Bookmarked! #61: A Strange Bird

This is one of the more mysterious items in my bookmark collection. It’s a picture of a bird but I don’t know what kind of a bird. Possibly because it’s not a bird from around here. I’m also not sure where the bookmark came from, who gave it to me, or when. My only clue is a boy’s name on the back and the information that he was “10 años.” So perhaps someone brought this back from Spain or Portugal? Or a Spanish-speaking country? I don’t know. But it looks pretty.

Book: Future Noir: The Making of Blade Runner by Paul M. Sammon

Bookmarked Bookmarks

Marple: Death by Drowning

As with “The Affair at the Bungalow,” the sense I had here was of Christie having some fun with detective-story conventions. And again she comes up with a clever concept. A village girl has drowned after being pushed off a bridge. The police seem ready to arrest the most likely suspect, but Miss Marple goes to Sir Henry Clithering, Ex-Commissioner of Scotland Yard, and writes the name of who she thinks is the real murderer on a slip of paper that she gives to him. But we don’t find out until the final line of the story whose name she wrote down, and Miss Marple herself only briefly appears a couple of times in the story. Instead we follow Sir Henry around as he questions all the suspects, guided by Miss Marple’s suspicions since, being a veteran of the Tuesday Night Club, he knows she’s always right.

I enjoyed this story and thought it was one of the better Miss Marple mysteries. It goes about its business quickly and there’s a sweet twist at the end. There’s nothing much in the way of clues to follow though, and at the end I was left scratching my head as to the source of Miss Marple’s suspicions in the first place. I guess it just had some connection to a parallel case years ago, but we aren’t given any information. In other words, it seems to have been a pure hunch, even though she protests that “it’s not really that at all.” She knows but can’t explain her “specialized knowledge.” Meanwhile, the obvious suspect is so obvious – a somewhat dandyish modern architect from London described as a “Bolshie” with “no morals” – that the police going after him even strikes Sir Henry as a cliché: “He perceived a strong undercurrent of local prejudice. A new-fangled architect was not likely to be popular in the conservative village of St. Mary Mead.”

As for the Britishisms I like to flag, I took note of the local girl being described as making “a dead seat” at the modish architect. The term I’m used to is “dead set,” meaning focused and determined on a particular outcome, so I wasn’t sure if “dead seat” was a typo. But it might have another meaning. I just couldn’t find any explanation of making a dead seat at someone anywhere I looked.

I also shook my head at Sir Henry, who is staying with the Bantrys, “coming down to breakfast at the pleasant guestly hour of ten-fifteen.” Now I know I get up early, but at 10:15 I’m usually starting to make lunch. If someone was a guest at my house and they only came down at 10:15 I’d be long gone, and they wouldn’t be getting “a plate of kidneys and bacon” either, at any time of day.

Marple index

Taking it easy

So a couple of days ago I went down one of those click-bait rabbit holes where you keep answering odd multiple-choice questions that are meant to determine your personality type. In this case the purpose was to be assigned a “spirit animal.”

Before long I started having regrets, as the questions just went on and on. I think it must have taken me at least ten minutes to click through all of them. And in many cases none of the choices were any good. But after a while I just figured it made sense to keep going seeing as I’d already invested so much of my precious time. A few minutes seems like an eternity online!

Anyway, from the pictures that kept coming up as I was doing the quiz, and just because of the nature of these things in general, I got the sense that my spirit animal was going to be either a tiger or, more likely, a wolf. Imagine my surprise then when I finished up and was taken to this final screen:

That didn’t seem very flattering! I mean, I wasn’t even a sloth but a “slot,” which sounds kind of indecent.

But the more I thought about it, the more I think the algorithm probably got it right. I am a lazy guy. And this is an animal named for its laziness! In Spanish-speaking countries, where they are native, they are even known as osos perezosos, which translates to “lazy bears.”

And the question I would ask is “What’s wrong with that?” Being cool and collected and letting nothing really bother you sounds pretty good to me.

