Will Eisner by Michael Schumacher

Schumacher, Michael. Will Eisner: A Dreamer’s Life in Comics. New York: Bloomsbury, 2010. Will Eisner was a great innovator in comic books who spent his entire adult life working in the field. Michael Schumacher’s biography of the man, Will Eisner: A Dreamer’s Life in Comics, is a chronological review of his life and major works. Several things set Eisner apart as a comics writer and artist. From the beginning of his career, he thought comics could be serious art that could be more than cheap entertainment for kids. Unlike many comics artists, he was also a savvy businessman. He expanded the scope of comics from entertainment to education. Though his early work in comics is of high quality and displayed great creativity, he pushed himself to do more and better things with his chosen medium. Comic books were held in low regard in their early days, even by the writers and artists who created them. Most of the creators who worked in the field were just biding their time and making ends meet until they might move into more lucrative and respected work in books, magazines, and commercial art. It was also a market open to Jews, like Eisner, and other minorities who had a hard time breaking into other markets. In contrast, Eisner always saw potential in comic books to be serious art that could communicate to people in unique ways. While publishers were interested in gimmicks and characters that sold magazines, and Eisner provided them with that kind of material, Eisner’s desire was to focus on great storytelling through comics. He got his chance when he produced The Spirit, a comic made to be a weekly insert for newspapers. He negotiated a level of creative control over the comic that was uncommon in the industry. Eisner enjoyed the process of negotiation. This had much to do with his success as a businessman. For most of his career, Eisner ran his own shop producing comics for other publishers rather than working as an employee for freelancer. He was intelligent and flexible in his business dealing. He reaped the financial reward of his artistic work in a way few comics artist of the time did. Schumacher attributes this dual nature as artist and businessman to his parents. Eisner’s father was a painter who barely scraped through the depression; his mother wanted to see her children to something practical and have stable jobs. When comics began to face troubles in the postwar years, Eisner was already moving on to the education market. He had proven the concept of educational comics while he was in the army and created comics that supplemented preventative maintenance programs. He expanded this work later, contracting to produce a preventative maintenance magazine for the army during the Korean War, and expanding educational comics to other customers. In the last decades of his life, Eisner returned to telling stories through comics. Rather than returning to the genre stories he told earlier, he told longer, deeper, more personal, and sometimes autobiographical stories. Though not the inventor of the term "graphic novel," he was an innovator in telling longer stories through comics, tackling subjects that previously were the realm of mainstream literature and nonfiction. He developed relationships with publishers and editors that pushed him to produce great work. Schumacher doesn’t find all the work of this period to be great, though some is incredible. It seems to be a complaint that not all of Eisner’s work was as good as his best work. Though their may be something to this, we see in Eisner a man who is pushing into new areas of the art and publishing of comics when most of his contemporaries had long retired. 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) Maus by Art Spiegelman Stan Lee by Jordan Raphael and Tom Spurgeon The Ten-Cent Plague by David Hajdu Will Eisner’s The Spirit by Darwyn Cook

The Right to Write by Julia Cameron

We are all writers. Language and writing come naturally to us. We learn the notion that we are bad writers somewhere along the way, most likely in school. We are trained to be self-conscious and anxious about writing; we need to break that training and start having fun.

This viewpoint is the starting point for Julia Cameron’s advice to writers in The Right to Write. She envisions millions of people writing. They’ll write naturally and organically for the joy of writing.

That is the other major theme that runs through the book: write for the sake of writing. Writing has a lot of benefits even if you only write for your own eyes. It is a way for us to express ourselves and examine our lives.

Cameron has a lot of advice for writers but it is generally not prescriptive. Each writer has his own way. Cameron’s advice is aimed at helping him discover it. That does not mean her advice is impractical. She has some hardnosed comments about what it takes to overcome the blocks would-be writers create (or accept) to their own development.

As Cameron describes it, the writing life is not about being a writer. It is more about becoming the person and writer you can be. It is a process of learning and discovery. She tells several stories of writers who, for various reasons, stop learning and stop being open. The result is that they stop writing or find it difficult. Always be learning is good advice for anyone who wants to improve at something, whatever it may be.

