Comic Book Nation by Bradford W. Wright

As you would expect from a medium that has survived decades, comic books have changed with time to adapt to changes in culture.  In Comic Book Nation, Bradford W. Wright describes that history from the birth of comics as a new medium in the 1930s through the 1990s. Though the book was published a decade ago, it still provides a good perspective on where comics are. He mentions the advent of electronic publishing at the close of the book. I think it is fair to say that electronic publishing and distribution has not radically changed comics, though there may be potential for that in recent developments in the business of self-publishing comics electronically.

Bradford is an academic historian. Comic Book Nation is intended to be a cultural history of comics. Of course, Bradford can’t help but cover some the same ground that other writers cover, though this book predates many of the more academic or journalistic books on the subject. Some publishers, creators, and titles are just too important and influential not to mention. Even so, he tries to stick to his purpose and show how the times were reflected in comics.

I think it is fair to say that comics, and popular media generally, reflect cultures more than they influence them. If they didn’t, they wouldn’t be popular. This reflection isn’t always simplistic, even in comics. Comics writers and artists, like other producers of popular media, tried to address the concerns and interests of their audiences, sometimes realistically, sometimes idealistically, and sometimes with cynicism.

Of course, it was Superman who sparked the immense popularity of superhero comics, and comics generally. That popularity spawned imitators, as it does today. The early Superman, created by Cleveland high school students Jerry Siegel and Joe Shuster, was a reformer. He battled gangsters and crooked politicians. He was a New Dealer. Many comics supported New Deal policies to address the Great Depression.

Superheroes made the transition to World War II with ease. Writers had to address why the costumed crusaders weren’t enlisting or bringing the war to a swift end. They must have succeeded, because superhero titles were very popular, even among American soldiers. Comics were pro-war, and many costumed heroes were battling foreign menaces, especially the Nazis, even before America entered the war.

Superhero titles floundered after the war, but other genres did well. Comics generally supported American policies of intervention in smaller nations and containment of Communism. The medium reflected the post-war hopefulness that there could be peace and international cooperation with America leading as a benevolent superpower.

The post-war years had troubles, too. People feared the misuse and spread of nuclear weapons. The Korean War was a doubtful venture that many felt lacked the clear and good purpose of World War II. This applied to Viet Nam, too, where the additional problems of guerilla warfare challenged notions of heroism.

Comic books faced other challenges. The excesses of crime and horror comics brought about industry-operated censorship. Television competed for the time and money of children.

Much of the latter part of the book shows how the comics industry found a way to survive these problems. The 1960s introduced a resurgence of creativity and superheroes, especially the flawed fantasy men of Stan Lee’s Marvel Comics. New models of distribution were introduced in the 1980s. Electronic media has the potential to reinvigorate comics.

Because my adolescence was in the 1980s, I’d like to mention a few things about it. Unlike some comics historians, Bradford spends a fair amount of time on that decade, especially in a book that covers more than 60 years. He provides a pretty good description of how Frank Miller and Alan Moore challenged the superhero model and brought a lot of new interest to it. If anything, Miller and Moore were too influential. A lot of comics are still derivative of their best works.  Imitation of success is common in comics, and too often the imitators do not have the skill or understanding of the masters.

What I’d really like to mention is that Bradford acknowledges John Byrne’s contribution. Byrne was a very popular writer and artist in the 1980s. He did some pretty good stuff, too. He also indulged in excesses that presaged the excesses of the 1990s, but at least he did it with a self-aware wink. Byrne brought fun back to comics. Then as now, I like comics with a good dose of fun.

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

Men of Tomorrow by Gerard Jones

Stan Lee by Jordan Raphael and Tom Spurgeon

The Ten-Cent Plague by David Hajdu

Will Eisner by Michael Schumacher

Wright, Bradford W. Comic Book nation: The Transformation of Youth Culture in America. Baltimore, MD: Johns Hopkins University Press, 2001.

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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.

Ed Wood Double Feature

Ed Wood is famous as one of the worst filmmakers of all time. That is an overstatement. Wood made some decent films (for the time, budget and type of films he was making) and some find even his bad movies to be entertaining. A couple of my favorite Wood films are illustrative.

