Showing posts sorted by relevance for query 1939. Sort by date Show all posts
Showing posts sorted by relevance for query 1939. Sort by date Show all posts

Friday, December 21, 2012

1939 by David Gelernter

I’ve been time traveling.  I went back to visit the 1939 World’s Fair in New York.  I tagged along with a couple of locals, both to New York and 1939, Mark and Hattie.  I was looking forward to it because, like me, Mark studied engineering and is attending the fair for the first time.  I wondered how he might react to the visions of future technology on display, like the superhighways anticipated by Democracity and the Futurama (which I read about in The Big Roads by Earls Swift).  I grew up in an era of Interstates, commuting, and electrified kitchens, so the even the visions of the future on display at the fair are the past to me.

I also time traveled to 1995 to take a look back at the fair with Hattie.  I was reintroduced to her by a computer science professor.  (The professor was David Gelernter.  This is a review of his book, 1939: The Lost World of the Fair.)  Back then I was starting my career in Kansas City, so I didn’t worried about running into myself in New York.

I was fascinated by what I saw of the fair.  These people had a vision of the future.  It might seem modest to us, but it was big to them.  They dreamed of the good life in which many more people owned homes in pleasant suburbs, drove to work in their own cars on broad roads, had enough to eat, and were relieved from drudgery by electric appliances.  Within a generation, in spite of the difficulties of a major war, they largely brought their dream into reality, and we have fitfully enjoyed the results.

Gelernter compares the fairgoers to Moses looking into the Promised Land (an apropos analogy considering he also writes about what it was like to be Jewish in America at the time).  Their vision of a land of milk and honey is very much the time we live in.


This leads to one of the many points of comparison Gelernter draws between that generation and ours.  They had drive, even a kind of joy, because they had a goal toward which to strive.  The cultural angst that began to show in the 1960s is in part a sign that we had arrived.  Our goals were achieved and we hand no reason to strive, so we lost our way.  We perish for lack of vision.

I find Gelernter to be a pretty good critic of technology.  You might expect a computer science professor to be enthusiastic about the changes computers have wrought.  He is more impressed with the improvements made by that older generation.  He looks at roads and refrigeration and the host of other mid- to late-Twentieth Century technologies and sees that they made improvements to human health and happiness.  The differences made by computers pale in comparison. I can remember that in 1995, I could cut up documents with a pair of scissor, tape pieces of them together, mark the mess up by hand and give it to a person in the office we called a clerk.  A short time later, the clerk would bring me back a freshly-printed, neat document, a final version of what was represented by my taped-together prototype.  The clerk would even do a little copy editing.  When a computer can do that, I’ll be impressed.  In other words, I think Gelernter’s critique holds water even 17 years later.

Gelernter may be glad that I got the sense of time travel for which he was going.  He might be disappointed that I didn’t like Mark and Hattie much.  I slipped away from them as much as I felt I safely could.  I wanted to see the fair, and though it may seem hardhearted, I had little interest in the ups and downs of their romance or their fretfulness over the war in Europe.  I think someone could write a good novel about this couple and how the day they got engaged at the fair became a touchstone for Hattie even decades later.  If I had expected a novel, I might have liked these characters, but I was expecting a history, and I found them distracting.

Gelernter, David.  1939: The Lost World of the Fair.  New York: Free Press, 1995.

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Saturday, November 11, 2017

The Power Makers by Maury Klein

Maury Klein’s book The Power Makers is a history of power from the Thomas Newcomen’s steam engine to the foundations of America’s electric grid.

Unlike many historians who look at the history of electric power, Klein gives a lot of attention to steam. We haven’t had steam engines directly powering industrial plants for decades, but steam turbines are still central to the production of most electricity in the United States. Even nuclear power plants use steam turbines to run their generators, they just use the heat from nuclear reactions rather than from the combustion of coal or natural gas to boil water and heat the steam to more than a thousand degrees.

Klein gives attention to many lesser known names in the history of power. He shows that Thomas Edison and George Westinghouse had rivals other than each other, such as Elihu Thomson. Nikola Tesla is well known as the genius who invented the AC motor, but other engineers helped develop his prototype into a commercial product, such as mathematically talented engineer Benjamin Lamme. Many talented inventors tried their hands at making electric lighting and power systems better. Only some of them had the vision, business sense, good partners and luck to turn their ideas into successful products. Few of them are widely known today.

Electrification had clear, direct effects in industry and transportation. Klein discusses how it’s influence reached into other sectors of the economy. Corporate management and finance changed to meet the needs of a growing new technology. For instance, Edison General Electric was able to take advantage of a new New Jersey law that allowed corporations to own businesses in other states. Electric companies grew, expanded and consolidated through numerous mergers and acquisitions. They had a demand for capital that nearly rivaled the railroads, another transformative technology that had shortly preceded electric power.

