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

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.


Tuesday, October 28, 2008

The Chinatown Death Cloud Peril by Paul Malmont

Malmont, Paul. The Chinatown Death Cloud Peril. New York: Simon & Schuster, 2006.

There is trouble in Chinatown. The war god that sets faction against faction in Asia stretches a tentacle across the world to stir plots and revenge in America. Heroes rise to meet this menace, very unlikely heroes: writers.

Malmont takes real life writers of pulp magazines, who he clearly regards with great respect and affection, and puts fictional versions of them in the middle of the kind of adventure they may have written. Some of these writers were legends in their time, but may be little know today. For instance, the main characters are Walter Gibson, who wrote The Shadow as Maxwell Grant, and Lester Dent, who penned Doc Savage as Kenneth Robeson. Other names may be more familiar to modern readers of genre fiction, especially L. Ron Hubbard and Robert Heinlein. H. P. Lovecraft plays a brief but pivotal role in a creepy way suited to his weird tales. Several lesser know pulp writers play lesser roles in the story.

I enjoyed these intrusions of biography into the wild fiction. I don’t think anyone would need to be a fan of pulps to enjoy the book. If someone enjoys adventure stories, he’ll probably enjoy this one. The characters sometimes discuss what might be real, if improbable, and what is pulp, a good yarn. Malmont puts the pulp first.

Malmont achieves the right balance of fact and fiction by throwing out the balance. It’s fiction first. The reality is informative and fun, but Malmont makes it work double duty. It is biography and history, but it also helps the reader connect to the characters and their world, which does much to serve the fictional story.

The best thing about the book is that it is fun. It’s a thriller that thrills. It’s a twisty tale that doesn’t try to throw the reader, but sweep them along.

Sunday, July 10, 2016

The Caped Crusade by Glen Weldon

Based on his self-description in The Caped Crusade, Glen Weldon and I are close in age. Unlike Weldon, the limited selection of broadcast television channels in my rural community did not present 1960s Batman series. My childhood impressions of the Dark Knight came almost exclusively from the comics. My favorite version of Batman is the “World’s Greatest Detective” (when I came across his team-up with a very old Sherlock Holmes in Detective Comics 500, I had to have it). I’m also fond of the adventure hero who hues close to his pulp roots—basically the Shadow or Doc Savage in a bat suit (I also had to buy Batman 253, in which the awestruck superhero acknowledges the Shadow as an inspiration).

I suppose that I staked out my position on Batman because that is partly what Weldon’s book is about, the contradictions between Batman the character and Batman the idea, and the tension between stories loved by hardcore fans and stories appreciated by a wider audience who engage with Batman in diverse ways.

Weldon illustrates this tension, and the character’s shift as the pull is sometimes stronger in one direction or another, through the history of the character. He sees a cycle in Batman’s depiction. He starts as a dark loner. He becomes a father figure (most directly to Robin). He grows into the patriarch of a family (Robin, Alfred, Batgirl, and Huntress just to start a list). Then a desire to revitalize the character, get back to roots, or satisfy the core fandom returns him to the loner stage.

The hardcore fans Weldon writes of generally conceive Batman as serious. They want a Batman who is realistic and gritty. In my experience as a reader of comics, “serious,” “realistic” and “gritty” are often code words for prurience, grotesquery and gore. I’m not interested in that in comics or any other media.

These fans have a love-hate relationship with the Batman of other media (they just hate the Adam West version). The Tim Burton films revitalized public interest in Batman when the comics were in a serious sales slump. (The hardcore fans hate the Joel Schumacher movies. I’m with them on that.) In the Chris Nolan trilogy they finally got a Batman who is serious and has acceptance in the wider culture.

That culture is much wider now than ever, especially due to the Internet. Comics fandom was once very insular, and in some ways it still is. In the Internet age, many people are engaging the character and idea of Batman. Comic book fans, cosplayers, fan fiction writers, movie buffs, fashionistas, retro TV watchers, hipsters and a host of others are interacting with Batman’s stories, history, image and iconography. It is a world that some of the old hardcore fans may find discomfiting, but it may be a place where Batman can have lasting relevance.

Weldon plainly likes that prospect. In his view, the super-straight Adam West Batman and the grounded, brooding Chris Nolan Batman can coexist. They are both really Batman. People have always focused on the aspects of the character that resonated with them. They have also imposed on him interpretations that the writers and artists that created his stories never imagined. We do this with every text, but few texts have the longevity of Batman. That may be the Weldon’s other point. We can take any version of Batman as seriously as we want, or we can simply enjoy the stories. He is a fictional character after all.

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


Weldon, Glen. The Caped Crusade: Batman and the Rise of Nerd Culture. New York: Simon & Schuster, 2016.