I think Bride of the Monster (1956) is the first Ed Wood film I saw. I recall it showing on the Creature Feature, a late night film show broadcast out of Cape Girardeau and hosted by Misty Brew. Bride is not a bad movie. It’s about as good as a lot of low budget, sci-fi horror films from the 1950s.



In Bride, Bela Legosi plays an outcast scientist who intends to create a “race of atomic supermen” that will usher in a new age of his making, under his rule. His human experiments have not been successful and keeping ahead of the law and spies from his homeland led him to a remote American swamp. His animal experiments have been more successful, and his gigantic creation proves to be a useful way to dispose of the corpses of his unwilling human subjects. Mad science, nosy reporters, police, and spies crash in an atomic explosion of mayhem.

By contract, Night of the Ghouls (1958) has everything in it that is the worst of Wood. To start with, it seems to be a sequel to Bride, except that any continuity is accidental. Many of the actors are the same, but only two of the characters could are the same, Lobo (Tor Johnson) and Kelton the Cop (Paul Marco). There are constant reference to setting of the story and that strange things happened there once before, enough for me to think it’s referring to Bride, but they don’t exactly make sense and certainly aren’t necessary. I don’t know if issues with rights prevented Wood from making an outright sequel. I suspect his write-fast, film-fast style didn’t leave room for the careful checking of continuity a real sequel would require.



Another Woodism is the overuse of voiceover. The film begins and ends with soliloquies delivered from a coffin by newspaper psychic Criswell, which is entertaining in its goofy bombast. Criswell’s narrative continues through the film, though it is largely unnecessary. Wood is good enough to tell the story without the voiceover, but bad enough to use it anyway. Criswell delivers the lines with gusto, and possibly with thanks, for their better than most of the dialogue the other actors have to deal with.

Criswell narrates a section built on stock footage, which was a staple of low-budget and exploitation films and frequently used by Wood. The bad, and oddly entertaining, thing about this section is that it has practically nothing to do with the rest of the film. It’s an exploitation-style harangue on juvenile delinquency that depicts many young people dancing to rock and roll, racing cars and committing mostly petty crimes.

In Night, at least, Wood is not a good storyteller. He remains a great plotter though. A fake psychic set up shop to con wealthy clients who disparately desire to reach diseased spouses. It turns out he is actually very powerful medium who is unwittingly raising the dead from a nearby cemetery. These ghouls can’t stay in the realm of the living for long and they’re not going back to their graves alone. That could be an awesome horror story, but in Wood’s hand it doesn’t quite make it.

By the way, the malevolent medium of Night is named Dr. Acula. That is right, Wood straight up names a character Dr. Acula.

If you like old sci-fi horror films, you may like Bride of the Monster, which is typical of its low-budget ilk. If you want to see a bad movie that entertains in spite of, or possibly because of, its myriad flaws, look at Night of the Ghouls.



If your interested in these films, you may also be interested in
Bedlam
Isle of the Dead

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 Amazing Adventures of Kavalier & Clay by Michael Chabon

Chabon, Michael. The Amazing Adventures of Kavalier & Clay. New York: Random House, 2000.
ISBN 0-679-45004-1

This novel is partly about comic books. It is more about identity, with corollary themes of family, race, nationality, sexuality, talent, profession, and self-expression.

The title characters, Joe Kavalier and Sam Clay, are cousins and creators of comic books during that medium’s golden age. They are fictional counterparts to the writers and artists who took elements from the popular arts of their day, explored the boundaries of a new medium, and created a form of storytelling. For comics fans, Chabon includes plenty of name-dropping and asides into the industry in that era. These elements don’t bog down the story, but fill in the background.

Joe escapes from Prague as a young man just at the Nazis are beginning to implement the isolation of the Jews there. By happenstance, he was born in the Ukraine and eligible for a Soviet passport. His family’s arrangements fail, and he is sent back to Prague. He enlists the help of Bernard Kornblum, an escape artist who taught Joe his art. Together, they smuggle the golem of Prague out of the country. Joe takes a long journey to New York, where he moves in with his aunt, Sam’s mother, and begins his creative partnership with his cousin.



Joe spends the rest of the book involved in escapes, with varying degrees of success. He tries to escape his survivor’s guilt, his grief, his hatred of those who killed his family, love, his own self-isolation.

