In Memory Yet Green by Isaac Asimov

When I was a kid, my interest in science fiction was fed by reading many short stories from the heyday of science fiction magazines in the 1940s and 1950s. I particularly remember reading I, Robot, a collection of stories written by Isaac Asimov. (The book is still in bookstores after more than four decades. Will Smith is on the cover; his 2004 movie of the same title was based on one of the stories.)

Asimov wrote an extensive autobiography. The first volume, In Memory Yet Green, covers the first 34 years of his life. As you would expect, his life in that timeframe was similar to many other. He grew up, completed his formal education, started his career and started a family.

Like other famous people, Asimov had fortunate timing, talent, and willingness to work hard to achieve something. He is best known for his achievements as a science fiction writer. Writing was not his sole profession during this part of his life, but he was a fairly prolific writer and was well known in science fiction circles. He had a reputation in science fiction fandom before he ever published a fiction story. He was a fan of the early science fiction magazines and regularly wrote letters to them. He made friends with other fans, several of whom became successful writers along with him, particularly fellow Futurians.

As he put time into writing stories, his participation in fandom waned. His other career as an academic chemist also took up a lot of time. Though it is well known among science fiction fans, others may not be aware that had a Ph.D. in chemistry and was a professor at a medical school. He co-wrote two biochemistry textbooks during this period.

The book covers many aspects of his life, both professional and personal. He begins with his birth in Russia and ends as a husband (to Gertrude) and father (to David) on the verge of a career transition. In between he lived through two world wars, the Great Depression, and many other upheavals of the first half of the 20^th Century. Asimov shares his experiences and views of these events.

Asimov’s style in his autobiography is much as it is in his other writings: straightforward and often jovial. He is not shy about his accomplishments, but he is often humorously self-deprecating and willing to confess to his boneheaded moments.

The book will probably appeal mostly to science fiction fans. Asimov got in on the ground floor. He knew many of the other writers, editors, and publishers of his generation including Ian and Betty Ballantine, John Campbell, L. Sprague de Camp, Lester Del Rey, Robert Heinlein and Frederik Pohl.

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

The Ancient Engineers by L. Sprague de Camp

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

Caves of Steel by Isaac Asimov

The Moon is a Harsh Mistress by Robert Heinlein

Asimov, Isaac. In Memory Yet Green: The Autobiography of Isaac Asimov, 1920-1954. New York: Doubleday, 1979.

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

The Amazing Adventures of Kavalier & Clay by Michael Chabon

American Splendor (Film)

Stan Lee by Jordan Raphael and Tom Spurgeon

The Ten-Cent Plague by David Hajdu

Will Eisner by Michael Schumacher

Google

Why We Get Fat and What to Do About It by Gary Taubes

Why We Get Fat and What to Do About It is a follow-up to Gary Taubes’ previous book, Good Calories, Bad Calories. While the first book was aimed at presenting arguments and evidence that might persuade experts to consider new—and revive old—models of nutrition and health, his more recent book is aimed at laypeople who want a more basic understanding of how our bodies manage weight and fat and how we can manage it.

The primary driving force in the way our body uses or stores fat is insulin. Chemicals in our body, primarily insulin, tell our cells when to burn glucose instead of ketones (a product of fat that can fuel our cells) and when to store fat. Though there are various factors that contribute to insulin production, the big driver—one we can control—is carbohydrates. Insulin increases when we eat carbs, instructing our cells to consume sugar (to get our blood sugar levels down) and store fat in the meantime. If we eat too many carbs, we stay in the sugar-burning, fat-storing mode and spend very little time burning fat.

The antidote to getting fat, then, is to eat less carbs. There is a genetic component to this, so how much a person needs to cut carbs to manage weight is individual to them. The upside is that almost anyone can get leaner but cutting carbs; the down side is that your genes govern how lean you can get, which may not be as lean as you want to be.

A more positive upside is that people can lay aside the guilt that come with the association of overweight with overeating and laziness. Appetite and energy levels are driven by the same processes that govern fat storage. In addition to losing weight, a low-carb diet can help one have more energy and less hunger.

Though Why We Get Fat is less reference-intensive that its predecessor, it is still full of references to research. It also covers the history of how the counterproductive calories in-calories-out model came to be dominant in American nutrition and health circles. The emphasis on the book is why.

Though Taubes focuses on why, he does not neglect what, thought the what (cut carbs) is fairly straightforward. He recommends a low-carb diet and includes a model in an appendix, though he also recommends an even simpler list of does and don’ts that goes back to the 1940s, before the calorie counting model took over the medical view of weight management.

