner by Michael Schumacher

Lepore, Jill. The Secret History of Wonder Woman. New York: Alfred A. Knopf, 2014.

Miss Mizzou by J. B. Winter

Miss Mizzou was a secondary character in the Steve Canyon comic strip. She may not have stood out from the other bombshells in the cartoon pilot’s adventures, but she made quite an impression on the university from which she took her name (my alma mater, the University of Missouri) and the town that proudly housed it (Columbia). J. B. Winter talks about the girl in the overcoat (and maybe nothing else) and her impact in a mid-Missouri community in his book Miss Mizzou: A Life Beyond Comics.

Milton Caniff was a very well regarded cartoonist. His work on Terry and the Pirates was an inspiration to many in the field. He left that strip in 1947 to start another adventure comic, Steve Canyon, which he would own. He spoke at the University of Missouri in 1949. It bore the nicknamed Mizzou even before then though the university did not officially embrace it until 2004. Caniff apparently enjoyed the trip because he chose Mizzou as the name of a character he introduced in 1952, and made Columbia her hometown.

Caniff took inspiration from waitress he knew as a student at Ohio State University, Marilyn Monroe, and, more directly, dancer and model Bek Stiner. Miss Mizzou, played by Stiner, appeared was introduced on television before appearing in newspapers. Caniff and Stiner, in the characters overcoat, appeared on the Bob Considine Show about a month before her adventure with Canyon ran.

Columbians and Mizzou students jumped on the opportunity to celebrate. The Missouri Student Government Association organized publicity events that Stiner attended over a weekend about a month after the character appeared in newspapers. In 1954, a journalism fraternity proposed a Miss Mizzou-themed contest and calendar as a fundraiser; Caniff agreed to let them do it. The contest ran from 1955 to 1971, and the skits that became associated with it were popular.

Winter’s slender book is a quick read, but still very informative. He concentrates mostly on the character’s impact on the titular school and city than on her adventures in the comics. Even so, comics fans may enjoy the book because few character have been embraced by community in this fashion or had such an influence

If you’re interested in this book, you may also be interested in

Men of Tomorrow by Gerard Jones

Superman versus the Ku Klux Klan by Rick Bowers

Will Eisner by Michael Schumacher

Winter, J. B. Miss Mizzou: A Life Beyond Comics. Lexington, KY: CreateSpace, 2014.

Scott Pilgrim Gets It Together by Bryan Lee O'Malley

Scott Pilgrim Gets It Together is the fourth volume of a six-volume work by Bryan Lee O’Malley. In reviewing other volumes of the series, I’ve mentioned that the story is a pilgrimage. In this volume, things start moving.

Nothing signals a figurative move like an actual move. Scott’s friend and bandmate, Kim, moves from her apartment into a house with some friends. One of these friends has sound editing equipment, so Scott’s band, Sex Bob-omb, moves from playing clubs to recording an album. Eventually, Scott is forced to move because the lease is up on the apartment he shares with Wallace.

The important moves in the series, though, are Scott’s stumbling from an extended adolescence toward adulthood. His internal challenges are represented by external challenges. In order to have a place to go when he leaves the apartment he shares with Wallace, he proposes to move in with Ramona. One can imagine how disastrous this might be in the state of their relationship at the start of the book; Scott must make an emotional move to Ramona and responsibility first.

This emotional move is achieved in several stages. Scott practices self-control by resisting the temptation for an easy, breezy summer fling with a woman he knew from school who has a crush on him. He takes on responsibility by getting his first job as a dishwasher at age 23.

His other conflicts are represented or resolved in combat. It wouldn’t be Scott Pilgrim without cool fight scenes. His relationship with Ramona is haunted by his not actually broken off relationship with Knives. Knives’ vengeful father hunts down and attacks Scott. In addition, another of Ramona’s evil exes arrives. It’s neat that he survives combat with Mr. Chau and defeats Roxie. The powerful actions he takes are to confess his love to Ramona, accept the baggage of her past, and treat Mr. Chau (an through him Knive’s) with respect.

Self-control, responsibility, love, acceptance, and respect are a decent set of virtues for a young man to practice. Scott is not perfect, but his journey isn’t to perfection, it’s to maturity.

Bryan Lee O’Malley also wrote

Scott Pilgrim and the Infinite Sadness

Scott Pilgrim vs. the World

Scott Pilgrim’s Precious Little Life 

If you’re interested in this book, you may also be interested in

Maus by Art Spiegelman 

Scott Pilgrim vs. the World (Film)

Superman versus the Ku Klux Klan by Rick Bowers

O’Malley, Bryan Lee. Scott Pilgrim Gets It Together. Portland, OR: Oni Press, 2007.

Fic by Anne Jamison

Have you ever finished a book, or series, or experienced the cancellation of a television show, and wanted more? Have you loved something you read or watched, but found some aspects frustrating or missing? That feeling has motivated people to write their own stories of characters or settings originated by other authors. This is fanfiction, or fanfic, or as English professor Anne Jamison puts it in the title of her book, simply Fic.

Fanfiction has a long history. Jamison starts her history with the first hugely popular, serial character in English literature, Sherlock Holmes. Arthur Conan Doyle’s stories inspired others to write their own tales of ratiocination, sometimes tongue-in-cheek, featuring the consulting detective and his physician companion, John Watson. Those with means sometimes had their works printed and circulated among friends. Other may have changed the names and sought to publish their stories.

Sherlockian fanfic introduces one the themes of the book, the relationship between authors, and their works, readers and publishers. Jamison traces how attitudes about these relationships have changed over time.

