Human By the Book

This first ran at Splice Today.
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Priests tell us we need religion. Therapists tell us we need therapy. Writers, with a parallel enthusiasm, insist that we need reading. “The one way of tolerating existence is to lose oneself in literature as in a perpetual orgy,” says Flaubert. “There is no friend as loyal as a book,” announces Hemingway. “Reading is the sole means by which we slip, involuntarily, often helplessly, into another’s skin, another’s voice, another’s soul,” insists Joyce Carol Oates, who has apparently never seen a movie or had a conversation.

The latest salvo in this tradition of self-advocacy is Karen Swallow Prior’s piece at the Atlantic, in which she claims that reading—or at least the right kind of reading—has important spiritual and moral implications. Reading sensitively and carefully and deeply, Prior says, “unleashes the power that good literature has to reach into our souls and, in so doing, draw and connect us to others.” She concludes, “The power of ‘spiritual reading’ is its ability to transcend the immediacy of the material, the moment, or even the moral choice at hand…  Even so, such reading doesn’t make us better so much as it makes us human.”

Which raises some unfortunate questions. Prior dutifully lists the books that have influenced her and made her more spiritual—Jane Eyre taught her to be herself, apparently, and Gulliver’s Travels taught her to see the limitations of her perspective. Okay, but if what I learned from Gulliver’s Travels is that a giant pissing on a fire is really funny. Does that make me less human? If I read Twilight instead of Jane Eyre, does that make me less spiritual?

I’m pretty certain this is not where Prior intends her argument to go. Explicitly she advocates a particular kind of reading, rather than a booklist, and she doesn’t say that the lessons she took from the books should be normative. But there’s a good deal of rhetorical force behind listing books from the canon and framing them as weighty moral goods—and that rhetorical force gets upped substantially when you start talking about who is human, and, by implication, who is not. When Prior makes distinctions between deep spiritual reading and “mere decoding,” and then references her own article about the common core, she appears to be saying that reading some things is better than reading others. And the way she frames that “better” is through language about what is more or less human. Which takes her, no doubt unintentionally, right up to a place where those who read 50 Shades of Grey aren’t as human as the rest of us.

Nor are those the least pleasant implications. There are people out there who read neither Madame Bovary nor 50 Shades. Some people, especially in the past, lived in non-literate cultures. Some people simply don’t learn to read or have developmental disabilities. Some are infants or small children.

Many of these groups are often considered marginal to what we think of as “human,” and treated accordingly. The poor, the disabled, and the young tend to be outside circles of social and economic power; they’re easy to ignore. But is it really a great idea to codify that marginalization through an appeal to spiritual truth or ontological absolutes? It’s a delight to see my son read, but I don’t think he is “more human” now than he was when he was four. I don’t think he’ll be “more human” in 10 years when he starts to read more difficult literature than the not-especially-canonical Secret Series.

Prior’s problem is that the language she’s using has a force and a history and an intention of its own. Linking humanness and virtue to cultural attainment is a trope of very long standing. Here, for example, is Allen Tate, demonstrating that a lifetime of deep, spiritual reading in the classics really does not in any way prevent you from being a racist shithead.
 

“The enormous “difference” of the Negro doomed him from the beginning to an economic status purely: he has had much the same thinning influence upon the class above him as the anonymous city proletariat has had upon the culture of industrial capitalism… The white man got nothing from the Negro, no profound image of himself in terms of the soil… But the Negro, who has long been described as a responsibility, got everything from the white man.”

 
Tate’s disdain for the cultural attainments of black people slides easily into an erasure of them as human beings. Humanity is a function of culture; ergo, generations of enforced labor is as nothing to the gift of white upper-class culture, which is the only thing that counts as culture. Apportioning human worth on the basis of cultural attainment is one popular, well-traveled way in which people get to racism. Which is not to say that Prior agrees with Tate, which I’m sure she does not, even a little bit. But it is to suggest that it’s a good idea to think hard before blurring the distinction between what is cultural and what is human.

One book I read recently which I think taught me how to be more human is Nora Olsen’s lesbian YA novel Swans and Klons. The narrative is set in a far future in which a disease has left all men with chromosome damage that renders them mentally and physically incapacitated. The main female characters, Rubric and Salmon Jo, come from a society where people reproduce by cloning, and there are no men. When they leave their land, though, they find that their neighbors, the Barbarous Ones, have children, and care for their male babies. Rubric is horrified… but not Salmon Jo. Instead, for her, the disabled men are a revelation.
 

