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.

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.