I’ve been cutting back on carbs for a few days. I’ve seen my weight drop, but it is too early to say if it will continue. However, Taubes’ book has given me reason to believe it will work if I stick with it.

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

Change Your Brain Change Your Body by Daniel G. Amen
8 Minutes in the Morning for Extra-Easy Weight Loss by Jorge Cruise

How Much Does Your Soul Weigh? by Dorie McCubbrey
I Can Make You Thin by Paul McKenna

Making the American Body by Jonathan Black

The 6 Day Body Makeover by Michael Thurmond

The Ultimate Weight Solution by Phil McGraw

Walk Away the Pounds by Leslie Sansone

Taubes, Gary. Why We Get Fat and What to Do About It. New York: Alfred A. Knopf, 2012.

The Ten-Cent Plague by David Hajdu

Hajdu, David. The Ten-Cent Plague: The Great Comic-Book Scare and How it Changed America. New York: Farrar, Straus and Giroux, 2008.

Earlier this year, the last of the major comics publishers to use the Comics Code Authority dropped it in favor of their own rating standards. The seal of approval was one almost ubiquitous on newsstand comics. It lingered as sale shifted to comic book stores and older readers.

What led to the industry self-censorship represented by the little square seal is an interesting combination of social, political, and economic forces in American history. David Hajdu tells the story. (When The Ten-Cent Plague was published, major comics publishers were still using the seal.)

When comic strips first appeared in newspapers, the intent was to make the papers more appealing to the lower classes and immigrants who might not speak English, or even read. These cartoons appealed to the interest, problems and culture of this audience, along with other minorities, often thumbing their noses at the cultural establishment, the wealthy, political elites and others who had or represented power. As you might expect, the funnies had many detractors among the defenders of decent society.

This same countercultural element was transferred to comic books when they were invented in the 1930s. By the post-war years of the 1950s, the main countercultural was youth. People had been criticizing comics for their possible effects on children almost from the start, but the growing concern about juvenile delinquency (and possibly Communism) led to a successful campaign against comics. Rock and roll hadn’t been invented, so there wasn’t much else to blame.

Actually, a lot of the more reasonable explorations of the connections between comics reading and juvenile delinquency found it to be tenuous if it existed it all (delinquents read comics, but so did nearly every kid who could get an occasional dime). Detractors of comics thought they had evidence enough, especially Frederic Wertham, who’s Seduction of the Innocent added a sense of scientific respectability to the anti-comics camp.


The comics publishers reacted to save their industry from the wave of parental discontent and pending legislation. The Comics Code was a self-censorship standard like the film industries Hays Code, except much more restrictive. The code, and the forces that led up to it, almost killed the comics industry. It mostly eliminated the crime and horror comics that inspired the most ire through their excesses.

While Hajdu agrees that the crime and horror comics of the 1940s and early 1950s often had material that was unsuitable for children, he finds the roots of the anti-comics movement to be in the fundamental shift in culture between generations that occurred during the cold war. He also exhibits a lot of sympathy for the writers and artists that created comics, some of whom who left the arts altogether after the industry contracted.

Hajdu’s style is journalistic, like other works of popular history. The bibliography is extensive for those who are looking to make a study of comics. There is a touch of humor, which is bound to come up given the sometime goofy nature of comics and the ironies that abounded in the arguments both for and against the medium.

If you’re interested in this book, you may also be interested in
The Golden Age of DC Comics by Daniels, Kid and Spear
Stan Lee by Jordan Raphael and Tom Spurgeon

Stan Lee by Bob Batchelor

Stan Lee is the face of comic books to many and has become a sort of celebrity in his more than 70-year long career as a storyteller. He began to hone his image on the college lecture circuit in the 1960s while he created a new type of superhero, typified by the Fantastic Four and Spider-Man, in collaboration with artists including Jack Kirby and Steve Ditko. It was a role Lee was ready for; he had been trying out ways to promote comic books and himself since the 1940s.

Bob Batchelor presents Lee’s life in Stan Lee: The Man behind Marvel. Though not a long biography, it starts with Lee’s childhood in New York City and runs through his 95^th year, when he is still producing ideas for comics and television.

Lee was present nearly at the beginning of comic books. He started as an assistant to Joe Simon and Jack Kirby, the creators of Captain America. When they moved on after contentions with Timely Comics, a forerunner to Marvel, Lee stepped up to become editor while still a teenager.

