Marvel Comics: The Untold Story by Sean Howe

Marvel Comics has a long history in comic books, especially superhero comics. It’s first superheroes, the Human Torch and the Sub-Mariner, debuted in 1939 and the company is currently unrolling popular series of films based on a The Avengers, a superhero team that first appeared in comics in 1963.

The extended, interconnected, iterative melodrama of Marvel’s comics is a complicated fictional world. The real-world company has a complicated history, too. It started as a scion of a pulp magazine publisher seeking diversify and is now a part of media powerhouse Walt Disney Company. Sean Howe provides a detailed history of the company in Marvel Comics: The Untold Story.

Howe divides the history of the Marvel into five major ages. He discusses the early history of the company, but Marvel as we know it today could mark its origins in the resurgence of superhero comics of the early 1960s, after a post-World War II slump that all but the most popular titles.

The succeeding ages roughly correspond to the decades. The 1960s marked the birth of modern Marvel. The 1970s were a time of artistic experimentation when comics, especially Marvel, were embraced on college campus and in the counterculture.

In the 1980s, kids who grew up reading Marvel became adults writing the comics. It was also a time when corporate culture began to consume the company—though the priority of making money, executive interference and possibly shady business was something that went back to the days of the pulps. This decade also marked a change in the way comics were sold, shifting from newsstands and grocery-store spinners to specialty shops, which created opportunities and problems for comics publishers.

The 1990s was a period of excess. Comics creators were finally making money (at least some of them were), but old contentions between publishers—especially Marvel—and writers and artists led to the rise of superstars spinning off to publish works to which they would retain the rights. The growth in comics collecting encouraged marketing practice, especially at Marvel, that eventually led to a bust.

Throughout this time, Marvel’s various owners had been attempting to transition the company from a comics publisher to a media company that leveraged its intellectual property in many ways. In the 2000s, Marvel has done that. A criticism often leveled against Marvel today is that the comics are driven by decisions to make the characters marketable in other media, especially movies and toys.

Comics have come a long way since I started reading them as a kid. For one thing, they cost 10 times as much. Howe wraps up with the opinion that Marvels products are better, and in some ways I agree. However, I think comics often uses the words mature and adult when they are simply prurient, and that the improvement in printing quality is not always accompanied by improvements in story or art. I have mixed feelings about the multi-issues stories designed for collection into graphic novels aimed at book retailers, but I think the event-driven mega-crossovers that have become standard for Marvel and DC don’t move me much—I’d rather read a good short story than an overblown novel.

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

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

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1939 by David Gelernter

Stan Lee by Jordan Raphael and Tom Spurgeon

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Howe, S. Marvel Comics: The Untold Story. New York: HarperCollins, 2012.

Waste and Want by Susan Strasser

An old proverb relates trash and treasure as a matter of perspective. In Waste and Want, Susan Strasser describes American’s changing perspectives on waste from the colonial era to our own day.

In the colonial and revolutionary period of American history, manufactured objects were rare and expensive. Repair and mending were common even among the wealthy because it was difficult and costly to replace objects. In addition, the various types of home industry practiced by both men and women equipped them with skills in handling materials that made them adept at repair. Even when and object was beyond repair, it parts, or the material it was made of, might be usefully repurposed themselves or as part of an assembly. This lack of goods and facility with handling materials made bricolage common. Because things had durable value, people had a sense of stewardship relating to them.

Strasser establishes this as a beginning state. The development of industry and consumerism led to a current state in which all of these have been reversed. We have an abundance of goods, and many of them are inexpensive. We work in factories and offices where we do not develop skills for repair, and particularly have lost familiarity with materials needed for practical bricolage. These and other forces, particularly those related to health and cleanliness, have resulted in waste being something of the home where additional value may be extracted to something that is the realm of specialists that is taken away and handled by government agencies or specialized companies.

There are many stages in this development. It is interesting to me that the value of household waste as raw materials American industry provided a mechanism for poor and rural people to purchase manufactured goods. Even so, as industrialization made more goods available, along with larger quantities of more manageable waste, household waste became less valuable, and reuse and recycling became associated with poverty.

By the end of the 1920s, consumer culture was established in America, and it reinforced the trends identified by Strasser.  Planned obsolescence was developed in the automotive industry, and along with the craze for fashion, it took hold for almost all consumer goods. Even during the Great Depression, when lack of credit and unemployment made doing it yourself attractive, there was an assumption that people had access to new and old consumer goods and their packaging. Even during this period of economic distress, demand for certain types of consumer goods grew. Thrift was reimaged for a consumer age. For instance, refrigerators became commonplace, and instead of being presented as luxury items they were sold on the notion of thrift, allowing housewives to save on food by keeping leftovers and buying in bulk.