Sam is a product of New York, an absent father and a caustic mother. He is a hustler, looking to escape poverty and loneliness, and later looking to escape the difficulties of his sexuality. He sees an opportunity in Joe’s artistic talent. Within a day, he persuades his boss, a seller of novelties, to publish a comic book; within a weekend, he manages to get his friends to produce one.

Joe and Sam are naturals to create a comic book superhero. They struggle to be and do things that seem out of their reach. They are like Tom Mayflower and the Escapist, the hero they created. Mayflower is a crippled kid who can only dream of being the great magician he longs to be. As the Escapist, he has the power do above and beyond what he imagined. Nothing can hold him. Through their creations, Joe and Sam engage in fictions that fulfill their own needs. Joe seeks revenge at first, and later seeks and reconciliation with his past. Sam seeks to end his loneliness, both his need for a father and a desire for a kind of love he could not safely pursue.

In the end, escapism becomes not just away to get a break from troubles, but a way of finding oneself. While Sam never becomes fully reconciled with his art, he finally gives himself the freedom to stop fearing and be himself. Joe embraces the comic book, and the escape it permits, as a way of both relieving the pressures of the world and to imaginatively deal with them.

• If your interested in this book, you may also be interested in The Chinatown Death Cloud Peril by Paul Malmont.

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

Stan Lee by Jordan Raphael and Tom Spurgeon

Raphael, Jordan, and Tom Spurgeon. Stan Lee and the Rise and Fall of the American Comic Book. Chicago: Chicago Review Press, 2003.


This biography of writer, editor and promoter Stan Lee is also a history of comics, particularly Marvel comics. Lee’s long career with Marvel, especially as its public face, has made them inseparable.

If you’re interested in the history of American comics, Lee’s career is worth considering. He started in the industry shortly after it became a popular media as a gopher for Captain America creators Joe Simon and Jack Kirby. Soon he was editor of a line of comics, which he actively worked on for parts of four decades before moving on to becoming the public face of comics and less successful efforts in other media.

Lee is best known for overseeing a revolution in comics in the 1960s. He introduced characters that were as notable for their flaws and human frailties as for their extraordinary abilities. He took elements from genres a varied as romance and giant monster stories to create relatable superheroes. This sparked a creative revival for the both Lee and the industry.

Lee is a great promoter and salesman, and one of his most daring creations has been his own public image. Raphael and Spurgeon are careful not to be caught up in the hype while still recognizing their subject’s contribution to popular culture and particularly to the characters he oversaw.

One of the interesting things that come out of the book, though the authors don’t focus on it directly, is Lee’s place as a writer. He entertained dreams of writing novels and screenplays, but didn’t. He only wrote one full screenplay and seemed to think it was an onerous chore. During his creative heyday in comics, the Marvel method involved Lee writing story concepts and synopses that were fleshed out by the artists with him adding the dialogue to the drawn pages. The system worked well for Marvel financially and seems to have been Lee’s forte.

The authors recognize this in summarizing Lee’s career. They say he may have been the greatest comic book editor ever. His famous creative contributions were collaborative efforts with artists and he got consistent quality from lesser contributors. He kept a marginal comics publisher going through tough time until he and others were ready start a creative renaissance in their medium.

Editor can be an inglorious position. The title suggests a secondary position to the writer and artist, but at his height he was very directly involve in the creation of Marvel comics. His ability to manage a burgeoning, collaborative, creative enterprise made the Marvel revolution possible.

Lee’s contribution as a writer, editor, creator and collaborator are obscured by his career as the public face of Marvel. He is a natural promoter and, some might fairly say, glory hound. His rise to celebrity almost necessitated the minimization of others contributions, which lead to strained relationships with his friends and the industry he represents. His public persona has cast a shadow on his career that both darkens his reputation and obscures the real value of his creative work.

If you’re interested in this book, you may also be interested in these fictional takes on comics history
The Amazing Adventures of Kavalier & Clay by Michael Chabon
The Book of Lies by Brad Meltzer

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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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.