Nevertheless, sloths generally get a lot of bad press. In fact, they are kind of disgusting creatures, whose dirty habits I won’t get into. But sloth as a pejorative term is, I think, harsh. It’s rooted in ideas propagated by Christian moralism and the industrial work ethic: “idle hands are the devil’s workshop” and “time is money.” Meanwhile, I hang my hat on Blaise Pascal’s dictum that “All of humanity’s problems stem from man’s inability to sit quietly in a room alone.”

Seeing my spirit animal made me think back to the appearance of Idlenesse in the procession of the Seven Deadly Sins in Edmund Spenser’s Faerie Queene. In that poem the Redcrosse Knight visit the evil House of Pride, where he witnesses Lucifera (Pride) being pulled in a chariot by the six other Deadlies, each counselor riding a representative animal and holding an iconic object. This is how it kicks off:

XVIII

But this was drawne of six unequall beasts,
On which her six sage Counsellours did ryde,
Taught to obay their bestiall beheasts,
With like conditions to their kinds applyde:
Of which the first, that all the rest did guyde,
Was sluggish Idlenesse the nourse of sin;
Upon a slouthful Asse he chose to ryde,
Arayd in habit blacke, and amis thin,
Like to an holy Monck, the service to begin.

XIX

And in his hand his Portesse [a book of prayers] still he bare,
That much was worne, but therein little red,
For of devotion he had little care,
Still drownd in sleepe, and most of his dayes ded;
Scarse could he once uphold his heavie hed,
To looken, whether it were night or day:
May seeme the wayne was very evill led,
When such an one had guiding of the way,
That knew not, whether right he went, or else astray.

XX

From worldly cares himselfe he did esloyne [retire],
And greatly shunned manly exercise,
From every worke he chalenged essoyne [claimed exemption],
For contemplation sake: yet otherwise,
His life he led in lawlesse riotise;
By which he grew to grievous malady;
For in his lustlesse limbs through evill guise
A shaking fever raignd continually:
Such one was Idlenesse, first of this company.

Idleness isn’t just any deadly sin here, but the one leading the way and nurse to all the others! That said, this guy doesn’t sound like he’s representing sloth or idleness very well. He’s just another hypocritical churchman, of which there were plenty in the literature of the Renaissance. A truly idle man doesn’t save himself up for riotous living and party times. He can’t be bothered. Nor is he ruled by a shaking fever of passions. He is beyond care.

I’d write more on this subject, but I can’t be bothered. It’s too much effort. But thanks for making it this far, and if you did then you should know that you are not a lazy person at all and that your characteristic sin (or spirit animal) is no doubt something different. And probably much worse!

“Sloth” by James Todd (2010).

The Highwayman

The Highwayman

This is one of a half-dozen great little books in the Visions of Poetry series, each illustrating a popular poem taking the ballad (narrative) form. I really loved this series when it came out in 2006 and thought each book offered up a wonderful visual interpretation of classic texts. Unfortunately, they didn’t publish any more of them and looking around they seem to be hard to find today.

This instalment has the poem “The Highwayman” by Alfred Noyes illustrated by Murray Kimber. Like most of the poems in the series, “The Highwayman” has a repetitive, incantatory quality that draws you in right from the famous opening stanza. This is the sort of thing a generation of schoolkids had to commit to memory, and it did them no harm.

The wind was a torrent of darkness among the gusty trees.
The moon was a ghostly galleon tossed upon cloudy seas.
The road was a ribbon of moonlight over the purple moor,
And the highwayman came riding—
Riding—riding—
The highwayman came riding, up to the old inn-door.

The poem is set in the 18th century but Kimber updates everything so that now the titular desperado is a biker outlaw riding an iron horse with a mustang logo through the canyons of Manhattan, and the king’s soldiers are FBI G-men. That’s quite a leap, but I thought it worked wonderfully well. I also thought Kimber did a good job illustrating the business of Bess the landlord’s luscious daughter being tied up with a musket pointed at her breast. That’s one of those things that’s really hard to visualize, and seeing it illustrated doesn’t make it any more believable, but that’s not on Kimber. I don’t know what Noyes was thinking. Otherwise, I had no trouble buying the outlaw as biker, even if the “tlot-tlot” of the horse’s  hooves in the poem made it seem like his bike had a flat. Noyes’s Highwayman is already a bit of a retro cliché anyway, especially given how he’s armed to the teeth with a rapier, two pistols, and a whip. He’s ready for anything, almost.