Writing should be integrated into life. Your life, interests, experiences, relationships, emotions, and all the things you take in through the senses are fuel for writing. The more you live, the more you’ll have to write about and the more you’ll want to write.

The book contains many exercises to help a budding writer develop. One of the main things is simply to write every day. She describes daily writing that is intended to get one used to writing without the inner censor putting on the breaks. You also get used to writing even when not in the mood, though once you start writing your mood is likely to come around.

If you’re looking for a step-by-step guide for writing a popular genre novel, this isn’t it. If you want some practical advice and encouragement from a professional writer who thinks you can write something worthwhile, and enjoy it, then The Right to Write is a good choice.

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

Finding Your Writer’s Voice by Thaisa Frank & Dorothy Wall

Just Write by Walter Dean Myers

Keeping a Journal You Love by Sheila Bender

Mastering Fiction Writing by Kit Reed

No Plot? Not Problem! A Low Stress-High Velocity Guide to Writing a Novel in 30 Days by Chris Baty

Reading Like a Writer by Francine Prose

Write Your Heart Out by Rebecca McClanahan

Cameron, Julia. The Right to Write: An Invitation and Initiation into the Writing Life. New York: Jeremy P. Tarcher/Putnam, 1998.

Reading Comics by Douglas Wolk

Douglas Wolk’s book Reading Comics has two major sections. In the first section, outlines a framework for comic book criticism. First, he makes it clear that the comic book (or graphic novel) is a distinct medium. Comics are not half-assed attempts at some other media such as film or prose.

Next he draws a distinction between mainstream comics and art comics. Mainstream comics have always been an corporate effort. It is corporate in the sense that it has been controlled by publishers. It is also corporate because most mainstream comics are the product of a team (a writer, an artist—sometimes separate penciller and inker—a colorist, and a letterer). Both of these types of corporate authorship give rise to a house style.

This gives rise to one of the major points of distinction between mainstream and art comics. Mainstream comics are dominated by a house style. Art comics are an expression of the style of the cartoonist. There is an element of auteurism in this understanding of art comics. An art comic, to a much greater degree than a mainstream comic, is a single artist’s interpretation of what he sees or envisions. Art comics are valued as an expression of their creators’ visions. The more skillful the cartoonist, the more likely he is to produce good comics.

There is more to Wolk’s framework of comics criticism than this, but it seems to me to be the central element. Wolk does not claim to be making a comprehensive system of criticism. Comic books are too new a medium for that, especially because comics criticisms is necessarily younger.

In the second section of the book, Wolk discusses the works of particular cartoonists. Some of these work heavily or mostly in mainstream comics, but the focus remains on how the artist interprets and expresses his vision in comics, with or without the expectations of mainstream comics.

One of the great examples of this is Alan Moore. Moore’s work for mainstream publishers had turned the mainstream, and especially the superhero genre, on its head while still producing comics that work excellently as mainstream comics. Moore bucks the trend of artsy cartoonists by being a writer only; all of his comics are mainstream-style collaborations with an artist. Wolk mentions several works of Moore, but the grand example is Watchmen. Moore, and especially Watchmen, has cost a long shadow on mainstream comics. He has pushed the mainstream to be much better, and eager imitators have unfortunately produced some horrible comics by learning all the wrong lessons.

Several cartoonists receive attention: the dark, strange visions of Steve Ditko (cocreator of Spider-Man), the epically deep world-building and beautiful drawing of Jaime Hernandez, the epic opus of Cerebus comics by Dave Sim, the artistry of Will Eisner, the power of Frank Miller (sometimes overpowering), and the consciousness-expanding ouvre of Grant Morrison (another writer, but not artist).

Even though the book is not new, it introduced me to cartoonists and comics that were new to me. It was worth the read for that, though Wolk’s perspective on the development of mainstream and art comics is interesting, too.

