Tag Archives: The Same Old Story

Books for the Holidays

51Gn70L5MALIt’s beginning to look a lot like Christmas.

By which I mean, crass commercialism and holiday insanity (pagan cup of Christmas-hating Starbucks Christmas Blend coffee anyone?) are in full bloom, making life, shopping, and social media things to be, if not feared, at least avoided.

And, seeing as I’m at a point in my life where I’ve been trying to divest myself of the endless cartons of stuff I’ve accumulated and have been schlepping around with me for almost fifty years, the thought that this time of year could bring new stuff to replace it is sort of disturbing. (My need to shed that useless tonnage of paper et al found voice, albeit in the extreme, in a short story “Unburdened,” found here.)

But never let it be said I was a holiday…I’m sorry, Christmas (‘cause I don’t want to be accused of waging a war against Christmas in this, a nation that’s about 85% Christian) buzzkill, and, c’mon, seriously, who doesn’t like getting presents? Especially books.

51oqzCTobLSo, in that spirit, and ‘cause that’s the theme of these holiday season posts, here are some books I think readers who have enjoyed my work (which you can check out here…y’know, just to refresh your memory…but, hey, come to think of it, any of ’em would make fine holiday gifts in their own right!) might be pleased to find under their trees, menorahs, or kwanzaa candles:

 

CainI love a mystery, especially the classics of the genre. I can’t recommend highly enough any or all of the works of James M. Cain, author of such classics as The Postman Always Rings Twice, Double Indemnity, and Mildred Pierce (although the last, a fine novel in its own right, was turned into a murder mystery by the studio when it was filmed in 1945 starring Joan Crawford). A great introduction to this masterful writer can be had for about $20.00, The Postman Always Rings Twice, Double Indemnity, Mildred Pierce, and Selected Stories (Everyman’s Library Classic, 2003).

StoutAnother favorite is Rex Stout, author of thirty-three novels and forty novellas starring that rotund epicurean detective, Nero Wolfe and his sidekick, Archie Goodwin. Beautifully written, meticulously plotted, and often hilariously charactered, the Wolfe novels hold up even eighty years after they first began to appear. Get a great big serving of Wolfe and Goodwin in Seven Complete Nero Wolfe Novels (The Silent Speaker / Might as Well Be Dead / If Death Ever Slept / Three at Wolfe’s Door / Gambit / Please Pass the Guilt / A Family Affair), or try them out one at a time, beginning with 1934’s Fer-de-Lance.

EisnerWhen it comes to the comic book side of me, there’s a veritable stack of tomes that I’d like to unwrap on any one of the eight days of Chanukah. Most recently published as I write this is my old friend Paul Levitz’s Will Eisner: Champion of the Graphic Novel, a biography that focuses on The Spirit creator’s contributions to the birth and popularity of the graphic novel form and his impact on creators like Jules Feiffer, Art Spiegelman, Scott McCloud, Denis Kitchen, Neil Gaiman, and others. And while you’re looking, you might also want to check out Paul’s, 75 Years of DC Comics: The Art of Modern Mythmaking (Taschen America, 2010), a massive 720-page coffee table book (actually, buy some table legs at the hardware and you can make into a coffee table!). Or, if you can’t handle wrestling this 16.9 pound behemoth (let’s talk “weighty tomes,” wot?), Taschen has also broken 75 Years up into several smaller books, including The Golden Age of DC Comics, The Silver Age of DC Comics, and The Bronze Age of DC Comics.

WellsTwoMorrows has been publishing the American Comic Book Chronicles for a couple of years now, breaking down the history of the art form decade by decade. The first I read was John Wells’ two-volume American Comic Book Chronicles: 1960-1964 and American Comic Book Chronicles: 1965-1969, an exhaustive look at my comic book decade. John’s also a pal (he supplied the introduction to my The Unpublished Comic Book Scripts of Paul Kupperberg…a book worth having for John’s fine intro alone!), but he’s also one of the most knowledgeable and readable comic historians working today.

I’d be remiss if I didn’t also point you towards the American Comic Book Chronicles: The 1970s, written by Jason Sacks. Jason knows the comics of the 1970s like the back of his hand and takes us all on an enjoyable look at one of the industry’s most explosive decades.

The_Great_Comic_Book_HeroesBut if its comics history you want, the absolute greatest book on the subject ever published is, in my not so humble opinion, Jules Feiffer’s The Great Comic Book Heroes: The Origins and Early Adventures of the Classic Super-Heroes of the Comic Book (The Dial Press, 1965). It’s almost impossible to overstate the importance of this one 189-page hardcover, which consisted mostly of reprints of 1940s comic book stories surrounded by Feiffer’s brilliant essays on growing up with and entering the nascent field during the 40s, considered among the very first critical analysis of the form. Those reprints (at a time when such stories were never reprinted and the internet was still about thirty years in the future) and Feiffer’s personal creative journey through the four color fields awakened the creative instincts and inspired an entire generation of wannabe creators to pursue comics as a career. Between me and a couple of friends, we had it on almost continuous loan from the Utica Avenue branch of the New York Public Library for about two years until we could afford copies of our own. The Great Comic Book Heroes is long out of print, but I still have my original mid-1960s copy as well as a paperback reprint of just the Feiffer essays published by Fantagraphic Books in 2003.