As the availability of electricity grew, certain industries were able to grow, too. Some chemical and metals manufacturing required abundant electric power to catalyze chemical reactions or generate the high temperatures of electric furnaces. Manufacturers flocked to Niagara after a lager hydroelectric power station started operation there in 1895.

Klein brings the many thread of his story of power together by reflections on three great fairs: the 1876 Centennial Exhibition in Philadelphia, the 1893 Columbian Exposition in Chicago and the 1939 New York World’s Fair. In the first, a giant steam engine that powered exhibits by means of belts and pulley was a significant attraction. By the second, electricity was on display, and the White City fairground was a model for testing AC power systems. By the 1939 fair, large power utilities of the type we would recognize today were becoming common. By then it was no big deal to flip a switch or pull a lever and get power so, unlike the previous to fairs, no dignitary undertook a show of doing it; the power was on from the start.

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


Klein, Maury. The Power Makers: Steam, Electricity, and the Men Who Invented Modern America. New York: Bloomsbury Press, 2008.

Saturday, April 22, 2017

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


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

Saturday, October 19, 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






Additional and Expanded Reviews


Continuation of list of 250 books reviewed


Saturday, July 29, 2017

Move by Rosabeth Moss Canter

The major elements of America’s transportation infrastructure and policy frameworks are six decades old (or older in the case rail). We haven’t even kept up with the maintenance since then. In addition to taking care of what we have, we need to adapt to the changes in technology, culture and the economy that have occurred. Our policies haven’t been keeping up.

In Move, Harvard business professor Rosabeth Moss Kanter explores how we got here and how we can move forward. We got here by adopting a defense-oriented policy that emphasized cars (especially interstate highways) and air travel, largely ignoring rail, public transit and intermodal development.

The path forward has several elements. First is a focus on mobility. Transportation infrastructure is a technical, bureaucratic realm of deep silos. Mobility changes the focus to moving people and products around communities and the nation in whatever ways make sense. Physical mobility and economic mobility are tied, and if we want to strengthen our economic leadership on the world stage, we need to break down internal policy barriers to advancing the way people move.

That means developing a national strategy. Of course, a rigid approach won’t work because we have varied nation. However, national priorities and frameworks can make room for regional priorities, adaption and leadership.

Money is always in issue. There are potentials in public-private partnership (PPP), and that can be arranged in many ways. America has a world-leading freight rail system that has very limited public investment. Airports are generally owned by governments, and attempts to privatize them have meet a cool response from possible investors. However, there are examples of successful PPPs in which there is something for everybody.

I already mentioned that technology has come a long way in the past several decades, especially in the realm of communication and data analysis. Some transportation industries, such as airlines, are taking advantage of the opportunities in new technology, while other are lagging. There are many ways our transportation system can be smarter, and we need sensible ways of incorporating technology in ways that are safe without losing out on the benefits through unnecessary delays.

This requires leadership and vision, especially in government. Politicians are often motivated by short-term wins, but mobility is a long-term investment. We need leaders who can see passed the next election and the boundaries of party.

Finally, citizen engagement is important. Plans can quickly fail if the people who are going to use, pay for and otherwise feel the ultimate effects of new transportation policies and infrastructure are not informed, involved and empowered to take action that works for them.

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


Kanter, Rosabeth Moss. Move: Putting America’s Infrastructure Back in the Lead. New York: W. W. Norton & Company, 2015.

Sunday, April 13, 2014

Wednesday, May 27, 2020

Bigger than Life by Marilyn Cannaday

Doc Savage starred in a pulp magazine that ran for 16 years. It was one of the most popular adventure magazines of the time. Each of the 182 issues featured a novel-length story by Kenneth Robeson, a house name owned by publisher Street & Smith. Each was supervised by the author contracted to produce them, Lester Dent, who wrote 165 of them himself. That was on top of writing stories and articles for other magazines and later in his career writing six novels.

 Dent, a native of La Plata, Missouri, was remarkable in ways that go far beyond his prolific catalogue of pulp adventure tales. Marilyn Cannady tells his personal story in Bigger Than Life.

 Bigger Than Life is the only book-length biography of Dent that I’m aware of. It is, unfortunately, a fairly short book. There is not much know about Dent’s childhood, partly because he didn’t talk or write much about it, though he was clearly shaped by his upbringing on isolated ranches and farms in Oklahoma, Wyoming and Missouri.

 Savage pursued fantastical adventures in the magazine; Dent was a real-world adventurer. He learned to sail, and hunted for treasure in the Caribbean using a metal detector of his own design. He was a pilot and ham radio operator. His interest in sailing, aircraft and technology informed many of his stories, both in Doc Savage and other magazines.