“You know how before we left home I said I didn’t know what human was? I know now. The Sons taught me what it means to be a human being. Even if they’re sick or not brainy, they’re just as human as us. I think they make you learn more about yourself, and that’s why the Barbarous Ones think they’re such an asset.”

 
You learn to be human and spiritual, not by reading, but by treating others as human—especially others who are not like you. Books can, perhaps, teach you about that. But to make books the measure of humanness is to restrict that measure to the brainy and the privileged. If books make us more human, then some of us are less human that others, which is the same as saying that all of us are less human.
 

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Small Fish, Big Pond

For Black Friday, I thought I’d reprint this piece about comics sales from back in 2009 — it first ran on Comixology.

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Comics are a relatively small part of the media landscape. But how small? Or how large? How does the sale of a popular comic book compare to the sales of, say, a popular book or DVD? I wasn’t sure…so I thought I’d use this column to try and see if I could figure it out.

Caveat and a half: Pretty much all of this stuff starts as guestimates made with inadequate data. By the time a non-expert like me starts talking about it…well, it’s not pretty. I think the following is useful to give some sense of the scale of the comics business compared to other entertainment industries, but any individual number should be taken with a grain of salt roughly the size of New Jersey.

Comics Sales

Marc-Oliver Frisch’s occasional column at the Beat seems like the easiest place to go for information about mainstream comics sales., at least through the direct market According to Frisch, in July of this year, the biggest seller was Marvel’s Reborn #1, which sold about 193,000 units. DC’s Blackest Night was second with sales of around 177,000 units. According to Frisch, these are fairly huge numbers, partially pumped up with variant edition covers and first issue excitement. A less hyped comic in the middle of its run – Action Comics #879 – had sales in July of 38, 324 units. Vertigo and Wildstorm titles are also in the area of 11,000 to 8000 units a month, apparently. Tiny Titans, a book for kids that’s near and dear to my heart, only sold 8, 576 units – but, again, this is through the direct market only, and I assume most of Tiny Titans sales are actually through bookstores (that’s where I get my copies., anyway.)

As far as smaller press numbers, Kim Thompson, co-owner of Fantagraphics wrote me that sales are “really all over the map. A Peanuts will sell 15,000-20,000, other classics and well-known cartoonists in the 4,000-7,000 range, then all the way down to 2,000 and less for more obscure, or unsuccessful, stuff… And of course some long-time continuing books have sold a lot more than that, Ghost World at 150,000+, Palestine at 60,000+, etc.”

Brian Hibbs does his best to figure out the Bookscan numbers at the end of each year, and says for comics sales through bookstores there’s about 8.3 million units sold per year, for somewhere around $100 million in sales for the top 350 books. Watchmen was the highest seller, with over 300,000 copies sold. (Though I saw a NYT article that put Watchmen graphic novel sales at 1 million…perhaps counting Direct Market and online sales as well?) Naruto v. 28 was next with over 100,000 sold. All volumes of Naruto together sold around 971,000 copies, for a total of $7.7 million.

For some other numbers to throw into the mix: Brigid Alverson, who blogs over at mangablog wrote me in an email that “first printings [for manga] seem to be in the 10,000 range for smaller publishers; Yen does 25,000 for titles like Haruhi.” The folks at the Anime News Network say total sales of graphic novels in 2008 were $395 million. Manga sales accounted for $175 million of that, which is the largest single chunk (the rest being divided among super-heroes, humor, adult, etc.) They also point out the huge success of Naruto, which is so overwhelming that it’s comparable to other media products that are not comics. Like for example:

DVD Sales

Sales figures for DVDs seem a whole lot easier to obtain…as in, I googled for about 5 seconds and got actual complete information organized in a handy chart. It’s almost as if our culture cares more about DVDs. Or as if the companies aren’t embarrassed to release the information. Or something.

Anyway…the biggest seller the week ending September 6 was State of Play, which sold 344,745 units. And again I say, that’s in a week. So that means that a successful DVD sells, very unscientifically, more than 6 times as much as a successful floppy comic in a given month.