Lee was ready to quit comics by the time the 1960s. He craved to work in a respectable field and was tired of chasing trends. The right combination of opportunity and encouragement from his wife pushed Lee to write the kind of comics he would want to read, and it became a sensation.

Though Lee will always be associated with Marvel comics, by the 1980s his focus was shifting to television and film. It was a rough transition for Lee, but he had some success, especially in the production of animated adaptions of Marvel characters that were popular in the 1990s.

Lee has stumbled some in his post-Marvel career, notably the debacle of new media company Stan Lee Media. He seems to have recovered somewhat with POW! Entertainment.

Lee has detractors, which Batchelor acknowledges. Batchelor doesn’t refute those detractors, but his take on Lee is overall very positive. Lee appears to be someone who tries not to be tied down by his past, neither dwelling on his failures nor being content with many successes.

Lee was a central figure in creating some of the most popular characters and stories in the world. Well into his 90s, he is still working and coming up with ideas that find their way into print, television and the Internet.

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

The Book of Lies by Brad Meltzer

Comic Book Nation by Bradford W. Wright

In Memory Yet Green by Isaac Asimov

Kirby by Mark Evanier

Marvel Comics: The Untold Story by Sean Howe

Men of Tomorrow by Gerard Jones

Reading Comics by Douglas Wolk

Spider-Man

Stan Lee by Jordan Raphael and Tom Spurgeon

The Ten-Cent Plague by David Hajdu

Will Eisner by Michael Schumacher

Batchelor, Bob. Stan Lee: The Man behind Marvel. New York: Rowman & Littlefield, 2017.

The Supergirls by Mike Madrid

Superhero comics have been around for more than 70 year. Women adventurers started to don costumes soon after Superman showed how fun—and lucrative—it could be. Mike Madrid describes the history of these heroines in The Supergirls.

Comic book publishers have often followed fads and borrowed ideas and genres from other media. Even though superheroes originated in comic books, they still often reflected the prevailing views of their times and sometimes lagged other media in responding to changes in culture. This is particularly true for the depiction of superheroines.

Madrid shows how the ups and downs of women in American culture were reflected in the lives of their colorful, pulp counterparts. This follows a roughly decade by decade structure beginning in the 1940s when Wonder Woman appeared to fight oppressors and teach the world about the superiority of love, and the 2000s when relatively mature and complex female characters started to become more common.

It’s interesting to me that the World War II-era superheroines were tougher, more independent and more feminist than most the female characters in the decades that followed. Wonder Woman had an openly feminist agenda and aimed to teach girls to be women who could be strong and gracious, though the comic also reflected some the more peculiar perspectives of their creator and writer William Marston Moulton.

Until recently, women in comics had to be something. The had to be object lessons, girlfriends, hangers on, helpers, cheerleaders, career women, glamorous vixens, virgins, princesses,  husband hunters or whatever else a woman was supposed to be in that era. It took a long time for comics to come around to a woman being a person. Still super-powered and still a woman, but fundamentally a person.

As I read this book, I also thought about my profession. I’ve worked as an engineer for more than 20 years. Women are much more common in engineering than they once were, but there is still a push to attract women to the field. I think we sometimes get derailed by trying to prove that girls can like STEM (science, technology, engineering and math) as much as boy can.  Of course, they can. We should also think that the appeal of engineering may be in other thing, for both boys and girls. I was interested in technology as a kid (and enjoyed reading the adventures of Iron Man and Mister Fantastic), but I was also interested in justice, health, economic mobility, and the potential of water, power and mobility to make people’s lives better. I’m not that interested in technology for its own sake, but I’m very interested in how technology can lead to solutions that make people healthier, richer, more connected and happier. I think that is something that could be appealing to many girls, especially to girls who read comics.

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

Comic Book Nation by Bradford W. Wright

Hedy's Folly by Richard Rhodes

Men of Tomorrow by Gerard Jones

Miss Mizzou by J. B. Winter

Reading Comics by Douglas Wolk

The Secret History of Wonder Woman by Jill Lepore

The Ten-Cent Plague by David Hajdu

Madrid, Mike. The Supergirls: Fashion, Feminism, Fantasy, and the History of Comic Book Heroines. Exterminating Angels Press, 2009.

The Numerati by Stephen Baker

Hari Seldon used mathematics to study psychology and society. He developed the science of psychohistory, which he would use to predict future social, economic and political trends. This was utter science fiction when I read Foundation in high school, and doubly so in the 1940s when Isaac Asimov was writing and publishing the stories that would eventually become the novel. (By the way, psychohistory now refers to the application of methods from psychoanalysis to the study of history and social sciences.)

