Hedy's Folly by Richard Rhodes

Hedwig Kiesler was a headstrong Austrian girl with visions of becoming a Hollywood star. She was so determined that she dropped out of school to star working at a Berlin film studio, and by 16 she was acting professionally. She eventually achieved Hollywood stardom as Hedy Lamarr.

Lamarr had another, lesser known life, as an inventor. She, along with avant-garde composer George Antheil, invented a technology that makes much of modern communication possible. Richard Rhodes focuses on this part of Lamarr’s life in Hedy’s Folly.

The woman known for her beauty was interested in technology from youth. She enjoyed walking with her father, a banker, who explained how things worked. Her first marriage was to munitions manufacturer Fritz Mandl. Though she was mostly a trophy to be shown off to his friends, she paid close attention as he and the people he entertained discussed weapons and other technology. When she moved to Hollywood, she sat up a little shop in her home and took up inventing as a hobby.

When Lamarr learned of the sinking by U-boats that were intended to carry children from Britain to safer locations in Canada, she put her head to the idea of improved torpedoes to combat the underwater threat. The torpedo would be remote controlled. To avoid attempts to jam the signal, the torpedo receiver and controller transmitter would can radio frequencies rapidly in a synchronized manner.  She enlisted the assistance of Antheil, who had experience trying to control and synchronize multiple player pianos, to work out a practical implementation of the concept.

The idea was received well by the National Inventors Council, apparently even receiving the endorsement of automotive engineer Charles Kettering. The Navy did not think the idea was practical, but it did by the patent that was awarded to the Hollywood pair in 1941. Eventually, the frequency-hopping technology invented by Lamarr was developed by the U.S. military for many communication applications.

Spread spectrum, a somewhat broader category of radio communication of which frequency-hopping was the original type, was unveiled from the military secrecy in 1976 with the publication of a textbook on the subject by Robert C. Dixon. The Federal Communications Commission (FCC) moved fairly quickly to make room in the radio spectrum for applications of spread spectrum. These were mostly junk frequencies that had been set aside for non-communication uses. Because it broadcast on multiple frequencies, spread spectrum is less likely to be disrupted by interference by other transmissions, like a microwave (Lamarr invented frequency hopping to avoid jamming). Another important aspect of the FCC rule was that these frequencies could be used without a license.

This technology is widely used today. Wi-fi, Bluetooth, GPS, and RFID all use spread spectrum communication. It is the basis of the wireless communication between computers that has shaped the way we live, work, and behave in coffeehouses.

Lamarr and Antheil didn’t receive much recognition for their groundbreaking invention until after it started making its way into American households and pockets. In 1997, Lamarr (and posthumously Antheil) received the Electronic Frontier Foundation’s Pioneer Award when she was 82 years old. By then she had retired to a very private life in Florida, where she live until January 2000.

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

The Age of Edison by Ernest Freeburg

IBM and the Holocaust by Edwin Black

Make a Joyful Sound by Helen Elmira Waite

Professional Amateur by T. A. Boyd

The Secret History of Wonder Woman by Jill Lepore

War Against the Weak by Edwin Black

Rhodes, Richard. Hedy’s Folly: The Life and Breakthrough Inventions of Hedy Lamarr, the Most Beautiful Woman in the World. New York: Doubleday, 2011.

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.