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

What's New Feb. 17, 2011

Interesting Stuff: Black History Month

Conspiracy Theory Notes
God puts a great deal more value on our prayers than we do
Interesting Stuff Feb. 17, 2011
The Ten-Cent Plague by David Hajdu
What's New Feb. 15, 2011

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

Amazing Fantastic Incredible by Stan Lee, Peter David & Colleen Doran

When a book is entitled Amazing Fantastic Incredible, Stan Lee must be involved. That is the title of Lee’s graphic novel memoir, co-written with Peter David with art by Colleen Doran, about his long career in comic books.

Lee has a career in comic books going back the Golden Age. He started working in comics soon after they became a popular medium. Few people have had a career in comic books as long as Lee’s, partly because he is still working. No one has been the public face of comic books, or a spokesman and promotor for the medium, as much as Lee.

Because Lee’s career in comics is well known, at least among fans, some of the more interesting parts of the memoir deal with other aspects of his life. He depicts himself as being crazy in love with his wife, Joan, even after decades of marriage. He recalls himself as a lonely kid during the Great Depression, who took refuge in books and the world of his own imagination. He retelling of his army service during World War II, mostly serving as a writer stateside, is mostly humorous.

I suspect Lee’s humor has a lot to do with his popularity. He comes across as self-aggrandizing with a self-deprecating wink.

Even so, Lee’s status as a comics celebrity has sparked criticism in some circles. He was the face of Marvel Comics, and so has taken the heat for the way the publisher treated the artist who worked for him (comics publishers treated artists shabbily for decades). Maybe he could have done more for the artists who worked for him, and maybe he would have been unemployed if he tried. Lee doesn’t get into this matter much, but when he does he shifts the blame to publisher Martin Goodman.

Lee addresses some of his most famous characters and the artists who co-created them. Some might see his recognition of co-creators as a defense against detractors who say he has claimed too much credit. I think the book presents the situation the way Lee would like to remember, and the way he would like others to remember it. I think he genuinely liked and admired many of the people he worked with. Throughout the book, Jack Kirby is depicted as handsome, powerful and dynamic, almost like a superhero, even when there was a rift if their personal and professional relationship.

This is a memoir, not an autobiography. Lee and his collaborators do not attempt to independently confirm memories, though they straightforward about some memories being fuzzy. A few scenes a clearly constructed to present information in a manner more interesting than direct exposition, though they may have had some root in an actual event. Lee’s conversations with his boyhood self are plainly fictional; I thought they tended to be the weakest parts of the book, though they were functional.

Fans of Lee will probably enjoy the book. Someone who wants a brief and easy history of comics, and isn’t too concerned about the lopsidedness that would naturally come with Lee’s perspective, might also like it. Lee would know, he was there.

Stan Lee also wrote Spider-Man with Steve Ditko. Peter David also wrote Writing for Comics with Peter David.

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

Comic Book Nation by Bradford W. Wright

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

Kirby by Mark Evanier

Men of Tomorrow by Gerard Jones

The Secret History of Wonder Woman by Jill Lepore

Stan Lee by Jordan Raphael and Tom Spurgeon

The Ten-Cent Plague by David Hajdu

Will Eisner by Michael Schumacher

Lee, Stan, Peter David & Colleen Doran. Amazing Fantastic Incredible: A Marvelous Memoir. New York: Touchstone, 2015.

Reckless by Chrissie Hynde

As I get older, I start noticing some strange connections. If Peter Parker aged naturally, he’d be the same age as my father. I also learned that Chrissie Hynde, lead singer of the Pretenders (one of my favorite bands), is only three years younger than my parents. I can hardly believe it, though there is an unreliable part of my mind that seems convinced that I’m still in my early 20s.

This bit about Hynde’s age is hardly the most interesting thing in her autobiography, Reckless. You find many things you normally find in autobiographies. For instance, her early childhood in Ohio was surprisingly and pleasantly normal.

Things get more interesting in her teen years. She became a teenager in the 1960s and she was swept up into the youth culture of the time. She had two loves, music and drugs.