Kimber’s obvious influence was film noir and I thought the way the story is told like a storyboard, cutting between extreme close-ups and dramatic architectural settings, was quite effective. But then I was on board with all of his creative decisions here. This is a great book not just for kids but for anyone with a love of poetry.

Graphicalex

Doctor Strange Omnibus Volume 1

Doctor Strange Omnibus Volume 1

I felt sympathy for Stan Lee’s response to one of the fan mails sent to “Strange Mails,” the letters page for Strange Tales (the title of the comic Dr. Strange started off in). Lee admits that they “use the same characters over and over again” in the Dr. Strange stories mainly because it’s so hard to make up new names, and then adds parenthetically: “We can make ‘em up all right – it’s learning how to spell ‘em that’s the killer! We still have to look up Cyttorok, or is Cyttorak? – each time we use it!”

This is something I could relate to. The names are so off-beat and unrelated to anything I was familiar with that I had to keep looking up even recurring ones like Dormammu (or the “dread Dormammu” to friends, enemies, and indeed everybody). The flame-headed Dormammu is Dr. Strange’s archenemy, playing a leading role in almost all of these early comics, but when I started writing these notes up I was never sure how it was spelled.

The character of Doctor Strange was inspired by the radio show Chandu, the Magician, but he was always something . . . stranger than that. And he also evolved, even in the early days covered in this omnibus volume. Just in the matter of his looks, in his first few appearances he seems to have an oriental slant to his eyes, which remain nearly closed most of the time. It took a while for them to fully open.

His origin story plays to Marvel’s strength in creating less-than ideal heroes. Dr. Strange is an arrogant jerk who becomes a derelict after a car accident puts an end to his career as a star surgeon. A trip to the Ancient One, however, sets him on the road to recovery, not to mention becoming a master of the mystic arts.

But he remains a loner, occupying a mansion in Greenwich Village where he is attended by a rarely seen manservant. Otherwise he has no assistant or friends

He was also very much a second banana in these years. As noted, the comic he appeared in was Strange Tales, but despite the title he was never the headliner. First he was the B-player to the Human Torch, and then he took a back seat to Nick Fury, Agent of S.H.I.E.L.D. And I do mean a back seat. The main story line here has Doctor Strange seeking out Eternity, a figure who possesses the knowledge he will need to defeat Dormammu. When he finally encounters Eternity it gets a dramatic full-page reveal, but the issue where this climactic event occurs doesn’t even mention it on the cover, which (as usual) is given over to Nick Fury fighting the agents of Hydra. And in the one crossover appearance included, Doctor Strange again plays guest in another hero’s comic, joining forces with Spider-Man.

The actual employment of the mystic arts doesn’t amount to much. The all-seeing Eye of Agamotto is a handy device. Plus there’s a lot of ectoplasmic astral projection as Doctor Strange goes flying around in his spirit form. So much so that it starts to feel old pretty quickly. But what I enjoyed is the way our hero, like a good stage magician, so often just tricks his enemies with some simple stratagem that they’re not expecting because it doesn’t involve any invocations of supernatural powers at all.

The plots get repetitive as well, with Doctor Strange being whisked off to various weird dimensions to do battle with their rulers, or else just taking on another sorcerer (his most frequent adversary being Baron Mordo). But it’s the other dimensions that really set the Doctor’s adventures apart. Artist Steve Ditko went crazy creating a psychedelic ‘60s environment of colours and shapes that make it all seem like a druggy trip. It’s that trippiness that, at least in these early days, set Doctor Strange apart from the usual superhero fare. And fifty-plus years later, it’s what would make him a figure totally at home in the MCU’s plastic multiverse.

Graphicalex

Bookmarked! #60: Canoodling

I’ve had occasion to say before how bookmarks make such great collectibles because you can pick them up anywhere you visit. Or anywhere people you know visit. This past week my neighbours went to Algonquin Park and brought me back this peaceful bookmark. On the back it says “The haunting wail of the loon; your paddle gently slicing the still water; the sun rising through the mist; a perfect start to any day while interior camping in Algonquin Park. In Algonquin there are over 2,000 lakes for you to explore.”