Read on, people! And Happy Whatever!

Have You Heard the One About…? It’s THE SAME OLD STORY

The following is meant strictly for entertainment purposes…well, entertaining to me anyway. I managed to work a favorite joke into The Same Old Story, my murder mystery set in the world of the comic book industry in 1951 (and available just by clicking here!). Fun fact: The character of Robert Konigsberg was loosely based (though greatly exaggerated) on prolific DC Comics writer Robert Kanigher, one of my favorite real life characters. And no real world comic book creators were harmed in the writing of this story…

51oqzCTobLDeciding that being only half-drunk after receiving the news from Murray was worse than being sober, Guy was desperate for coffee. We stopped at the Automat on 44th Street, feeding enough nickels into the slots for a couple of cups of joe and a matching set of doughnuts.

Guy was lighting a cigarette when Robert Konigsberg sauntered up to the table. Tall and handsome in a rugged Robert Taylor sort of way, Bob had been an editor at National before leaving to write freelance. He was, for all intents and purposes, the top writer at the top company, responsible for a large chunk of their super-hero and romance lines. And he knew exactly where he stood in the pecking order. In a brushed camelhair coat and always freshly blocked Homburg, a bright and natty ascot as a dashing alternative to a tie, Bob was a fashion-plate, a teller of self-aggrandizing tall tales, a playboy, an often surprisingly good and creative writer, and a certified lunatic. There were too many Bob Konigsberg stories to tell, but the least bizarre of his traits included his habit, while writing during his lunch hours while still an editor, of suddenly leaping up on his desk, brandishing an umbrella or cane as a sword and sprouting ersatz Shakespearean dialogue at the top of his lungs, then calmly climbing back down to his seat and resuming his typing. His office mates thought he was eccentric. The headshrinkers at a psychiatric facility in Valley Stream thought he was a danger to himself or others. Twice. Once for sixty days, then again a year later for five months.

He was, by all reports, not currently crazy, making me wonder how crazy you had to be to qualify for certification. I thought the guy was a fruitcake, but at least he was nuts in a way that made him interesting.

“Gentlemen,” he sniffed at us in his bored, affected nasal tone. “What’s the good word?”

“Down here on earth,” said Dooley, ”or up there on Olympus where you reside?”

“Jealousy of his betters aside,” Bob said, directing his question to me, “what’s his problem?”

“Pincus,” said Dooley, “was the best ribbon salesman in New York. You ever hear this one, Bob? About Pincus, the ribbon salesman?”

Bob sighed theatrically. Konigsberg had several talents, but humor wasn’t one of them. The man was incapable of understanding funny in any form other than the dry, smile provoking bon mot, which only he thought was humorous to begin with. Laughter was unknown to that sad, dark heart of his. So Guy liked to tell him jokes, the longer and more drawn out the better.

“He sold to every notions store in the city, he sold to Woolworth’s, B. Altman’s, everywhere. But he could never sell to Macy’s. The ribbon buyer refused to change ribbon suppliers, but Pincus kept badgering him. Finally, one day, the buyer says, ‘Pincus, I’m in a bind. I have a special order for a piece of ribbon exactly two and six-sixteenths inches wide, of the exact red of a perfect sunset, with a texture like a baby’s behind, and as long as from the tip of your nose to the tip of your penis. I need it tomorrow by noon. Find it for me and from now on, I’ll buy all my ribbon from you.’ Pincus agrees to the terms and off he goes.”

Bob tapped his foot on the Automat’s scarred linoleum, waiting with undisguised impatience.

“The next day, at exactly noon, the phone in the buyer’s office rings and it’s Pincus. ‘I got your ribbon,’ he says. ‘Meet me outside.’ So outside the buyer goes and there’s Pincus. . .with ten enormous trucks full of ribbon! ‘Pincus,’ the buyer says, ‘the width is perfect, the color is absolutely dead on, the texture so soft you could cry. But, Pincus, I said I wanted a piece only as long as from the tip of your nose to the tip of your penis!’

“’So?’ says Pincus. ‘The tip of my penis is back in Poland!’”

I laughed. Bob didn’t.

“You were saying?” Bob prompted me, as though Guy hadn’t spoken.

“Worldwide Distribution’s gone down the tubes and they’re taking Blue Chip and Feature, that we know of, with them,” I said.

Bob blinked. He stepped back. “When,” he said, “when did this happen?”

“Today. This afternoon,” I said. “You okay, Bob?”

I don’t think he heard me, just nodded out of reflex.

“Don’t set sail for Cloud Cuckoo-land on us now, Bob,” Guy said. “Remember, the guys you work for have their own distribution company. They’re the only ones don’t have to worry.”

“Were you writing for either of them?” I knew Konigsberg drew a nice salary writing exclusively for National, but I’d also heard the rumors that he wrote secretly, under a variety of pseudonyms, for other publishers.