Hynde did a lot of drugs. She doesn’t dwell on the term addiction, but she doesn’t hide that she clearly was addicted. She subjected to herself to may dangers and abuses for the sake of getting high. A person would not do that if she was thinking straight, but addicts don’t think straight.

Unfortunately, drugs got in the way of the music. Drugs took the lives of many innovative musicians of the 1960s and 1970s, and Hynde mentions many of them that she knew. Two members of the Pretenders, Jimmy Scott and Pete Farndon, died of drug-related causes. It seems that there are several occasions in her story, before the Pretenders, when her dream of being in a band was interrupted by drugs, either her own pursuit of them or her potential bandmates’.

Hynde was adventurous. She traveled far from her childhood home in Akron to Canada, Mexico and France before settling in London. London became her home, largely because of the music scene. There she finally put together a band, though an unusual British band with an American lead. She met an amazing number of other musicians, famous then or later, who were there. It may seem like name dropping to discuss the Clash or the Sex Pistols, but these were people she knew and she lived their ups and downs with them.

The final section of the book, covering the career of the Pretenders, is surprisingly short. Admittedly, the original line-up did not last long due to the deaths of Scott and Farndon.

Hynde’s tone is not nostalgic. She has nostalgia for a Midwestern urbanism that was almost dead by the time she came along. She speaks frankly about her own days. She expresses a strong sense of agency and does not blame anyone for the way they treated her or depict herself as a victim. She seems to regret that the drugs people thought would set them free did not, and that as addicts they kept using drugs long after they knew it was a trap.

If you’re interested in rock and roll (and rhythm and blues and punk), you’ll likely enjoy this book. Hynde clearly loves this music and was around when it was undergoing much innovation. She was friends with some of the first stars of punk. He story is also an interesting section of the 1960s and 1970s. For instance, she was a student at Kent State University and witnessed the protests and other events that led to the National Guard firing on students.

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

Professional Amateur by T. A. Boyd

The Ten-Cent Plague by David Hajdu

Hynde, Chrissie. Reckless: My Life as a Pretender. New York: Doubleday, 2015.

Interesting Stuff Feb. 17, 2011

Comics Code Authority Seal of Approval
-Archie Drops CCA in February
-Censors and Sensibility: RIP, Comics Code Authority Seal Of Approval, 1954 - 2011
-Comics Code Authority—Defunct Since 2009?
-Comics Code Authority is Dead
-DC Replaces Comics Code Approval
-The Ten-Cent Plague by David Hajdu

Deconstructing Lichtenstein: Source Comics Revealed and Credited
February is Earthquake Preparedness Month (Missouri)
Interesting Stuff Jan. 27, 2011

Joanne Siegel, Inspiration for Lois Lane, Passes
-Joanne Siegel dies, widow of Superman co-creator, model for Lois Lane
-Joanne Siegel, Inspiration Behind Superman’s Lois Lane, Dies at 93
-Joanne Siegel, the Inspiration for Lois Lane, Passes Away at 93
-Joanne Siegel, the Model for Lois Lane, Passes at 93
-Joanne Siegel, Widow of Superman Creator Jerry Siegel, Dies at 93
-RIP: Joanne Siegel

National Engineers Week (February 20-26)
-Discover Engineering
-Future City Competition
-Let’s Celebrate Engineers
-National Engineers Week Foundation
-Popsicle Stick Bridge Contest

The New York Public Library’s Extremely Useful Predecessor
Teenager Invents Working Solar Death Ray, Athenians Rejoice

Making the American Body by Jonathan Black

In Making the American Body, journalist Jonathan Black explores the history of health and fitness from aerobics to Zumba. Promotion of physical fitness goes back to the founding of the United States; Black notes that Benjamin Franklin praised the use of dumbbells. Franklin was known to be a fan of swimming, too. It began to gain some momentum in the middle 1800s when German immigrants brought the gymnasium (they called it a Turnverein) to the U.S.