Watchmen the movie, a bit further down the list, is an obvious point of comparison for comics. It sold 56, 814 units in the week; still higher than any comic has done in a long time, probably, but not necessarily by many orders of magnitude. Of course, this is 7 weeks into the DVD release, and overall it’s sold more than 2 million units in that time. (Again, as best I can figure Watchmen the graphic novel seems to have sold between 300,000 to 1 million units in all of 2008.)

Total DVD sales for 2008 were $14.5 billion. That’s about 36 times greater than graphic novel sales for the year, if my numbers are right.

Music

CD sales are in free fall due to the recession and that wonderful, magical whatsit we call the Internet. People still buy an awful lot of albums, though. According to the ever-erudite Ben Sisario at the NYT, the biggest seller in 2008 was Lil Wayne’s Tha Carter, which sold 2.87 million copies. Again, Watchmen, the biggest comic hit, seems to have sold less than half that, and possibly less than a quarter of that. Total music album sales (including CD, download, and LP) were 428 million. Meanwhile, over a billion songs were downloaded. The same article says that concert ticket sales clocked in at $4.2 billion in 2008.

Books

Sales of books in June were $942.6 million according to the Association of American Publishers. 2008 book sales for the year were 24 billion. I presume graphic novels are included as a part of that; if that’s correct, they’re about 1.6% of the total sales for the year…which is quite a bit smaller than I would have guessed.

Also to my surprise, big-event books appear to actually outsell big-event CDs and DVDs. Harry Potter and the Deathly Hallows sold more than 8 million copies on its first day on sale in the U.S., which makes Lil’ Wayne’s 2.8 million albums over a year look pretty puny. And, of course, 8 million copies is just about the total bookstore sales for all graphic novels in all of 2008, according to Brian Hibbs’ figures. Obviously, Harry Potter is exceptional…but Dan Brown’s most recent book was also selling in the hundreds of thousands on its first couple of days. Breaking Dawn, the last Twilight book, sold 1.3 million copies on the first day.

Nothing You Didn’t Know

There’s no really startling revelations here of course. Despite big comic book derived movies and the growth of graphic novels and manga, most people in the U.S. would rather watch a movie or listen to a CD or even read a book than pick up a comic. Perhaps with the recent shake-ups at Marvel and DC that will change, and comics will start selling on a scale with other entertainment options. But, if the figures here are even close to correct, there’s a long way to go before that happens.
 

Strange Windows: The Suck Fairy will get you if you don’t watch out!

 

You come across it while cleaning out your attic: a book, a CD, a VHS cassette.

My God, you think, that was one hell of a novel/song/movie! Nostalgia mixes with anticipation as you prepare to savor it anew.

But what’s this? It seems to have gone rotten! Phaughhh! Retch! Ptooey!

How on earth were you ever taken in those long years ago by this foulness that sucks like an electrolux? Was your taste that abysmal?

Worry not. You are the latest victim of a virulent virtual vampire: the Suck Fairy.

Jo Walton revealed all about the little monster in a blog post on Tor.com. Go read the whole thing (and the many comments that amplify it); this extract gives us the gist of her warning to mankind:

The Suck Fairy is an artefact of re-reading. If you read a book for the first time and it sucks, it’s nothing to do with her. It just sucks. Some books do. The Suck Fairy comes in when you come back to a book that you liked when you read it before, and on re-reading—well, it sucks. You can say that you have changed, you can hit your forehead dramatically and ask yourself how you could possibly have missed the suckiness the first time—or you can say that the Suck Fairy has been through while the book was sitting on the shelf and inserted the suck. The longer the book has been on the shelf unread, the more time she’s had to get into it.

I, too, have suffered her bite. The superhero comics I loved as a child count some of her sorriest victims.

These old comics I class into four categories.

The first comprises work that still holds up, mellowed like old port.  Examples would include  Ditko and Lee‘s  Spider-Man, Kirby and Lee’ Fantastic Four and Thor; though I prize them more now for qualities less appreciated by a child, notably humor.

The next category covers those comics that only interest me through nostalgia, or that tickle my camp funny bone, or that still please me for purely formal reasons such as good draftsmanship: 1960s Curt Swan-drawn Superman,  Steranko‘s S.H.I.E.L.D, Gil Kane’s Green Lantern.

A third category consists of work that simply disappoints today, with no strong redeeming features, entertaining enough for a young boy but without interest for the adult me;  say, Sal Buscema-drawn Marvel Team-Up.