Another thing that changed over time, with significant effects on fanfic, is technology. The rise of television inspired fanfic based on media, rather than exclusively on written sources, particularly the in relation to Star Trek. Access to mimeographs and photocopiers allowed the community of fans to communicate, and distribute fanfic, through ‘zines.

The medium of choice for fanfic is now clearly the internet because it allows for such inexpensive and easy distribution. As an example of how the internet changed fanfic, Jamison turns to the example of Harry Potter, whose ascendancy in popular culture corresponded with the development of the internet as we know it. Twilight fanfic, in contrast to many others, was born in the age of the internet, and has been home to views that put it at odds with other fandoms, though such conflicts have been common as fandoms have expanded.

If you are unfamiliar with fanfic, you should probably be warned that a lot of it involves romantic and sexual pairings between characters who were not romantically involved in the source material. There is a lot of sex. There is every type of sexuality you can imagine, and possibly a few you’ve never heard of. Fanfic communities have provided an outlet for people to explore alternatives to the mainstream, often from the safety of some anonymity, especially in relation to sexuality. Interestingly, fanfic has been less adventurous in other areas, such as racial and cultural diversity, sticking close the relatively narrow diversity of the source media, though some fanfic attempts to depict a more diverse world.

Though I have only spoken of Jamison as the author of Fic, many contributed to the book. Most are writers with some connection to fanfic, and a few are academics. I would describe the book as semi-academic. It has the form of an academic book that describes the history and various aspects of a topic (fanfic) through a collection of related works by various authors. It is unlike typical academic books in that the style of all the contributors is personal and informal. Like fanfic is to its sources, Fic takes and academic form that is familiar and loved (at least by an academic) and brings to it something else that is loved, and even transformative.

If you’re interested in this book, you may also be interested in

The Amazing Adventures of Kavalier & Clay by Michael Chabon

Arthur & George by Julian Barnes

The Book of Lies by Brad Meltzer

Case Closed by Gosho Ayoama

Histories and Fallacies by Carl R. Trueman

How to Read Literature Like a Professor by Thomas C. Foster

Men of Tomorrow by Gerard Jones

The Sherlockian by Graham Moore

Superman versus the Ku Klux Klan by Rick Bowers

The Ten-Cent Plague by David Hajdu

Jamison, Anne. Fic: Why Fanfiction is taking Over the World. Dallas, TX: Smart Pop, 2013.

300 Books Reviewed on Keenan’s Book Reviews

I’ve posted reviews of 300 books on this blog. It’s hard to believe.  Here are links to the 50 most recent posts. Further down are links to more reviews.

First Time Reviews

1939 by David Gelernter

A Sand County Almanac by Aldo Leopold

American Nerd by Benjamin Nugent

Arthur & George by Julian Barnes

The Big Thirst by Charles Fishman

Blue Revolution by Cynthia Barnett

Cathedral, Forge, and Waterwheel by Frances & Joseph Gies

Do Androids Dream of Electric Sheep? by Philip K. Dick

Dog Days by Dave Ihlenfeld

Double Your Brain Power by Jean Marie Stine

Epistles

First Chronicles

First John

First Kings

First Peter

The Genius in All of Us by David Shenk

The Guns of the South by Harry Turtledove

Hamlet by William Shakespeare

Hebrews

Help, Thanks, Wow by Anne Lamott

The Highly Sensitive Person by Elaine N. Aron

How to Build an Android by David F. Dufty

I Declare by Joel Osteen

James

Jude

Life's Not Fair, but God is Good by Robert H. Schuller

London Under by Peter Ackroyd

Miss Leavitt's Stars by George Johnson

Men of Tomorrow by Gerard Jones

Mojo by Marshall Goldsmith

The Moon is a Harsh Mistress by Robert Heinlein

The Most Effective Organization in the U.S. by Robert A. Watson & Ben Brown

No Excuses by Brian Tracy

Pauline Letters

Philemon

Quiet by Susan Cain

Rapt by Winifred Gallagher

Reading Like a Writer by Francine Prose

Revelation

Scott Pilgrim and the Infinite Sadness by Bryan Lee O'Malley

Second John

Second Kings

Second Peter

Second Samuel

The Solution by Lucinda Bassett

Succeed by Heidi Grant Halvorson

Superman versus the Ku Klux Klan by Rick Bowers

The Thinking Life by P. M. Forni

Third John

This Year I Will... by M. J. Ryan

Additional and Expanded Reviews

1089 and All That: A Journey into Mathematics by David Acheson

1939 by David Gelernter

American Nerd by Benjamin Nugent

The Big Roads: The Untold Story of the Engineers, Visionaries, and Trailblazers Who Created the American Superhighways by Earl Swift

The Brooklyn Bridge: They Said it Couldn’t be Built by Judith St. George

Buried Alive: The Terrifying History of Our Most Primal Fear by Jan Bondeson

Dreams of Iron and Steel by Deborah Cadbury

The Essential Engineer: Why Science Alone Will Not Solve Our Global Problems by Henry Petroski

The Ghost Map: The Story of London’s Most Terrifying Epidemic—and How It Changed Science, Cities, and the Modern World by Steven Johnson

How to Build an Android: The True Story of Philip K. Dick’s Robotic Resurrection by David F. Dufty

Men of Tomorrow by Gerard Jones

Quiet by Susan Cain

The Secret by Rhonda Byrne

The Sherlockian by Graham Moore

The Physics of Superheroes by James Kakalios

Undaunted Courage: Meriwether Lewis, Thomas Jefferson, and the Opening of the American West by Stephen Ambrose

Continuation of list of 250 books reviewed

First 25 Reviews

Reviews 26-50

Reviews 51-75

Reviews 76-100

Reviews 101-150

Reviews 151-200