“Hmm?” Bob shook his head and focused his gaze on me once again. He managed a smile, but it never quite reached his eyes. “Actually, between you, me, and the lamppost,” he said, nodding in Guy’s direction, “I did provide some unsigned material on the side for some of their adventure and romance titles. Adventures Beneath the Earth, My Strangest Journey, Young and in Love, First Dates and so forth.” He waved his hand. “Strictly for income my wife was unaware of, a little extra cash to keep a certain someone in the style to which I’ve made her accustomed.”

Guy drained his coffee and rose to go after a refill. “Oh, Bob, you dog,” he said, deadpan, and left.

Bob shot his cuff and checked his wristwatch, making sure I got a gander at the gold band and jeweled face. “Well,” he said. “Speaking of which, I’d best be off. Don’t want to keep the lady waiting.”

I didn’t ask if he meant his wife or his girlfriend. I just said good-bye and returned to my doughnut.

Knowing that guys like Konigsberg would sail right through the current troubles with little more than an interruption in the quality of their adultery made me feel even worse for guys like me and Dooley. His kids could go hungry, I might have to live off my widowed mother or get a real job. . .but Bob Konigsberg might not be able to pay the rent on his floozy’s apartment.

At the moment, I couldn’t imagine a reason I could ever feel sorry for either Konigsberg or his floozy.

That would change soon enough.

© Paul Kupperberg

What’s Best?

LWA-34_1Having been born without the sports (or math) gene, I’m not much into statistics. Numbers make my head hurt and, frankly, I’ve got enough problem with the manipulation of words that I don’t need addition headaches trying to keep track of numbers too. Personal best? In prose, I’ve had a couple of 6,000 word days and a few more 4-5,000 word days, while in comics, I once wrote an entire twenty-two script overnight.

There.

Shortest blog post. Ever.

Still, I like to think it’s the quality of the words one produces, not the quantity, that counts. I’d rather have a few hundred really great words than several thousand merely serviceable ones. But unlike word counts, that’s tougher to quantify. It’s more a matter of how a sequence fits in and works with the story as a whole, what it reveals about a character or a relationship, and how it serves as a pretty but relevant little ornament on whatever story you’ve been knitting together.

Several years ago I wrote JSA: Ragnarok, a novel based on the DC Comics title (and don’t go searching Amazon for it; due to technical difficulties beyond anybody’s control, it’s yet to be published). At some point, the good guys, as is their wont in such tales, fall into the clutches of the bad guys. One of the heroes, Mister Terrific, aka former Olympian Michael Holt, blames his becoming distracted for their plight, which triggers a memory of an earlier incident in his life in which distraction cost him a victory. It’s a compact little vignette, all of about 650 words long, telling how Holt allowed a Kenyan competitor’s behavior in the 400 meter race to distract his focus from his own performance, thereby losing to the Kenyan by .05 of second, but it’s a nice, tight little piece of writing that sheds some light on the character’s personality. I don’t recall if I wrote it in the middle of a longer run of prose or as its own separate section, but if all I produced that day had been those 650 words, I would have been a happy writer.

A lot of what I write are comic books, recently for Archie Comics’ Life With Archie magazine. The premise of LWA is, briefly, the Archie gang as twenty-somethings in two alternate realities, one in which Archie is married to Veronica, the other to Betty. LWA is a really “quiet” title; it’s a lot of scenes with characters sitting around the Chocklit Shoppe or hanging out in the park, interacting, for the most part, the way real people do. Very little of which makes for interesting visuals, a prerequisite for your average comic book, even one in which the reader doesn’t expect a whole lot more than people talking. So in order to shake things up, I try to find interesting bits of business for the characters to perform while they talk, or unusual settings for them to talk in. I think one of my personal best efforts in that vein was in the most recent issue of LWA, #34, in which Archie is on a job interview with a billionaire industrialist…on a harrowing, stomach churning flight over Riverdale in a Korean War-era helicopter piloted by his perspective boss.

My favorite scene in my Crazy 8 Press mystery novel The Same Old Story is another one of those personal best moments, where story, character, and a great bit of business came together. In the pulp-story-within-a-story, police detective Inspector Solomon is tracking the movements of a victim the night he was murdered, which leads him to a diner down the street from the victim’s office. There, while questioning the owner and waitress, Solomon indulges in his passion for pie, consuming several slices as a sampler of the diner’s fare. At the end of the interview, when the owner tries to decline the detective’s money for the pie and coffee, Solomon insists on paying his way so that he can feel comfortable returning for more of their delicious pie as a customer and not be seen as a freeloader.

It’s another short sequence, a little over 1,500 words, but it’s successful not only in moving along the story but in advancing the character as well. Two characters, in fact; that of the fictitious-within-the-story Inspector Solomon, as well as that of Max Wiser, the writer of the fictitious Solomon, a character he created based on his own father.

So while I don’t keep a record of how many words or comic book pages I’ve managed to pound out in any given sitting, I can’t help but keep in mind those scenes, sequences, and chapters that I consider a creator’s true personal best. It is, after all, what we’re trying to accomplish with everything we write.