And then, the dread fourth category:

The Spawn of the Suck Fairy.

Suck Fairies casting their curses at ComicCon

 

My library recently acquired a copy of Marvel’s Essential Iron Man, part of that publisher’s welcome line of cheap, phone-book sized black-and-white reprints.

I decided to check out the strips I so enjoyed at age eleven.

Cover art by Bruce Timm

Oh, dear God in Heaven. Zut alors.

After reading a few stories, I felt like gouging my eyes out. That fey bitch had infected every single page with suckiness of a cosmic level.

Ahhh, shut the “!@#§!* up. Take the  Holland Tunnel like everyone else, you douche. Art by Don Heck.

 

I was mystified by how sucky this printed turd was.

I mean, I certainly have a high tolerance for mediocre comics. Here was far from the worst comics art I’d ever seen. (The most atrocious story in the collection isn’t drawn by the series’ regular, the oft-derided Don Heck, but by the excellent Steve Ditko.  Actually, Heck’s art was better than I remembered.)

The scripts were probably no more moronic ( with their Cold War Commie-bashing and brainless plots) than other non-sucky comics of the time (the mid-60s).

Well, thank you, Ms Walton, for revealing the culprit:  the Suck Fairy.

How that destructive little vermin has blighted literature — blighted my most precious books!

When I was 12, in 1966, I had just finished reading The Lord of the Rings, by J.R.R Tolkien. I lived that book as one can only at that age.

I was jonesing for more, and Ballantine Books (Tolkien’s publisher) was canny enough to offer me the following:

The Worm Ouroboros is an odd duck of a novel.

Written in 1922 by E.R. Eddison (1882–1945), it chronicles the war between Demonland and Witchland on the planet Mercury. Its prose style is a pastiche of Jacobean writing, gorged with archaism that I found near-impenetrable; but I doggedly forged on with frequent recourse to a dictionary, much to the improvement of my vocabulary:

But a great wonder of this chamber, and a marvel to behold, was how the capital of every one of the four-and-twenty pillars was hewn from a single precious stone, carved by the hand of some sculptor of long ago into the living form of a monster: here was a harpy with screaming mouth, so wondrously cut in ochre-tinted jade it was a marvel to hear no scream from her: here in wine-yellow topaz a flying fire-drake: there a cockatrice made of a single ruby: there a star sapphire the colour of moonlight, cut for a cyclops, so that the rays of the star trembled from his single eye: salamanders, mermaids,  chimaeras, wild men o’ the woods, leviathans, all hewn from faultless gems, thrice the bulk of a big man’s body, velvet-dark sapphires, crystolite, beryl, amethyst, and the yellow zircon that is like transparent gold.

The book enthralled me.

Jump forward ten years to 1976. I was 22, doing my military service after three years of university, and I picked the book up again. This time I found it easily readable, but rather slight; an enjoyable fantasy.

Cut to the year 2006. Once again, I plunged into the Worm — and stopped after 50 pages. Her Dread Suckiness had struck again.  The book was now a plodding, cardboard-thin gallimaufry of tushery, Wardour Street pretentiousness and outright plagiarism.

Yet, lo,” she said, as a sweet and wild music stole on the ear, and the guests turned towards the dais, and the hangings parted, “at last, the triple lordship of Demonland! Strike softly, music: smile, Fates, on this festal day! Joy and safe days shine for this world and Demonland! Turn thy gaze first on him who walks in majesty in the midst, his tunic of olive-green velvet ornamented with devices of hidden meaning in thread of gold and beads of chrysolite. Mark how the buskins, clasping his stalwart calves, glitter with gold and amber. Mark the dusky cloak streamed with gold and lined with blood-red silk: a charmed cloak, made by the sylphs in forgotten days, bringing good hap to the wearer, so he be true of heart and no dastard.

Thou suckest, o purple prose. Fie upon thee, sirrah!

(Ah, well, at least the illustrations remain lovely. Here are the Lords of Demonland:)

Art by Keith Henderson

The King of Witchland conjures diabolic forces: art by Keith Henderson

 

To be fair, over the end of the ’60s and the first half of the ’70s, Ballantine Books (thanks to their crackerjack editor Lin Carter) revived many wonderful classics of fantasy in paperback: Hope MirleesLud-in-the-Mist James Branch Cabell‘s Jurgen, Lord Dunsany‘s The King of Elfland’s Daughter, William Hope Hodgson‘s The House on the Borderland and The Boats of the Glen Carrig… all masterpieces immune to the Suck Fairy’s kiss!