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

American Splendor (Film)

Comic Book Nation by Bradford W. Wright

The DC Comics Guide to Writing Comics by Dennis O’Neil

How to Read Literature Like a Professor by Thomas C. Foster

Maus by Art Spiegelman

Men of Tomorrow by Gerard Jones

Writing for Comics with Peter David

Douglas Wolk. Reading Comics: How Graphic Novels Work and What They Mean. Cambridge, MA: Da Capo, 2007.

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.

Attitude in a Nutshell by Sam Glen

Glenn, Sam.  Attitude in a Nutshell.  Sam Glenn, 2005.

Sam Glenn has the kind of rags-to-riches story that you might expect of a motivational speaker.  He failed in his early jobs and a disaster brought down the family business, which he was running.  One little thing helped him persevere in those hard days and empowered him to turn his life around.  I give you one guess what it was.

It was his attitude.  More to the point, it was a change in his attitude. Instead of staying negative, pessimistic and angry, which probably would have kept him in a bad place, he chose to be positive, optimistic and good-humored, and this attitude help him to see opportunities and make choices that improved his life.

Glenn writes about this in Attitude in a Nutshell.  As the title suggests, it is a short book.  I suspect it draws heavily on his presentations, especially given the informal style, generally conversational tone, and brevity of the chapters.

The author doesn’t seem to bring much new subject of attitude.  Don't take that as harsh criticism.  Recently published books, especially in the self-help genre,  tread much the same ground as their predecessors from 50 or 100 years ago.  Jack Canfield hasn’t added much to W. Clement Stone, except shrewdness in marketing books.  Stone didn’t add much to Napoleon Hill, though he didn’t emphasize Hill’s wilder ideas.  Hill had many antecedents and contemporaries in writing about success, though the patronage of Andrew Carnegie allowed him to take an approach that was unique for his time.

Specifically, the book covers self-talk, humor, courage, character and a few other subjects related to attitude.  Like some other self-help books I’ve read recently, it hangs together mainly on the topic.  Other than the theme of “have a good attitude,” there is no strong thread connecting the different parts of the book.

If he doesn’t stand out as an author of self-help, he may make up for it as a speaker.  I know someone who has seen him present.  His presentation incorporates the creation of chalk art.  It sounds like a gimmick, but a gimmick that draws an audience’s attention, enlivens a presentation, and makes it more memorable is a worthy one.

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

Attitude is Everything by Jeff Keller

The Difference Maker by John C. Maxwell

Google

Super Attractor by Gabrielle Bernstein

I won’t say much about Gabrielle Bernstein’s Super Attractor. There is something about it that turns me off. I suspect my biases are usually clear, though I don’t often state them as explicitly as I do here.

Much of what you’ll find in term of advice is in Super Attractor is similar to what you might find in other self-help books. It has the New Age perspective that is common among many books of this genre, especially in the wake of Oprah’s popularizing of books such as The Secret.

Bernstein goes a step farther in reviving Spiritualism. She essentially claims to be a medium (though she doesn’t use the word) who is in touch with a spirit guide—and you can be, too. I do not know if she is a sham or if she is playing with fire, but it is a path I cannot take or recommend on either scientific of religious grounds.

“Fear is a gentle reminder of what you don’t want, and therefore it helps you clarify what you do want,” Gabriell Bernstein, Super Attractor

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

Acres of Diamonds by Russel H. Conwell

As a Man Thinketh by James Allen

Make Miracles in Forty Days by Melody Beattie

Night of the Ghouls (film)

The Real World of Sherlock Holmes by Peter Costello

The Secret by Rhonda Byrne

The Secret of the Ages by Robert Collier

Bernstein, Gabrielle. Super Attractor: Methods for Manifesting a Life Beyond Your Wildest Dreams. Carlsbad, CA: Hay House, 2019.

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.

The Last Self-Help Book You'll Ever Need by Paul Pearsall

Self-help books are baloney. Psychologist Paul Pearsall didn’t go that far, but he encouraged readers of his book The Last Self-Help Book You’ll Ever Need to have a healthy skepticism about the advice and claims of self-help books. Much of the standard advice in the genre is unsupported by research and sometimes just wrong.