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

The Book of Lies by Brad Meltzer

Meltzer, Brad. The Book of Lies. New York: Grand Central, 2008.
ISBN-13: 978-0-446-57788-5
ISBN-10: 0-446-57788-X

The Book of Lies is a thriller that brings together the ancient, the old and the present. The old and the present are tied to a gun that injures a man today and killed a man in 1932. These events are also linked to a search for an ancient book, God’s mark, or reward, to Cain for repenting of his brother’s murder.

The 1932 killing was of Mitchell Siegel. He was the father of Jerry Siegel, co-creator of Superman. It’s true that Mitchell died during a robbery of a shop, officially of a heart attack, though family history is divided over whether this is true or whether he was shot by the robber. For the fictional tale author Brad Meltzer goes with the shooting. The fictional version of Jerry hides clues to his father’s murder, and the secret he died to protect, in an early version of Superman.

The characters are drawn into finding the clues in Superman when one is shot by the same gun that killed Mitchell Siegel. He is an ex-con and the protagonist is his son, a disgraced former customs agent. They barely stay ahead of the others who are seeking them or Cain’s book, federal agents, occultists and rivals in there own camp.



That Cain murdered Abel is from the Bible. Beyond that, Meltzer’s version of the story owes more to the occult than the Bible and may be largely from the author’s imagination. Of course, the biblical account doesn’t leave much room for a modern-day thriller.

The events surrounding the death of Jerry Siegel’s father are fictional, too, though this recent history is treated with more care. Siegel has surviving family, including his wife, and co-created the most well recognized character in comics, a medium for which Meltzer writes.

I’ll admit I’m not especially a fan of thrillers. I was drawn to this book by the Siegel connection. I found the book to be entertaining with plenty of action.

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

O’Neil, Dennis. The DC Comics Guide to Writing Comics. New York: Watson-Guptill, 2001.

Denny O’Neil has been writing and editing comics for decades. He is particularly known for his work on comics featuring Batman. He has also written novels and taught writing.

As the title of the book suggests, the focus is on writing for comics. Comics are unique in using both words and drawings (and sometimes only drawings) to tell a story. A comics writer must write with pictures in mind and, unless he is one of those talented people who can draw well as well as write, be ready to describe to the artist the pages, panels and images he will create to bring the story to the page. Comics are inherently a collaboration between the writer and the penciller.

O’Neil’s style is very informal and is advice is direct and practical. As and insider, he can frankly lay out the difficulties of writing for comics and the expectations a writer should have.

Even so, he is quick to point to point out there is no exact formula. A comics writer must be prepared to do what works. Even in scripting, there are two major types: plot first a full script. (Editors will probably prefer full scripts from new writers). Even when writing a full script, there isn’t a standard way. O’Neil reproduces pages from several scripts. They all contain the same type of information, but they all look a little different in their particulars.



O’Neil deals with writing both the single-issue story and the multi-issue story arc. As the editor of Batman titles, he oversaw one of the most long and ambitious story arcs in superhero comics. There is an economic advantage for writers and publishers in that good story arcs can have a longer life reproduced in trade paperbacks (or even hardbacks). Even in a long story, every issue has to be good and offer a point of entry for new readers.

To some degree, what makes a good story is the same in any medium. If someone is looking for a short, readable book on fiction writing and the practical matters of keeping readers interested and managing a complex tale, in comics or other media, this book will be useful.

If you’re interested in this book, you may also be interested in
The Golden Age of DC Comics: 365 Days by Les Daniels, Chip Kid & Geoff Spear
How to Write Mysteries by Shannon OCork
How to Write Science Fiction and Fantasy by Orson Scott Card
Stan Lee by Jordan Raphael and Tom Spurgeon

Maus by Art Spiegelman

Maus is a compelling, true story of survival, love and loss. It’s a skillfully told story that follows a Polish Jew from youthful success through the holocaust and into being a difficult old man. The reader, like the author, can at the same time be awed by his resourcefulness and reeling from his maddening, petty behavior. The Pulitzer-winning tale is told through a medium that is generally associated with juvenile, fantasy adventure stories.

Maus is a powerful story of the holocaust and a complicated story of a son and his father. Vladek Speigelman survived horrors that killed many and had the presence of mind to help his wife come through it, too. This resilient man was full of flaws, miserly, racist, and competitive with his son, underground comics writer and artist Art Spiegelman.