(Touch wood…)

I used to re-read The Lord of the Rings every five years , but haven’t done so for the last two decades; you can guess why I am afraid to.

But the Suck Fairy’s master-stroke was her demolition of one of my most cherished loves:

Like millions of 16-year-olds before and after me,  I read J.D.Salinger‘s novel The Catcher in the Rye and knew– KNEW!– that it was about me, me, ME;  its hero, young Holden Caulfield, was me.

All my adolescent longings and heartache and rage against the goddam phonies of the grown-up world were here. I fell in love with a book.

But the Suck Fairy was lurking, biding its time with demonic patience.

J.D.Salinger

I next read Catcher when I was 34.

I was repelled and enraged.

That little preppy brat  Holden– I’d  kick his snotty rich-kid ass all over Manhattan.

What a nasty, arch, supercilious volume of egotistic peacockery– compounding its silver-spoon ugliness with a bathetic display of mawkish sentimentality.

Damn you, Suck Fairy! Leave me alone with my illusions and my bottle.

 

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David L. Ulin, in his reflective essay-book The Lost Art of Reading, is troubled by this phenomenon:

I had lost books by rereading them. Flannery O’Connor’s Wise Blood, for instance, which I had loved in college but not so much later, when I began to see it as a young writer’s pastiche, less about life as it really is than a naïf’s projection about how life might be.

He is afraid to reread The Great Gatsby– and is relieved to find it as superb as he’d remembered. (I, too, find Gatsby to be better at each fresh reading.)

He finds a possible explanation in Anne Fadiman’s 2005 book Rereadings:

The former [reading] had more velocity; the latter [rereading] had more depth. The former shut out the world in order to focus on the story; the latter dragged in the world in order to assess the story. The former was more fun; the latter was more cynical. But what was remarkable about the latter was that it contained the former: even while, as with the upper half of a set of bifocals, I saw the book through the complicated lens of adulthood, I also saw it through the memory of the first time I’d read it.

Anne, Anne, Anne… that’s all true, all very well and good…

…but it doesn’t protect your literary treasures against the relentless despoiling of the vile, gloating Suck Fairy.

Is there no hope, then? As we all age, our personal troves of culture age, too.

And the evil Suck Fairy grows mightier.

 

Yet… is she so wicked? Doesn’t she serve an essential function in our intellectual ecology…culling the herds?

Let’s end with the heartening words of Demetrios X, commenting on Ms Walton’s blog:

There is also an extremely rare counterpart to the Suck Fairy, the Anti-Suck Fairy. It’s only happened once or twice, but I have encountered books that I was very disappointed in the first time I read them, and then found I quite liked them on a second reading. That’s not a matter of growing up or being older either. It’s happened to me with books I’ve read as an adult with a gap of only a few years.

Yes,  indeed. The Suck Fairy and the Anti-Suck Fairy are locked in constant struggle, and in the course of a reader’s life may, turn by turn, conquer a book.

Suck and Anti-Suck, in gentler days before their all-out war

 

Like so many children, I was enamoured of L.Frank Baum‘s  Oz books.

An Oz comic strip by its original illustrator, W.W.Denslow

 

But as an adult, I put them behind me, finding in their simple prose little of the cleverness and charm that keeps Alice in Wonderland or the nonsense verse of Edward Lear so beguiling to grown-ups.

But the Anti-Suck Fairy was on the job! Now I delight again in the Oz books, discerning satire and shrewd political commentary behind the fairy-tale façade.

Likewise, the Edgar Rice Burroughs books I devoured as a teenager seemed unreadable in later life; tedious, racist hackwork.

Art by Frank Frazetta

 

But good ol’ Anti-Suck showed me the wit and liveliness that ERB masters  at his best.

I particularly recommend Carson of Venus and Tarzan and the Lion Man. Among other pleasures: the former for its sly attack on eugenicism, the latter for its genial self-parody and savage send-up of Hollywood.

Time to give Catcher in the Rye another go? You bet!

So take heart, my fellow culture vultures, the S.F. is not invincible.

Can you tell me of your own encounters with the Suck and Anti-Suck fairies in the comments below?