I was draw to the book because it has a touch of Missouriana in the person of Bernarr Macfadden, self-proclaimed “Father of Physical Culture.” Macfadden had a classic story of the early bodybuilder. He was a sick, weak kid from the Ozarks who was transformed into a paragon of masculine pulchritude by his commitment to weight training, healthy eating and clean living. Unlike some of his contemporaries, Macfadden believed clean living included an active sex life and he campaigned against prudery. His magazines, headed by Physical Culture, featured photographs of nearly naked men and women in swimsuits.

Fitness promotion is a small world, and many of its leading figures are connected. Macfadden organized a contest (probably fixed) that crowned Charles Atlas the “World’s Most Beautiful Man.” Atlas’ ads in pulp magazines and comic books are probably some of the most well-known ever, especially the bully of the beach ad. The story of this ad, told in comics form, is based on a real event in Atlas’ life when he was shamed by a muscular life guard for his scrawny form and weakness while on a date at the beach.

Macfadden and many others were inspired by Prussian strongman Sandow. They saw him at the Chicago Columbian Exposition, where his show was produced by Florenz Ziegfeld, Jr.

California became a focus of health and fitness trend that would spread across the country. Santa Monica’s Muscle Beach was a place for weight lifters and gymnasts to have fun and show off. Steve Reeves, known for playing Hercules in several films, was a product of Muscle Beach. Jack LaLanne, another wimpy kid transformed, opened gyms, brought workouts to television, and encouraged women to exercise and do strength training.

Other trends gained popularity, especially fitness focused on cardiovascular health. This brought into popular culture Dr. Kenneth Cooper, a physician to astronauts whose 1968 book Aerobics launched an industry. That industry provided a career for Richard Simmons and a second career for Jane Fonda, who was the first to emphasize exercise as a way for women to lose weight (though this was an unspoken appeal long before the 1970s). Bodybuilding made a comeback, though, especially fueled by the popularity of Arnold Schwarzenegger.

I’m not especially interested in the health and fitness industry, but I found this book to be very interesting. It provides a historical context for many of the health and fitness trends that are still part of American culture.

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

American Nerd by Benjamin Nugent

Empires of Light by Jill Jonnes

The Fifth Heart by Dan Simmons

The Power Makers by Maury Klein

The Relaxation Response by Herbert Benson with Miriam Z. Klipper

The Ten-Cent Plague by David Hajdu

Black, Jonathan. Making the American Body: The Remarkable Saga of the Men and Women Whose Feats, Feuds, and Passions Shaped Fitness History. Lincoln, NE: University of Nebraska Press, 2013.

Boris Karloff Double Feature

I watched a Boris Karloff double feature over the weekend. Isle of the Dead (1945) is a tale of a modern man struggling against the ancient superstitions that were ingrained in him during his childhood. Tension runs high on the plague-infested island of his nightmares.



Bedlam (1946) is a combination of horror movie and morality play. It seems ripe for a remake as the story of a young woman who leaves the life of privilege she struggled so hard to attain to fight for better treatment of the mentally ill in the 18th Century. They could skip the horror-style poetic justice, but then it would just be a thriller or maybe a gritty version of the feel-good movie.

Both films deal with the classic horror theme of live internment. To better understand this fear, especially in the time when these films were set, and possible enrich your viewing, read Buried Alive by Jan Bondeson.

Superman versus the Ku Klux Klan by Rick Bowers

On February 5, 1946, The Adventures of Superman radio program opened with a new introduction:

Yes, it’s Superman.  Strange visitor from another planet, who came to earth with powers and abilities farbeyond those of mortal men.  Superman, defender of law and order, champion of equal rights, valiant, courageous fighter against the forces of hate and prejudice!

This announced the beginning of the radio Superman’s struggle with post-war social issues, especially a campaign against racial and religious intolerance.  In this adventure, Jimmy Olsen infiltrated the Guardians of America, a fictional stand-in for pro-Nazi groups that were operating in the United States at the time.  This was only the beginning.  Later that year, Adventures would feature a 16-episode story in which Superman took on the Clan of the Fiery Cross, a stand-in for the Ku Klux Klan (KKK).