Pearsall’s chief criticism of self-help is its focus on the personal and individual. He argued that there is more joy and fulfillment, along with better solutions to our problems, to be found in the interpersonal and relational aspects of life.

Good relationships are largely a matter of the value you place in them. If you want to others to like you, find ways to like them first. To get love, give love. To find a partner, become someone who would be a good partner. Look for the best in others and overlook their faults. Lasting, loving relationships are based on commitment, not passing, emotional passion.

Another important aspect of Pearsall’s perspective is that there is much to be said for accepting life as it is, good and bad, instead of buying into self-help’s striving for the perfect life.

Life is never going to be perfect anyway. There is no reason to make yourself crazy trying. Instead, aim for a good life of deep enjoyment and engagement. Life is chaotic. Remain calm and learn to enjoy the messy reality. Practice mindfulness; accept the facts of life as it is, but do not passively accept the interpretation you may receive from others. You find the great pleasures and great challenges of living in thinking for yourself.

The themes of relationships and mindful acceptance run through all the chapters of the book. In addition to those areas already mentioned, Pearsall address health and work.

If you’ve read a lot of self-help, you may feel burdened by the gap between where you are and where self-help authors say you can be. Pearsall’s book may be an antidote for that. At the very least, reading it may put things in perspective and help you give yourself a break.

Paul Pearsall also wrote

The Beethoven Factor

Toxic Success

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

The Road Less Traveled by M. Scott Peck

Solve for Happy by Mo Gawdat

Pearsall, Paul. The Last Self-Help Book You’ll Ever Need. New York: Basic Books, 2006.

Attitude is Everything by Jeff Keller

Keller, Jeff. Attitude is Everything: Change Your Attitude…and Change Your Life. Tampa, FL: INTI, 1999.

In Keller’s book, you will find much of what you will find in many similar self-help books. (Perhaps I have read too many.) Attitude is Everything is superior to some others in its genre in that it is short and the author’s enthusiasm for the subject comes through.

The book is laid out in three parts concerning thinking, saying and doing. Each chapter is an essay on a topic relating one of these subjects.

It all starts with thinking. Success or failure begins in the mind because our thinking affects everything we do. Today some seem to have the idea from books like The Secret that it is all about thinking. Keller encourages his readers to be realistic as well as positive. He writes, “Success requires effort, commitment and patience.”

What we say and what we think are closely related. Keller wants us to be positive in our speech because what we say, along with our thoughts, sets us up to act in ways that lead to success or not. Even our answer to the question “How are you?” can affect our outlook and wellbeing.

The part I like most about the book is that it gives attention to the necessity of action. The advice in one of the action chapters, entitled “Networking That Gets Results,” is worth reading and using. I get more business from referrals than any other sources. I value my network more than any other marketing took because it works best for me. This is not about mercenary networking; I hope I can be a good friend to my friends and as helpful to my associates as they have been to me. Keller offers good advice on building and using your network.



If you’re interested in this book, you may also be interested in
The 21 Irrefutable Laws of Leadership Tested by Time by James L. Garlow
The Difference Maker by John C. Maxwell
Don’t Grow Old—Grow Up! by Dorothy Carnegie
Winning with People by John C. Maxwell

The Fifth Heart by Dan Simmons

Novelist Henry James seems like an unlikely partner to fictional detective Sherlock Holmes. Dan Simmons pairs them in his novel The Fifth Heart. James provides Holmes with access to the inner circle of American politics, where Holmes investigates the death of Clover Adams, wife of historian Henry Adams. Together, they thwart an attempt to assassinate President Grover Cleveland at the opening of the Chicago Columbian Exhibition.

In some ways, Simmons draws from the weakest of genre writing, such as the fortunate happenstance of James and Holmes meeting on the bank of the Seine, where the story begins. Simmons writing in this style is not weak, though. He also writes in more literary style, though not a densely written as James’ novels, and uses the likes of upper-class dinner parties to explore social customs and mores.

