“Colonial Comics” is a trilogy of anthology comics, published by Fulcrum. The first part to the series sets the tone and covers the period known for the Puritans and Plymouth Rock; the iconic Native American guide Squanto; John Winthrop; Cotton Mather; and the Salem witch trials. Editor Jason Rodriguez is highly sensitive to what, for him, amounts to confronting a lot of New England factoids fed to him in childhood. A lot of cartoonists in and around the East Coast can relate to that view and it is this regional zest for fresh insight that powers this series. This is just the sort of book to spark conversation, excite readers of all ages interested in American history, and add a little spice to holiday gift-giving.
“Garden in the Wilderness”
Some fine examples include “Garden in the Wilderness,” story by Matt Boehm and art by Ellen T. Crenshaw. This comics follows the struggles of free thinker Roger Williams to create his own colony of Providence Plantations. He learns the detailed art of persistence despite his outspoken nature. Boehm and Crenshaw work well together in stitching together some very compelling scenes. In the case of Williams, it was a case of political maneuvering. This is in stark contrast to the fate of another free thinker, Anne Hutchinson, who was banished from her home for her strong opinions.
“The Missing Cheese”
Among a number of unusual tales, perhaps the most offbeat is “The Missing Cheese,” story and art by Sarah Winifred Searle. Here we follow the bumpy journey of Mary Huntris who must live down a youthful folly of petty theft. Later, once she is an established member of the community, circa 1675, she must deal with a thief after her own property: a boy who steals her prized packets of home-made cheese. As a woman, she is instantly blamed for setting up the child. If not for her husband defending her, Mary Huntris would have been arrested.
“The Press’s Widow: Elizabeth Glover”
What each story in this series has in common is that, in one form or another, it is addressing how those without power were mistreated, abused, and exploited–which included anyone who was not a white male. And, if not outright hurt, then the disenfranchised could expect less in life. Another moving tale in this book is “The Press’s Widow: Elizabeth Glover,” story by Erika Swyler, art by Noel Tuazon, and lettering by Jason Hanley. Here we follow the journey of Goody Glover. She inherits a printing press that will ultimately lead to publication of a number of celebrated works. But she can only stand by as the men in her life oversee its operation.
Another engaging comic is “Troublesome Sows,” story by Virginia DeJohn Anderson and art by Michael Sgier. This comic features the struggle endured by Native Americans as settlers from the New World steadily encroached upon their lands and livelihood. In this case, the settlers have let loose their livestock to a free-range buffet of all the Native American crops. In this wordless comic, we follow the frustrated victims of sows run amok. Finally, in a familiar trail of tears, the Native Americans find no other solution but to abandon their lands.
This book, and the rest of this series, is highly recommended for any reader. “Colonial Comics: New England, 1620 – 1750” is a 208-page trade paperback, in full color, published by Fulcrum Publishing. For more details, be sure to visit the Colonial Comics website right here.
“Pocahontas: Princess of the New World” by Loïc Locatelli-Kournwsky
Here is a story that will greatly resonate with anyone struggling with issues of Otherness. There is so much to love about the graphic novel, “Pocahontas: Princess of the New World.” If you are looking for a powerful and accessible way to talk about race and tolerance, here is a compelling new addition to that discussion. Depicted in a direct and straightforward manner, here is the story of Pocahontas and John Smith as you’ve never seen it before. This is truly a unique gift for young and older readers alike. Originally published in French by Sarbacane in 2014, this spirited and quite informative graphic novel by Loïc Locatelli-Kournwsky is now available in an English translation by Pegasus Books.
Truth is stranger than fiction. Loïc Locatelli-Kournwsky plays with that concept by mining closer to the known facts, at least much closer than a Disney animated feature could. Pocahontas was around eleven years-old in 1607 when she was supposed to have famously saved Jamestown settler John Smith from being executed by the Powhatans. The rest is a bit of history and myth. This graphic novel interpretation has Pocahontas in the role of vigilant defender and protector of John Smith and the English colonists. Originally named, Matoaka, there is some dispute as to how and why she became known as “Pocahontas.” Some versions of the story say the name meant “playful one.” But in this version, the Powhatans feel betrayed and the nickname is supposed to simply mean, “shameless whore.”
Matoaka, later to be known as Pocahontas, would be baptized by the English as, Rebecca. The Biblical reference suggested a healer to two separate cultures. That myth would blossom in the 19th century as she was portrayed as an emblem of the potential of Native Americans to be assimilated into European society. Keeping close to the facts gives way to some poetic speculation as Locatelli-Kournwsky explores the inner world of his celebrated main character. In a number of key scenes, we see that the the clash of cultures is quite overwhelming for Pocahontas. Even once married to John Rolfe and dressed in the best fashion, English society around her does not really embrace her. She is forever seen as part of the wilderness and best suited to remain there. The die is cast, for better or worse, once Pocahontas, always Pocahontas.