People were encouraged to conserve and recycle to support the war effort during World War II. However, this did little to reverse changing attitudes that valued the new over the old and saw little value in trash. People had jobs and money, and wartime rationing created a pent up demand for goods that was unleased after the war. Disposable goods and packaging represented cleanliness and convenience; it was freedom from dirt and drudgery. There was no value in trash, which was taken away by collectors.

There were reactions against this even in the 1950s. They grew into the counterculture of the 1960s and 1970s, which were skeptical of corporations and consumerism. The environmental movement also grew out of this counterculture. Reuse of second-hand goods became more acceptable for even middle-class families, though few had the skills needed to rework these items to make them seem new or adapt them to current fashion. Little used goods were seen to have some value that could be recovered through yard sales. (I grew up on a stretch of highway that now boasts and annual 100 mile yard sale.)

This counterculture has not resulted in a broad return to a stewardship of things. Strasser suggests that a rising ethic of environmental or resource stewardship may lead to the mitigation of problems related to the abundant trash created by disposable and rapidly obsolete goods. There is no turning back, but we might find new reasons and ways to reduce use, reuse, and recycle.

Stasser, Susan. Waste and Want: A Social History of Trash. New York: Metropolitan Books, 1999.

Men of Tomorrow by Gerard Jones

Jones, Gerard.  Men of Tomorrow: Geeks, Gangsters, and the Birth of the Comic Book.  New York: Basic Books, 2004.

Reviewing Gerard Jones’ history of the comic book industry makes me feel like I’m pitching a new show to the cable networks.  It’s a little like Mad Men.  There is less suavity, but plenty of smoking, drinking, and womanizing.  There is room for some gratuitous nudity.  Many of the comics publishers came from got started in spicy pulps and nudie mags.  They were hustlers from the street, too, many with mob connections.  So we can have a touch of Boardwalk Jungle, though the violence is contained to the muscular fantasies of young men wanting to overcome a sense of powerlessness.  Of course, there may be comparisono to The Big Bang Theory, especially when you have scenes of young men working side-by-side at typewriters and drawing boards, helping and competing with each other.  Most aren’t geniuses, but plenty are awkward and pretentious.  It even has a great name: Men of Tomorrow.

The book is a mostly chronological look at the development of comics.  It starts with the pulp publishers.  As the pulps declined for various reasons of economics and taste, the comics rose their peak in World War II.  Patriotic superheroes were depicted punching Hitler in the face before America entered the war.  Superhero comics declined after the war, especially due to competition from television, though other genres did well.  Some of them, especially crime and horror, attracted the attention of reformers who wanted a clean and upright media safe for children and a culture longing for conformity and peace.  Comics found a new life as baby boomers came of age, partly because of interest in new dysfunctional heroes of Stan Lee and his collaborators and partly because cheap underground comics were exploring the youth counterculture.  Finally, comics became an almost mainstream medium, especially superheroes who successfully moved into film and other media.

There are almost too many people discussed in this book to mention.  Harry Donenfeld and Jack Liebowitz built a shady distributor of sex stories and porn into a pillar of a major media corporation.  Along the way, their conflict with Superman creators Jerry Siegel and Joe Shuster became the stuff of comics legend that occasionally broke into mainstream consciousness.  In many retellings of this story, Donenfeld and Liebowitz are demonized and Siegel and Shuster lionized.  Jones mostly resists this urge, treating the New York publishers with some fairness and showing how the cartoonists from Cleveland were the cause of some of their own trouble.  There is a host of other notables from trash publishing (Hugo Gernsback and Bernarr McFadden), organized crime (Frank Costello and Mayer Lansky), failed teachers and academics (Charlie Gaines and William Moulton Marston), and finally from comics (Charlie Biro, Bob Kane, Jack Cole, Jack Kirby, and many more).

Many of these people grew up in Jewish immigrant families.  Their successes and failures in the 1920s and 1930s, their readiness for war in the 1940s, and their search for an identity both American and Jewish in the postwar year reflects the journey of a larger community.  In addition to being a story of comics, it is a story of how Jews, immigrants, science fiction, and geeks moved from the edges of American society toward the mainstream—or maybe the mainstream widened to encompass them.

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

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