BC CULTURE
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1. Now that Stan Lee is being eulogized far and wide, it's important to remember how marginal Stan Lee and his collaborators (Jack Kirby and Steve Ditko) were in the 1950s and 1960s.

 2. Marvel Comics (before that Atlas) was just a cog in the machine of a bottom pulp publisher run by Martin Goodman, the husband of one of Lee's cousins. It was the lowest of the low in the publishing world.
3. Now Mario Puzo (not yet the author of the Godfather) shared offices with Stan Lee in the 1950s and 1960s. Puzo wrote for garrish men's adventure magazines and, like Lee, dreamed of writing a novel & breaking out. But Puzo looked down on Lee.
4. Flo Steinberg, 1960s secretary at Marvel: "They were always making jokes about us. They'd come in and giggle. mario Puzo would look in and would see us all working on his way to the office and say, 'Work faster, little elves. Christmas is coming.'"
5. When JFK was killed, the whole office of Magazine Management was stunned and quiet. Except Lee. He continued working. "He was still working on the comic books," Puzo said. "Like that was the most important thing in the world."
6. How do we locate the achievement of Stan Lee? I think one place to start is that even when he was despised by the likes of Mario Puzo Lee took his work very seriously, It was, for him, "the most important thing in the world."
7. Lee's legacy, at least among the comics cognoscenti has become clouded by debates over authorship. Many, me included, now think that the many creator of the 1960s books were the artists (Kiby & Ditko but also Wally Wood, Gene Colan etc).
8. I think one way to recast Lee's legacy is to think of him as an Editor who added dialogue more than a writer. And he was an editor of genius, far better than his peers in terms of recognizing the talent of Kirby & Ditko, giving it room to breathe.
9. It was Lee who first conceptualized the Marvel line as a coherent universe (an outgrowth of encouraging his artists to put in cameos to cross pollinate the titles). And his carnival barkers voice, sometimes grating, gave the Marvel titles a tonal unity.
10. The framing of the Marvel books as a coherent interlocking universe was the key shift. We're very used to this now in pop culture. Even frigging Lego has their own cinematic universe! But Lee in 1960s (perhaps influenced by sci-fi) was pioneer https://t.co/q8DbtCTKcj
11. The key to Stan Lee's life is that he wanted originally to be a novelist (Stanley Leiber!) and did comics as a day job & pen name (Stan Lee). By the time he was 39 he realized the novel wasn't coming and so threw himself into the day job with a passion.
12. My more extended thoughts on Stan Lee and his legacy here: https://t.co/UcwrGbrgnc
13. My Lee piece should be read in conjunction with my earlier Kirby piece https://t.co/THtOKcrVt7
14. And also my Ditko obituary: https://t.co/7fg65diYqK

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Okay look - I didn’t grow up with comic books. But I read stacks of science fiction digests and I kit-bashed model cars into fantasy rods, and just tried to maintain a low profile until I could get out of the house. So you could say I’m a distant cousin of the comic book fan. /1

And sometimes one’s childhood passion follows them into adulthood, sometimes not, sometimes as an adult one finds a passion they never had as a child and embraces it. For me, that must include getting involved with a puppet show at the age of thirty. /2

So who’s to say whose passion’s legitimate and whose is bogus? Nobody. Someone might indict your passion but they have no ground to stand on and should be dismissed out of hand. /3

Maybe they’re envious that you have a passion, maybe they think that their passion is cooler than yours, or maybe they’re just insecure, who knows. Doesn’t matter. /4

What matters is that if something gives you joy, and in the process doesn’t hurt others, then by all means follow it. It’s how we explore our secret hopes, our shadow sides, our inner character. /5
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Pulp Librarian
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Many readers have asked me "why do so many pulp covers feature women in ripped red blouses standing in swamps while a man fights off an unusual animal attack?"

The answer is artist Will Hulsey...


Will Hulsey was the undisputed king of the animal attack pulp cover. You name it, he'd paint it attacking you in a pool of stagnant water.


Very little is known about Will Hulsey, but he worked on a number of men's pulp magazines in the 1950s and early 1960s including Man's Life, True Men, Guilty, Trapped and Peril.


Their audience was ex-GIs: during WWII the US Council of Books in Wartime had given away over 122 million books to American servicemen to read; this led to a post-war surge in paperback and magazine sales amongst these newly enthusiastic readers.


As a result the 1950s saw a raft of men's pulp magazines being published to tap into this market - almost 200 different titles!
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Well, folks, the reason I haven’t been sharing many short clips from my morning readings lately is that, well, I’m in chapters 11-17 of Ezekiel. They involve complicated visions that don’t lend themselves to Twitter threads. But at the end of my reading today in Ezek 17,

God delivered a word to the prophet depicting a theme that may be uncomfortable but it’s not incomprehensible.

“I bring down the tall tree and make the low tree tall. I cause the green tree to wither and make the withered tree thrive. I, the Lord, have spoken and I will do it.”

God’s got this thing about pride. He does not let it go unchecked. When his people continue in arrogance after multiple warnings, he is going to bring them down. He will turn the tables. That which has been high will be brought low. This is why we are told by both James and Peter

in the NT that God opposes the proud but gives grace to the humble. We need his grace so badly. Repentance is our only real way forward. He also views idolatry as spiritual adultery. This was the case in the judgment that was coming to his people through the Babylonians.

We are caught in a cycle. We keep repeating the same offenses and keep excusing them the exact same ways. Study even just the last century. I beg you to. Face how we evangelicals have bedded down with worldly systems for power. See how every time prophetic voices confronted us
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Joshua Todd James
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Sunday thoughts:

I've had an untold number of abusive bosses over the years (I speak primarily of before I became a screenwriter.)

A large number. Same is true of teachers, instructors and coaches. I had those before I ever had abusive bosses. 1)

2) I've also lost jobs when it was clear I wouldn't put up with a abuse, or wasn't hired when it seemed like I wouldn't take shit. I interviewed for an assistant manager position in a business in Union Square eons ago. The manager looked at my resume, then looked at me, and said,

3) "it says here you've done a lot of martial arts, and you're a black belt. That worries me," he said. "The owner of this establishment is a former football player. He likes to throw his weight around. You don't look like someone who'd be okay with him screaming at you."

4) He screams at his employees? I asked.

"Among other things," he said. "He's a big guy, he might challenge you to step outside, if he doesn't like the look on your face. How would you respond to that, since you're a black belt?"

"I'd probably call the police, first," I said.

5) I didn't get the job. This wasn't the only time. There were other times I DID have a job & my employer vetted me, knew I needed the job, knew I'd be homeless without out it, I had no family or resources to fall back on.

And proceeded to torture and torment me as a result.
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Pulp Librarian
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Time once again for my occasional series "Women with great hair fleeing gothic houses!"

And today all the covers are by Walter Popp...


Crucible of Evil, by Lyda Belknap Long. Avon Gothic Original, 1974. Cover art by Walter Popp.


Hornet's Nest, by Evelyn Bond. Avon Gothic Original, 1972 Cover by Walter Popp.


The House In Munich, by Dorothy Dowdell. Avon, 1974. Art by Walter Popp.


The Secret Of Chateau Laval, by Susan Marvin. Avon Gothic, 1973. Art by Walter Popp.
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Thread.

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