Behind these fictional stories of Superman were real-life adventures.  The KKK was attempting to launch a new national membership drive, playing on the insecurities people felt after World War II.  There were real infiltrators of the KKK and other organized hatemongers who exposed the workings of these organizations in the media.  Rick Bowers tells the story of these men and the producers of the comic book and radio Superman in Superman versus the Ku Klux Klan.

Superman had been dealing with cultural concerns from his beginning.  When Jerry Siegel and Joe Shuster, Jewish high-school students in Cleveland, created Superman in the 1930s, they pitted him against criminal gangs and crooked politicians.  As Nazi Germany began to rise as an aggressive European power, the hero opposed Nazis at home and abroad.  During the war, he protected the home front.   Though it is not the focus, Bowers describes how Superman has changes with the concerns of the times.

The Klan has roots going back to the Reconstruction era after the Civil War.  It started as a jokey order of former Confederate Army officers in Tennessee who imitated the mystery religion-inspired fraternal orders that were popular at colleges, with mysterious rituals and strange names.  It spawned imitators that secretly gathered in Nashville to organize themselves in 1867.  Former Confederate General Nathan Bedford Forrest was the first Grand Wizard, who lead the Klan in opposition to Reconstruction, including domestic terrorism against blacks and white proponents of racial equality and Reconstruction policies.  The violence of the Klan members, called Ghouls, eroded the organization’s popularity.

William J. Simmons launched a campaign to revive the Klan, taking it national in 1920.  For Simmons it was largely a moneymaking scheme, though he seemed happy to promote intolerance of blacks, Jews, Catholics, immigrants and anyone else who wasn’t a white, male Protestant.  (I’m a white, male Protestant and I find nothing in Protestantism, or Christianity in general, that justifies the intolerance promoted by the Klan.)  Successors led the Klan to political activism in the 1920s, and it became very powerful, but front-line violence and leadership hypocrisy undermined their position.  The post-war membership campaign, led by Samuel Green who was Grand Dragon of the Georgia Realm, was thwarted by law enforcement and equal rights advocates with help of medial like Adventures.

The library helpfully labeled Bowers’ book with a sticker that reads, “TEEN.”  I suppose it is a young adult book, though I think it is within the grasp of many middle school students.  It is an unusual introduction to the history of bigotry in American and the movements that promoted equality, but the tie to a popular superhero might make the subject more appealing to kids in school.  It made me pick up the book, and I’m far passed my school days.

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

The Amazing Adventures of Kavalier & Clay by Michael Chabon

Maus by Art Spiegelman

Men of Tomorrow by Gerard Jones

The Ten-Cent Plague by David Hajdu

Bowers, Rick.  Superman versus the Ku Klux Klan.  Washington, DC: National Geographic, 2012.

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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

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Lift by Daniel Kunitz

Trends in fitness in the 2000s have given to new sports, such as the CrossFit games, and new athletic entertainments in the form of American Ninja Warrior. Daniel Kunitz traces the rise of this new fitness culture, which he calls New Frontier Fitness or NFF, in his Lift.

 Kunitz goes back to the ancient Greeks, who revered physical beauty and fitness and considered it the obligation of citizens (only men were citizens) to keep themselves in good shape in order to serve and defend their nation. The Greek word for this training was askesis.

 The English word asceticism has it root in askesis. While we now associate it with self-denial, the Greeks associated it with purposeful self-discipline. Participants in NFF have embraced this old-fashioned asceticism, training purposefully with benefits that spill into all areas of life.

 As an aside, Christian asceticism is often associated with self-denial, sometime extreme, for the purpose of penance. When I read Paul’s writing on denial of self, I see it described in the context of disciplining oneself with the purpose of living a higher life. He even uses athletes as an example. He is not denigrating athletes for training for a worthless prize. He is reminding Christians that they have and even more important calling that deserves at least an equal commitment and effort.

 Of course, few cultures since then have reveled in physical achievement. Exercise at times has been considered dangerous to health. Weightlifting too much resembles labor, a task for lower-class people that wealthy and middle-class people were reluctant to embrace. Even when exercise became more acceptable, starting in the 1960s and taking off in the 1980s, the focus was often on appearance.