 Each chapter is written somewhat like an essay that focuses on a particular aspect of Dent’s life or career. This can make the book seem a bit disjointed, especially in comparison to biographies that take a more strictly chronological approach.

 Cannady, like Dent, grew up in La Plata. Her own experiences in the area, including a brief stint working at Dent’s aerial photography business, provide a flavor of what his life was like in Missouri.

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

The Astounding, the Amazing, and the Unknown by Paul Malmont

The Chinatown Death Cloud Peril by Paul Malmont

Men of Tomorrow by Gerard Jones

Mr. America by Mark Adams

1939 by David Gelernter

Pulp Art by Robert Lesser

 Cannaday, Marilyn. Bigger Than Life: The Creator of Doc Savage. Bowling Green, OH: Bowling Green State University Popular Press, 1990.


Thursday, March 10, 2011

Writing: Steal Characters

A lot of writing revolves around characters. For some writers, characters are central, and they’re drives, decisions, history, and idiosyncrasies move the story. A popular series character can be the jackpot for a writer, especially a genre writer.

Great characters are all around. How do you find them? Do as your predecessors in inventing great characters. Steal them.

I’m not suggesting that you actually steal characters. Nor am I suggesting that the writers I’ll be discussing stole their characters. It’s a matter of looking around in literature and life for real and fictional people then reworking them, consciously and unconsciously, into your own character.

Let me draw an illustration. Let’s take a popular character and see how other popular characters are in some way a reworking of it. These connections are my invention. I have not idea what the creators of these characters were thinking. I doubt most of them were thinking along these lines.

Let’s start with the Lone Ranger. Created by George W. Trendle (written by Fran Striker) in 1933 for the radio, the Lone Ranger saw success in several media, especially television. Before looking at the masked strangers successors, look at his predecessors. There were white-hatted cowboy heroes before the ranger. His contribution was the secret identity and the avoidance of lethal force. These heroes were white knights transformed for the gunpowder age. You might see those chevaliers as vaguely Christianized versions of mythological questers like Odysseus and Hercules.



Now imagine that the Lone Ranger is an antihero, his bullets are deadly lead and he uses a lot of them. You might picture something like Jonah Hex. John Albano and Tony DeZuniga created Hex in 1971. He is a scarred frontiersman who roams the West, not necessarily protecting the innocent, but collecting bounties or dealing deadly justice.

Maybe you like that the Lone Ranger avoids deadly force. Let’s keep that, but make him a pulp-era vigilante. That is what Trendle and Striker did in when they created the Green Hornet for the radio in 1936. They even made the Hornet a distant relative, though not a descendant, and imitator of the Ranger. The Hornet is darker, though. Instead of riding a white horse, he drives the Black Beauty. He sometimes pretends to be a criminal, but it is mainly to allow him to infiltrate gangs and break them apart from the inside. In spite of this, he avoids killing just as his predecessor did (I guess Seth Rogan didn’t notice that).

What if the Lone Ranger was a costumed superhero? He might be Batman, created by Bob Kane in 1939. Bruce Wayne’s identity isn’t hidden from the audience, but his costumed crusade against crime could have been modeled on the horseman. Batman writer Bill Finger gave Batman a code of ethics that would have made the Ranger proud. Not only did Batman eschew deadly force, he rarely used a gun at all. In appearance, at least, Batman resembles Zorro more than the Lone Ranger. (Batman comics tie him to Zorro, too. Several authors have depicted it as the move the Waynes had just seen when Bruce’s parents were killed by a criminal). Zorro himself might be taken as a Latin American spin on the Ranger, except he was created 14 years earlier by Johnston McCulley.

Not all of these ostensible progeny are as good as Batman. Put the Ranger in a talking car and you might end up with something like Knight Rider. Put Jonah Hex on a motorcycle in a futuristic megacity and you might get Judge Dredd. (The Judge Dredd comics weren’t bad, just not my cup of tea. The Sylvester Stallone movie was bad.)

The Lone Ranger is an archetypal hero, which is how we can so easily draw connections between him and characters that came before and after. It doesn’t denigrate Trendle and Striker to say they drew on archetypes, or even specific characters or people, in creating his own character. It’s a compliment that they created a character that was so popular, enduring, and inspiring to other writers.

Think of your own twist on the Lone Ranger archetype. You might have other characters you love that you could call on. Take your favorite romance heroine and put her in a completely different setting (Charlaine Harris put Sookie Stackhouse in a Louisiana full of vampires). You could put a detective in the far future (Isaac Asimov did in Caves of Steel). Bring a dragon into the atomic age (yeah, Godzilla). You could make a dragon a slave to the boilermakers in a steampunk fantasy—hey, maybe I’ll do that.