Readers will be pleasantly surprised to read a more enlightened account of such a celebrated figure in history. Locatelli-Kournwsky’s artwork is just the right mix of lightness and precision. And the new English translation by Sandra Smith provides a smooth and accessible path to this most engaging story.
“Pocahontas: Princess of the New World” is a 128-page hardcover, published by Pegasus Books and available as of September 6, 2016. Visit Pegasus Books right here.
“Maybe she is right. Maybe nobody is interested in another science fiction story about the paradoxical nature of time or the mystery of existence. Maybe all they want is a simple love story with a happy ending.
Fantasy and science fiction doesn’t really exist unless it has a reader.
He has come to believe he will have a reader, so he has always tried to make his behavior justifiable, and as a consequence he spends a large part of his time explaining himself to an invisible judge he calls, “Your Honor,” becoming verbally adept at defending himself.”
— George Clayton Johnson, from “Every Other War”
I am really thrilled to own this book. It is a book that you, dear reader, will likely never own. It is hard to come by. Originally published by Subterranean Press in 1999, it has long since gone out of print. But prove me wrong. Seek it out! In fact, I do hope that will change some day. I strongly recommend that Subterranean Press or some other publisher, say Penguin Random House, create a new version of this 450-page collection.
Keep in mind that the author of this collection, “All of Us Are Dying and Other Stories,” is George Clayton Johnson who wrote the first episode broadcast of the original Star Trek series. “The Man Trap” first aired on 8 September 1966. That first broadcast is what marks the 50th anniversary of what has become one of the most iconic television series in history. What was it about George Clayton Johnson that earned him that distinction? This was someone born into abject poverty at the start of the Great Depression, an 8th grade dropout, forced to leave home at age 15, and yet he would go on to great heights.
For those of you who faithfully keep up with my writing, you know that quite often the source of my various tangents goes back to my first meeting George Clayton Johnson some years back. When I found out about all the pop culture franchises he was a significant part of, then found out about his life, and then found myself charmed my the sheer decency of the man himself, I started seriously considering creating some sort of book about him. I was able to tell him about it as well as show him some of it before he passed away. He gave me his blessing. I told him, at the time, that I was still figuring out how to best present the issue of cannabis, as that was very important to him. He listened. He talked. He said to follow my passion. The meeting with him, in his home, in December of 2014, would be the last time I’d get to see him. I had gone to see him again, in December of 2015. I’d been invited and he still sounded hearty and joyful. But it was too late. He had been moved to hospice by then.
“I told you the other night how I’d re-read ‘All of Us Are Dying’ and how much I enjoyed it. When I came to the end of this story and read the last lines, I got goose flesh on my neck. What greater tribute can I offer you? Thanks for the neck bumps.”
George hung on until Christmas. George died on Christmas Day. His great mentor, Rod Serling, was born on Christmas Day. There certainly seemed to be some cosmic and poetic thing going on. And then you add George’s favorite subject, Mr. Death, the defying of death, the taunting of death. George, no doubt, left this world on his own terms. And here I am telling you yet again about what has become quite a subject for me: George and all things related to George. Yes, this is how creative people such as myself think. And, dear God, there will be a final resolution as I do intend to put the book out as soon as possible. It will be in a graphic novel format with plenty of room for the art and plenty of room for the text. They will need to trade places from time to time. Anyway, all this leads to my getting my hands on this particular book. I dare say, it is something of a Holy Grail for some geeks such as myself. My copy is a Publisher’s Copy and was from the library of writer Stanley Wiater. Stanley, if you wondered what became of your book, I’ve got it now, mate.
George Clayton Johnson with Robert Redford on the set of “Nothing in the Dark”
Each story in this book will tug at you. Take the story of two boys, George and Abraham. They just figured they’d make great friends, with great prospects, considering they each had the best of presidential first names. This was during the Great Depression when these two reveled in each other’s company. Neither of them had a cent between them. Then one day, they thought about how much they’d love to own a bicycle. If only they had a bike, the roads would be free for them to explore at will. They decide upon buying a beauty in flaming red enamel that they spot in a shop in town. The price of twenty-two dollars and ninety-five cents seems out of reach. But they find various odd jobs and their goal becomes attainable. They while away the time by mostly doing things that don’t cost them anything like listening to the radio perched on the windowsill of Abraham’s bedroom. George would be at that very same windowsill as he sits in vigil for his friend dying from scarlet fever. And so the friendship, the bicycle, that time and place make up this short story, “A Bicycle Like a Flame.” This is just one of the many gems to be found in “All of Us Are Dying and Other Stories” by George Clayton Johnson.