We’ve come a long way. Computers are much more powerful and many of us carry a networked computer around in our pockets much of the day. The computers record a lot of information about us, especially how we use them, and are crunching the numbers so people can anticipate our wants and influence our behaviors.

Stephen Baker gives us a glimpse into that world in his book The Numerati. “Numerati” is Baker’s term for the mathematicians, computer scientists and other math-literate scientists and professionals who are trying to use numbers and equations to describe and predict human behavior.

This type of analysis has applications in many areas. As you might expect, stores, marketers and advertisers are using it to try to sell us stuff. Not only are they trying to persuade us, they are segmenting the market to try to get the highest prices they can for their products from each buyer (and spend less time dealing with die-hard bargain shoppers).

Similarly, politicians are using this type of analysis to reach swing voters. Companies are trying to get the most out of workers.  Health insurance companies are seeking to minimize exposures to risk. Law enforcement is getting all the information it can lay hands on to try to find the terrorist lurking in our midst (finding a needle in a haystack may be easier).

That sounds sinister, and Baker has reservations about the benefits of us sharing so much information, but there are opportunities for those of us who are not numerati, or can’t afford a staff of mathematicians to do our bidding. The numbers that show which workers are most productive could be turned around to help us show our value and potential win a raise or promotion. The numbers that show minute changes in our behavior might help us diagnose and treat diseases earlier and less expensively, or help us live more fully with chronic diseases. They might even match us with a soul mate.

Though science and technology have advanced in the decade since this book was published, the data sciences Baker described are still new. Some of the things we see being done with computers on television or film are still new concepts that don’t work nearly as quickly or accurately as depicted. However, people are working every day to make these technologies better.

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

Chance by Amir Aczel 

The Drunkard’s Walk by Leonard Mlodinow

Fortune’s Formula by William Poundstone

Freakonomics by Steven D. Levitt & Stephen J. Dubner

How to Build and Android by David F. Dufty 

The Numbers behind NUMB3RS by Keith Devlin & Gary Lorden

The Numbers Game by Michael Blastland & Andrew Dilnot

Rock Breaks Scissors by William Poundstone

Baker, Stephen. The Numerati. Boston: Houghton Mifflin, 2008.

The Spirit by Darwyn Cook

The Spirit. Written by Darwyn Cooke and Jeph Loeb and drawn by Darwyn Cooke. New York: DC Comics 2007.

This book collects the first six issues of DC’s new line of The Spirit with writing and penciling by Darwyn Cooke and the one-shot Batman/The Spirit written by Cooke and Jeph Loeb with pencils by Cooke. The Spirit was created Will Eisner and originally ran as newspaper insert in the 1930s and 1940s.

I think Cooke handles The Spirit well. To fans, the character is almost as iconic as the likes of Superman. However, Superman has been continually published since his creation with contributions for many writers and artists. The Spirit ceased publication over 50 years ago and has only appeared in reprints. This could pose a problem for some. Do you keep the character historical, do you modernize him, and how do you make it work?

Cooke handles it the way most comics with such long-lasting character do, he ignores it as much as possible. He has kept what is distinctive and great about The Spirit and his supporting cast and simply written and drawn very good new stories.



The Spirit stories are hardboiled detective tales with a touch of superhero adventure and a big dose of humor. The stories cover a wide emotional range, but the tendency is toward the lighthearted. This is in keeping with Eisner’s work and done well by Cooke, who seems to be involved in several detective-oriented comics projects.

Cooke’s drawing style differs from Eisner’s, though I suspect he could imitate Eisner well if he wanted to. Where the new Spirit resembles the old is in it use of design and layout. This is one of those things Eisner brought to The Spirit that made it great and that Cooke does very well. The layout and design element produces two things. First, it results in some stunning and interesting images. Second, and probably more important, it creates a strong integration of image, action and story. This is something all comics should do, but it is done especially in Eisner and Cooke’s Spirit tales. A great example is the first few pages of Batman/The Spirit. A visually interesting device smoothly transitions an opening dialogue to an action sequence. The action builds to an image that cleverly integrates elements from previous frames that is both a dynamic part of the action and static graphic that serves as something like title page. The effect is magnified because it is presented after the turn of a page.

The fans of the original Spirit stories will find much to enjoy in the new ones. For someone unfamiliar with The Spirit, but liking action-filled detective stories, you’ll find some of the finest here.