One of the ways Simmons creates a deep sense of the setting is by constantly dropping names. Many of the characters in the book, or their real counterparts, were famous or well-connected in their day and actually knew each other, such as Adams, the Hays, James, and Samuel Clemens. They also knew, or knew about, a lot of other famous or well-connected people, so the discussion of all these names seems natural. I started jotting down the names, and I recorded more than 100 (some are listed below). Some were fictional (like Hercule Poirot), but many were real people.

On the whole, the novel is a good adventure full of interesting characters. Simmons goes a little deep into philosophy in a consideration of what it means to be a real person, or the potential reality of fictional people (Holmes suspects he may be fictional). The book can be enjoyed without sweating that point.

In a sense, all the characters in the book are fictional, even if they are based on real people. The Holmes of this novel describes the symptoms that indicate he may be fiction, such as the fog he experiences between adventures, and the James of this novel experiences the same thing. Of course, many of us experience arriving home from work and having almost no recollection of driving, so some fogginess may be a natural part of memories and the way we form them (or don’t form them).

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

Fic by Anne Jamison

The Peerless Peer by Philip Jose Farmer

The Seven-Per-Cent Solution by Nicholas Meyer

The Sherlockian by Graham Moore

Simmons, Dan. The Fifth Heart. New York: Little, Brown and Company, 2015.

Henry Adams

Marian (Clover) Hooper Adams

Irene Adler [fictional]

Alexander Agassiz

William Waldorf Astor

Henry Ward Beecher

John Bonfield

Paul Bourget

William G. Brock

Daniel Hudson Burnam

James Donald Cameron

Walter Camp

Enrico Caruso

Samuel Clemens (Mark Twain)

Frances Folsom Cleveland

Grover Cleveland

Willkie Collins

Edward Compton

Stephen Crane

Captain Sir George Mansfield Smith Cumming

Charles Dodgson (Lewis Carroll)

Montague Druitt (suspected of being Jack the Ripper)

Andrew L. Drummond

Edmund Gosse

H. Rider Haggard

Carter Henry Harrison

Adelbert “Del” Hay

Clara Hay

Helen Julia Hay

John Hay

Sven Anders Hedin

Mycroft Holmes [fictional character]

Oliver Wendell Holmes, Jr.

Sherlock Holmes [fictional character]

Isabella Beecher Hooker

Edward Hooper

William Dean Howells

Victoria Woodhull

Henry Irving

Henry James

Francis Scott Key

Phillip Barton Key

Clarence King

Rudyard Kipling

Peter Kropotkin

Fritz Krupp

Louis Jean-Baptist Lepine

Henry Cabot Lodge

Robert McClaughry

George McClellan

Charles Macready

Errico Maltesta

William Melville

Sebastian Moran [fictional character]

James Nolan Moriarty [fictional character]

Richard Monckton Milnes

Carl Gottfried Neumann

Charles H. Pearson

Hercule Poirot [fictional character]

Henry Rathbone

Elisee Reclus

Henrietta Reubell

Henry Hobson Richardson

Edmund Rice

Elizabeth Robins

William Rockhill

Theodore Roosevelt

John Singer Sargent

Rudolph Schnaubelt

Heinrich Schliemann

William Seward

Daniel Sickles

Teresa Bagioli Sickles

Ainsworth Rand Spofford

Edwin Stanton

Elizabeth Cady Stanton

Adlai E. Stevenson

Robert Louis Stevenson

Harriet Beecher Stowe

Benjamin Tayloe

Annie Royle Taylor

Minnie Temple

Emile Jean-Horace Vernet

Carl Aver von Welsbach

A. B. Walkley

Fanny White

Garnet Wolseley

Constance Fenimore Woolson

You are a Badass at Making Money by Jen Sincero

Making money starts in your mind according to Jen Sincero, author of You are a Badass at Making Money. Your wealth, or lack of it, has a lot to do with your mindset.