Is there anything as Canadian as paddling your canoe on a lake while listening to the haunting wail of the loon? Not unless it’s some activity involving maple syrup. So here’s some pure Canadiana for you to enjoy.

Book: Evelyn Waugh: A Life Revisited by Philip Eade

Bookmarked Bookmarks

Maigret: The Two-Penny Bar

Things get off to an odd start here, with Maigret visiting a guy on death row who puts him on the scent of a murder that had gone unnoticed some six years earlier. A trip to a hatshop to buy a new bowler gives him a clue to follow up and before long he’s getting miserably reacquainted with what the back cover describes as “the sleazy underside of respectable Parisian life.”

Familiar ground then for the detective chief inspector, but what struck me as strange is how the plot seemed to move ahead by a series of random coincidences. Though I guess we shouldn’t be too surprised at how a case comes together, as this one does, by “a combination of scientific deduction and sheer luck.” That’s the way a lot of life works.

The respectable Parisians also seemed odd to me. Doctors, business owners, tradespeople, engineers: they work hard all week and then hang out together every Sunday at a bar in the suburbs where they play dress-up and drink a lot. Is this something people did back in the 1930s?

Party time also involves a lot of adultery, which blows up in the usual way. Though Maigret is less interested in who plugged the poor cuckold than he is in who killed the mystery man six years ago. But the list of suspects isn’t long, and when you spot the biggest red flag in any Maigret case – a husband and wife living apart together, with “No hint of intimacy whatsoever” – then you’ll probably figure things out as quickly as he does. Such couples are the opposite of the happily married Maigrets who are always in touch and feel like they’re together even when they’re apart (as they are for all of this novel). So the real challenge here is for Maigret to prove what happened, which becomes a series of duels because nearly everyone he meets plays coy with him, starting with the condemned man at the beginning. They all let on that they know something he doesn’t, and then challenge him to find out what it is.

This wasn’t one of the better Maigret stories, and really the only thing that makes it stand out is the treatment of the scummy blackmailer at the end. This guy is such a piece of shit he even uses his terminal illness as leverage. That was an appropriate touch to further blacken his miserable character. It just seemed perfectly right. Meanwhile, the killer has no trouble deciding he’d rather go to jail than pay him off. Everybody has their principles, and blackmail is a dirty game that even cold-blooded killers can rise above.

Maigret index

The Mammoth Book of Best Crime Comics

The Mammoth Book of Best Crime Comics
Ed. by Paul Gravett

It’s interesting how the golden age of crime comics pretty neatly overlaps with that of noir cinema, peaking in the 1940s and 1950s. For comics, the body blow of the formation of the Comics Code Authority in 1954 effectively put an end to things. So it feels right that the comics reproduced here are in black and white, even though I’m not sure if that’s how they were all first published. Johnny Craig’s “The Sewer,” for example, from Crime SuspenStories #5 (1951), was. I think. originally in colour. But in any event, it feels right in black and white because that’s how we imagine all crime stories of the period.

The pieces collected here by editor Paul Gravett aren’t all from the golden age, but they look like they might be. Neo-noir and noir are indistinguishable visually. Even the fashions remain much the same. And. if anything, I think the stories were better back in the early days too. For some reason, I suspect fandom, Gravett bookends the material with two relatively recent stories by Alan Moore which I thought the two weakest pieces in the entire book. Neither is really a crime comic either. Nor did I think the entry by Neil Gaiman any better.

So it’s up to the old masters to carry the load. Luckily, they’re up to the task. The stories by Dashiell Hammett, Will Eisner, and especially Mickey Spillane are highlights, as is the aforementioned piece by Johnny Craig. They help make this a collection well worth checking out, even if you’re not a big fan of the genre. And one final thing I’ll note is how much fun I had sampling from a showcase of the letterers’ often invisible art. To be sure there’s some bad lettering in the mix – these were cheap pulps mostly, after all – but there’s a range of different styles here that show how key a role lettering could have in making a comic work. Sadly, noticing it so much here only made me aware of how it’s an art that’s in decline today, where so much lettering seems to be automated and generic.

Graphicalex