In this sense, Maus is Art’s story. He is trying to have a relationship with his difficult father. He is trying to record his family’s amazing history. He and his father are both still coping with the death of his mother. Art’s love, awe, anger and frustration come through.


His sense guilt comes through, too. Art struggles with telling a story he can’t full appreciate. He wishes at one moment that he had lived through the holocaust so he could understand what his parents suffered.

Though Vladek seems to not think on it, Art speculates that his father’s need to be the best and to save stem from survivor’s guilt. Evens so, he presents plenty of evidence that Vladek’s parsimony, fastidiousness and vanity were with him before the Nazi invasion of Poland and might have contributed to his survival, along with a lot of luck.

Art Spiegelman didn’t seek easy answers about his father or the holocaust. Maus may be more about living with the questions and facing personal and societal history honestly even when we don’t have the answers.

Writing for Comics with Peter David

David, Peter. Writing for Comics with Peter David. Cincinnati, OH: Impact, 2006.

Peter David brings his more than two decades of experience as a comics writer, including a well known stint as a writer of The Incredible Hulk, to bear on the subject of writing for comics. David’s book is mainly a guide to writers who want to break into comics, but it’s also written to appeal to comics fans who want a better understanding of their favorite medium.

To some degree, good writing is good writing, so much of the advice David provides could be useful to fiction writers in general. Conflict, character, setting, plot and pacing are things all fiction writers must handle. David draws on examples from other media, especially movies, to illustrate his points.

Even so, comics have there own conventions, traditions and techniques. David deals with some of the unique elements of comics directly such as script style, speech balloons, continuity and writing instructions for artists. Mostly, relevant techniques are dealt with as they arise in discussing writing for comics.

The main audience of the book is writers, so it deals with art, editing and other elements of comics from the standpoint of the writer’s place. All writers need to understand the craft of writing; comics writers also need to understand the craft of making comics since he not only writes a story, but also a script that gives shape to the final product, often page-by-page and frame-by-frame.



David’s advice can be taken more as guidelines as rules. One of his repeated points is to do what works. Even in his own writing, he adapts his script style and level of detail according to the story he is telling, the artist he is working with and the expectations of his editor.

Even though David doesn’t lay out one way, he does show the better ways and the danger zones. Someone wanting to write for comics will find a lot to help him do it well and possibly break into the tight market (including advice from a Marvel editor on pitching a story and detailed script guidelines from Dark Horse).

If you’re interested in this book, you may also be interested in
The DC Comics Guide to Writing Comics by Dennis O’Neil
How to Write Science Fiction and Fantasy by Orson Scott Card

Why Science Does Not Disprove God by Amir Aczel

New Atheism is a movement that arose after the attacks of September 11, 2001. Proponents of the movement blame religion for nearly all the violence and disorder in the world, and they aim to eliminate it and any belief in God. Many New Atheism writers call upon science for proofs that there is no God, such as biologist Richard Dawkins and physicist Lawrence M. Krauss. These arguments have been picked up by Sam Harris, Daniel Dennet and old-school atheist Christopher Hitchens.

Amir D. Aczel, a mathematician and science writer, argued that these authors misappropriated science for this purpose, sometimes misapplying it, misrepresenting it, or propagating misunderstandings. He presented his arguments in Why Science Does Not Disprove God.

Aczel’s perspective is very scientific, though he respects religion. He accepts the prevailing theories of cosmology that our universe began in the Big Bang. He accepts that evolutionary processes have produced higher and more complicated life forms from simpler ones though natural selection.

Aczel begins by addressing the archeological support for Biblical history. While he does not suggest that there is evidence of Biblical miracles, there is a lot of evidence supporting the historical narratives of the Bible. While New Atheism argues there is no archeological evidence to support the Bible, Aczel shows that there is abundant support for the history described in it.

Another popular argument of the New Atheists is that quantum theory demonstrates that the universe arose spontaneously out of nothing. Aczel describes how quantum theory actually shows that we cannot know some details about the earliest moments of the universe following the Big Bang and that it cannot at all address what was before the Big Bang. No theory of physics supposes it came from nothing. Some argue that it arose spontaneously, but it still occurred in due to physical process in a medium that existed before the universe, which itself raises many of the same questions of origins.