The things we think and say, even and maybe especially in your subconscious mind, affect our behavior related to money. If you’re making less than you want, you probably have beliefs and thoughts that are holding you back.

Fortunately, you can change your mind. Much of Sincero’s book is focused on ways you can get a new perspective on money and change your habits of thought. New behaviors and more money should follow.

Of course, changing deeply ingrained beliefs and habits that you’ve practice for years can be difficult. It requires persistence and determination.

It also requires action. At first, you’re unlikely to know how you’re going to make more money. You’ll have some ideas, and you should act on them. You’ll have questions and you should seek out answers.

Sincero suggests you’ll have help along the way. This is where things get a little far out. She says there is a universal intelligence trying to give you what you want. Our consistent thoughts tell the universe what we want and how much we want it. If we want positive things, like being rich enough to do a lot of cool stuff, we should have strong positive emotions as much as we can right now.

This notion of universal intelligence is common to self-help literature, especially related to wealth. Sometimes the power is ascribed to the subconscious mind, as in the case of Maxwell Maltz, but often this power is seen to rest in some outside or all permeating force, which is some people’s conception of God.

Actually, a lot of the ideas you’ll find in Sincero’s book are common to the genre. The humorous and entertaining way she presents the material is unique. Books like this are sometimes dense, brow-beating or far out there, but Sincero’s humorous, easy-going tone and straightforward style makes for easy reading.

Jen Sincero also wrote You are a Badass.

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

Acres of Diamonds by Russel H. Conwell

Creative Living for Today by Maxwell Maltz

Gratitude by Melody Beattie

The Magic Power of Self-Image Psychology by Maxwell Maltz

Make Miracles in Forty Days by Melody Beattie

Mindset by Carol S. Dweck

The Secret of the Ages by Robert Collier

Secrets of the Millionaire Mind by T. Harv Eker

Write It Down, Make It Happen by Henriette Anne Klaus

Sincero, Jen. You are a Badass at Making Money: Master the Mindset of Wealth. New York: Viking, 2017.

Pulp Art by Robert Lesser

Lesser, Robert.  Pulp Art: Original Cover Paintings for the Great American Pulp Magazines.  1997.  New York: Metro Books, 2009.

Pulp Art seems more like a collection of essays about the art of pulp magazine covers than a full book.  Each chapter-essay focuses on a particular genre.

Similarly, author Robert Lesser comes across as a knowledgeable enthusiast more than an academic or a professional writer.  At times he is almost a florid as the magazines that are his topic.

What will draw someone to this coffee-table book is not the history, though that is interesting.  The attraction is the large reproductions of pulp magazine cover art.

The art in this book is a little strange.  Part of the strangeness comes from its quality.  Many of these artists were much more skilled and creative than they needed to be.

The other element of strangeness is that such well-crafted art had such unabashedly commercial intent.  The covers were intended to sell magazines.

Oh, how they sold magazines.  Pulps were fundamentally adventure stories.  They covered several genres, detective, fantasy, science fiction, western, horror, even romance, but the intent of all was to give the reader a thrilling escape.  “Spicy” (i.e. sexy) stories did very well to, and they had correspondingly suggestive covers.

In some ways, the best thing about pulp art is the implied story.  Storytelling in art goes back to the earliest art.  The pulp covers had to imply a story that suggested the kind of adventure, danger, and weirdness within.  They often drew their subject from one of the stories in the issue, but sometimes a great painting was the inspiration for a story.  The art was not always strictly representational, it sometimes approached the subject in an abstract way.  Energy and dynamism come through the paintings, and even the artists with the most static style infused their image with a sense of the exotic and otherworldly.

Pulps are collected now more for their covers than for the stories they contain.  Lesser devotes a chapter to pulp collecting.  The collector, or potential collector, might be the main audience for the book.

Lesser includes brief biographies of the artists he discusses.  Many of them had success outside of pulps, and many fine artists resorted to pulps to pay the bills.  Lesser includes several pieces by other who were pulp artists or had connections to them with their recollections of the pulp era and its art.

Google