 NFF is not concerned with appearance. It is concerned with performance. If one trains to perform well, appearance will take care of itself.

 Because of this focus on function, NFF eschews many of the machines found in gyms. Exercises resemble tasks one might actually perform, though with greater intensity intended to push skill and physical capacity. NFF participants train like an athlete, constantly reaching to do better, not to look better but to live better. As Kunitz says several times, they are “training for life.”

 From a historical point of view, Lift covers a lot of the same ground as Making the American Body by Jonathan Black. However, Kunitz is specifically intending to give context to NFF and its influence on how people think about being fit today.

 Though Kunitz is a professional writer, he is also a fan of NFF. He practices CrossFit, which he discusses in the book, and Olympic lifting. He also talks to people who train in other functional regimes like parkour and sweatier forms of yoga.

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

The Age of Edison by Ernest Freeburg

Arthur & George by Julian Barnes

Empires of Light by Jill Jonnes

Mr. America by Mark Adams

The Power Makers by Maury Klein

The Real World of Sherlock Holmes by Peter Costello

The Ten-Cent Plague by David Hajdu

 Kunitz, Daniel. Lift: Fitness Culture, from Naked Greeks and Acrobats to Jazzercise and Ninja Warriors. New York: Harper Wave, 2016.

200 Books Reviewed on Keenan’s Book Reviews

First Time Reviews

365 Thank Yous by John Kralik
The Abolition of Man by C. S. Lewis
Acts
American Splendor by Harvey Pekar
Batman created by Bob Kane

Caves of Steel by Isaac Asimov
Change Your Brain Change Your Body by Daniel G. Amen
The Checklist Manifesto by Atul Gawande
The DC Comics Guide to Writing Comics by Dennis O’Neil
The Drunkard’s Walk by Leonard Mlodinow

The Essential Engineer by Henry Petroski
Exodus
Finding Your Writer’s Voice by Thaisa Frank & Dorothy Wall
God’s Secretaries by Adam Nicolson
The Gospel of John

The Gospels
Have a New You by Friday by Kevin Leman
Histories and Fallacies by Carl R. Trueman
How to Get Control of Your Time and Your Life by Alan Lakein
How to Read Literature Like a Professor by Thomas C. Foster

How to Write & Present Technical Information by Charles H. Sides
How to Write Horror Fiction by William F. Nolan
I Can Make You Thin by Paul McKenna
In the Beginning by Alister McGrath
Jonah Hex created by John Albano and Tone DeZuniga

Judge Dredd created by John Wagner and Carlos Ezquerra
King James Bible
Little Shifts by Suzanna Beth Stinnet
Love and Respect by Emerson Eggerichs
Newton and the Counterfeiter by Thomas Levenson

Numbers
On Becoming a Leader by Warren Bennis
Our Cancer Year by Harvey Pekar and Joyce Brabner
Paperboy by Henry Petroski
The Pilgrim’s Progress by John Bunyan

The Procrastination Equation by Piers Steel
Romans
Scott Pilgrim’s Precious Little Life by Bryan Lee O’Malley
Scott Pilgrim vs. the World by Bryan Lee O’Malley
The Sherlockian by Graham Moore

The Ten-Cent Plague by David Hajdu
Thanks! by Robert A. Emmons
True Blood by Charlaine Harris
The Ultimate Weight Solution by Phil McGraw
Vital Friends by Tom Rath

Walk Away the Pounds by Leslie Sansone
War Against the Weak by Edwin Black
Wide as the Waters by Benson Bobrick
Writing for Comics with Peter David
Zorro created by Johnston McCulley

Additional and Expanded Reviews

The Holy Bible
Into the Depths of God by Calvin Miller
The Road to Serfdom by F. A. Hayek
Simple Pictures are Best by Nancy Willard, illustrated by Tomie de Paola

Continuation of list of 200 books reviewed

First 25 Reviews
Reviews 26-50
Reviews 51-75
Reviews 76-100
Reviews 101-150

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

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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

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