This points to the crux of Aczel’s argument. Science, math, and logic all point to their own limitations. There are huge unanswered, important questions in science, not the least of which is what is consciousness and how it came to be. We may not be able to answer such questions and there is certainly some knowledge that is not accessible to us. New Atheism proponents present science as having firm answers to these questions when it sometimes only has speculation or no real answers at all. Science may someday uncover some of this knowledge, but in can’t uncover all of it.

While he demonstrates that science doesn’t, and cannot, disprove God, he does not suggest that it can or will prove the existence of God. Aczel believes that God may be outside of what can be known through science, mathematics or even the human mind.

Aczel still has a great appreciation for science, and he wants others to appreciate it, too. His argument with New Atheism is that its proponents misuse science and misdirect people. He would rather we engage science for all the great knowledge it can bring us, not coopt it in a crusade against religion or a debate about God it may never be able to answer.

Why Science Does Not Disprove God is not written in a technical style. Most people should be able to understand it even if they have very little scientific education.

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

A Little History of Science by William Bynum

Copernicus’ Secret by Jack Repcheck

The Victory of Reason by Rodney Stark

Amir D. Aczel also wrote

Chance

Descarte’s Secret Notebook

Aczel, Amir D. Why Science Does Not Disprove God. New York: William Morrow, 2014.

The Real World of Sherlock Holmes by Peter Costello

Readers of Sherlock Holmes stories may recall that the detective clipped stories from newspapers related to crimes, or unusual stories in which Holmes detected the hint of a crime. Holmes’ creator, Arthur Conan Doyle, did the same thing, and he had a collection of books related to crime. This is just one aspect of himself that Doyle put into the fictional detective.

Doyle’s interest in crime, and particularly in defending those he felt were unjustly prosecuted, sometimes led him into investigating crimes. Peter Costello describes some of these crimes and investigations in The Real World of Sherlock Holmes.

Perhaps the most celebrated case, and the case in which Doyle conducted himself as a Holmes-like detective, was the case of George Edalji. Edalji, a solicitor born to an Indian father and English mother, was convicted of a series of animal mutilations. Doyle believed the case against him was week, based mainly on poison-pen letters accusing the young man. As he began to investigate, he found sloppy investigative techniques, openly racist police leadership, an incompetent counsel contributed to the wrongful conviction. Doyle investigated further and even collected evidence indicating that someone else was the culprit. Through his investigation, along with pressure he brought through the media and influential acquaintances, he won a pardon for Edalji.

When Doyle became so deeply involved in a case, he was usually motivated to correct what he saw as a miscarriage of justice. He was not so active in his investigation of other crimes. Doyle studied crimes he found interesting. More often than not, these were inquiries at a distance as he read books and newspaper accounts, and discussed crimes with other interested people. He was even a member of “Our Society,” a secretive crime club that discussed the details of crime and developments in criminology in its after-dinner meetings. Some of the members were lawyers and forensic scientists (still a new profession) who were actively involved in investigating or prosecuting crimes.

Costello suggests that some of these crimes inspired Doyle’s stories. It makes sense that they would. Doyle always made significant changes when he adapted a true crime to a fictional story, so no Sherlock Holmes story could be described as a close, though fictionalized, recreation of a true crime.

Doyle remained interested in crime throughout his life, but by the 1920s he was focused on promoting spiritualism. Even when he investigated a crime in this era, it was usually because of an element of spiritualism touching the case. He encouraged the use of clairvoyants and mediums by the police. When Agatha Christie disappeared, his investigation consisted of a consultation with medium Horace Leaf. (Journalists, passing on clairvoyance to use more Holmes-like detection, found Christie staying at a resort under an assumed name.)

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

Arthur & George by Julian Barnes

Fic by Anne Jamison

The Fifth Heart by Dan Simmons

The Peerless Peer by Philip Jose Farmer

The Seven-Per-Cent Solution by Nicholas Meyer

The Sherlockian by Graham Moore

Costello, Peter. The Real World of Sherlock Holmes: The True Crimes Investigated by Arthur Conan Doyle. New York: Carrol & Graf, 1991.