“All of Us Are Dying and Other Stories” by George Clayton Johnson
Fans of the original television show, The Twilight Zone, will readily come to see which of these short stories in this collection would have made for another great teleplay by Johnson. But, as this book makes abundantly clear, you don’t need any prior Twilight Zone knowledge to enjoy Johnson’s work. How about “The Hornet,” a story of man versus insect with the insect seeking justice? Or perhaps “Dealer’s Choice,” a story about soldiers endlessly playing cards in order to avoid death? Or “The Freeway,” a story set in the future when cars mostly drive themselves and contribute to much less alert humans. Johnson wrote some of the most memorable Twilight Zone episodes thanks to the show’s creator and main contributor, Rod Serling, taking a chance on him. Johnson’s first accepted story submission was “All of Us Are Dying.” Serling bought it and did the necessary reworking to have it better fit his vision, including changing the title to, “The Four of Us Are Dying.” Johnson always maintained that it was a great lesson in how to write for Serling. But, in the end, he liked his version best and thus the title to this collection. In both versions, it is essentially a shape-shifter story: a man who can change his face. In Serling’s version, there’s this specificity about the man attempting to exploit his gift. In Johnson’s version, the man is all the more vulnerable, not in control, and all the more universal.
As this book demonstrates, Johnson’s overriding plan was simply to create the best work. In later years, he went on to create more inventive work with the same care and precision as when he first started out. There’s the short story “Thorndyke,” for example. A couple argue at a party. It is a male and female. The female has been badgering the male all night. She wants to know why he won’t sleep with any of the other females. Thorndyke insists that he isn’t interested. Finally, at his wife’s insistence, he goes to see a psychiatrist about his disorder. It is determined that Thorndyke has a severe case of manogomy. And, as it turns out, these characters are actually rabbits. Thorndyke is the rebel seeking to remain faithful to his wife.
Check out the amazing cover art by Burt Shonberg, 1957.
Wow, what do you think of the book’s cover art? That’s by Burt Shonberg, 1957. George would have been around 28 years-old when that portrait of Frankenstein playing a saxophone was first created. George and Burt and Doug Myres (the Gateway Singers) together ran a little shack of a cafe on Laguna Beach called Café Frankenstein from 1958–59. Burt created various Frankenstein art for the cafe. Apparently, he always favored a Frankenstein motif and, in his own way, so did George.
The most unusual work in this collection is “The Edge of the World,” a screenplay commissioned by Sid and Marty Croft for quite a quirky movie. It is an ambitious and colorful romp of a tale with Christopher Columbus transported to modern day New York City. What a movie this could have been! It’s fun to read such a sprawling and loose work. Johnson manages to get Columbus down into the bowels of the NYC subway system where he makes friends with a tough motorcyclist named, Cheyenne. The two get along and share a joint. This is significant subtext as it brings in references to Johnson’s home state and his lifelong support for cannabis. It also cues the reader to the building conflict, and irony, of Columbus interacting with Native Americans.
Like a rocket, Johnson’s career blasted off with his co-writing the novel that was the basis for the Rat Pack classic movie, “Ocean’s Eleven.” Johnson was only 30 years-old in 1959, when he became part of the TZ writing team. By the mid-1970s, he had written for the original Star Trek TV series and co-written the novel, “Logan’s Run,” the basis of the blockbuster 1976 movie, the most lavish sci-fi film of its day, only to be surpassed the following year by “Star Wars.” Johnson kept on writing. He even created a show ahead of its time, “A Man’s World,” where women are in charge and maintain a male figurehead for appearance’s sake. While Johnson’s show was rejected, a similar show would subsequently get the green light, “Charlie’s Angels.”
“George Clayton Johnson continues to write what he believes in regardless of the marketplace. He is the real deal. He is what other writers mean when they point to someone and say that he is a writer. He is a fellow traveler in search of the Greater Truth, of a kind of unified field theory for the human condition. For this is the true subject of his writing and the abiding core that gives it such weight and strength.
–From the Afterword by Dennis Etchison
The case of George Clayton Johnson is unique in that this was a writer who was most concerned with quality and originality. His worst enemy, Johnson was prone to say, was a meddling producer eager to copy the latest hit show. Johnson was attracted to a challenge, something unusual. A perfect example is his flash forward narrative for an episode of “Kung Fu.” Instead of a conventional flash back, the main character to this story is dependent upon something happening in his future. It is this desire to strive for the most inventive, and most immersive, storytelling that is a hallmark of Johnson’s work. This brings me back to the above quote. For those who knew George Clayton Johnson, they know he was quite a jovial and energetic defender of his work, and deservedly so.
Reading “All of Us Are Dying and Other Stories”
You can always look up video of Johnson’s work for Star Trek, Ocean’s Eleven, Logan’s Run, and, of course, The Twilight Zone. Here is a quote from “Kick the Can,” one of the most iconic TZ episodes and one of the four that was later to be showcased in 1983’s “Twilight Zone: The Movie,” directed by Steven Spielberg, John Landis, Joe Dante, and George Miller.
“Maybe, the fountain of youth isn’t a fountain at all. Maybe, it’s a way of looking at things – a way of thinking.”
–From “Kick the Can” (Episode aired 9 February 1962)
As Johnson describes in his short autobiographical novel, “Every Other War,” he had been struggling to sell short stories he knew in his heart would find a buyer–and yet did not. That includes the above mentioned, “A Bicycle Like a Flame.” Things looked very bleak at the time. “Kick the Can” was still in its early drafts. It would prove to be one of Johnson’s best works.
What I want to leave you with, the goal of my own book on George, is to celebrate an individual who fought for the integrity of his work and went the extra mile to be insightful, poetic, and heroic. Take a look at his teleplay for Route 66 and you see an unusual story of playing the game of life. Take a look at his teleplay for The Law and Mr. Jones and you find an offbeat path to seeking justice.
Boil it all down, and George’s favorite among his work is his Twilight Zone teleplay, “Nothing in the Dark.” And his favorite lines are delivered by Robert Redford with all the grace one could ever hope for.
“You see. No shock. No engulfment. No tearing asunder. What you feared would come like an explosion is like a whisper. What you thought was the end is the beginning.”
–From “Nothing in the Dark” (Episode aired 5 January 1962)
George was definitely attracted to the theme of death. It was H.P. Lovecraft who famously said, “The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown.” Death is the ultimate unknown. Lights out. What now? It’s the only game in life where, in the end, you’re guaranteed not to come out alive. It’s just a question of what you do while you’re around. George lived his life to the fullest. He won.
Truth is far more complicated than legend. In a new graphic novel, Ethan Hawke and Greg Ruth find an honest way to address the Native American story in “INDEH: A Story of the Apache Wars.” Hollywood has a long history of perpetuating the myth of “Cowboys vs. Indians,” of noble white men just doing what needed doing against the fierce and random attacks of primitive savages. In this book, we get an even-handed clear depiction: a steady and calm narrative that builds to a quick-paced chain of events.
Ethan Hawke adds subtlety, shades of meaning, to the sort of story that usually gets overblown and exaggerated. He has the inevitable violence in there but he really digs deep into the causes of conflict: the U.S. military mishandles information in some cases and individuals engage in abuse in other cases. By 1872, hostilities should have been on a steady decline but, due to unfortunate factors, all would come to a head in the Apache wars.
At the center, is the famed steadfast warrior, Geronimo. Alongside him, is the warrior turned reluctant diplomat Cochise. We come to see that the Apache did not enter into bloodshed lightly. But, after not only one’s land is taken, but one’s family is slaughtered, blood will be shed. When literally everything is taken from you, your very existence threatened, what do you do? You fight back!
Quite remarkable that such a book exists. Here you have a compelling story told in the comics medium, which gives it that greater reach and accessibility, and gives it a unique vision. I can only imagine that Ethan Hawke, such a celebrated and talented individual, must have gained so much from his discoveries and creative effort in putting together this script.
It did begin as a screenplay. However, the realities of Hollywood left Hawke with the realization that his idea for a movie could be better served by a graphic novel. When Hawke approached the legendary Greg Ruth about being the artist, Ruth insisted that they were entering a new world, the world of comics, and to make that collaboration work, Hawke would need to rethink the script. And so Hawke did just that!
Enhanced by Greg Ruth’s lively brushstrokes, we see the varied nuances to the conflict. We find that, despite the mounting chaos and violence, there were parties on both sides who were more than willing to listen to reason. And, amid the carnage, betrayal, and despair, there was the defining figure of Geronimo. Skillfully avoiding a heavy hand, both Hawke and Ruth give Geronimo his due. Yes, it did reach a point where he was motivated by revenge but he was also motivated by survival.
INDEH by Ethan Hawke and Greg Ruth
If we are to grow and evolve as a people, we need to better understand where we’ve come from. What INDEH does is provide us with a clear picture, one that even today we rarely see. Ultimately, we find here a story of a people abandoning a life full of life and succumbing to a life closer to death. Perhaps future generations would dream. These warriors had to admit they had given way to being “Indeh,” or “the dead.” But what would be the greatest tragedy is if they had died in vain. This book is a tribute to the Apache, and Native Americans in general, and it will definitely enrich the reader.
INDEH is a beautiful 240-page hardcover, fully illustrated, black & white with graytones, published by Grand Central Publishing, an imprint of Hachette Book Group. For more details, go right here.