With great being a relative term and considering all the cliffhanger sequences so expertly crafted by James Patterson (let’s not fool ourselves that Bill is now a master at hardboiled airport thrillers), The President is Missing could quite possibly make for a decent comic book adaptation. The trouble is: are there any takers? All things considered, and there is a hell of a lot to consider, taken as a curious entertainment, the book did its job on me and I read it to the very end. As for passages that I can tell right away were written by Bill, I hit pay dirt at the very beginning (the president names his enemies and his virtues) and at the very end (the president names his enemies and his virtues). And the President Duncan character is so heavily influenced by Bill that he is clearly his alter ego. Tucked within all that is a pretty good spy thriller of sorts. Everything has been simplified to the point where it lends itself well to the demands for brevity and action in your typical comic book.
So, would you really want to read this? Could you even stomach it? A lot depends upon your politics, or more to the point, your opinion of Bill’s character. There are those living in a bubble who chalk up Bill’s abuse of women as simply the missteps of a cad. Everyone in this rarefied group, by the way, still uses the word, “cad” in casual conversation. I recall one talking head referring to Bill as a man of “enormous appetites.” This was all well before #MeToo but there are still plenty of Friends of Bill who simply are not up to calling him out and never will be. Bill is protected by much of the media as one who is too big to fail. Just read the review of this book in The New York Times. Nicolle Wallace, of MSNBC, serves up a fair and upbeat review. That could be a way to balance out the gotcha moment sprung on Bill on the TODAY Show on NBC.
That TODAY Show moment is now part of the experience of reading this novel. It can’t be any other way and that’s a good thing. Maybe Bill could have dodged a bullet if he’d had more presence of mind in that already highly calculated noggin of his. Why did he have a meltdown when NBC’s Craig Melvin asked him about Monica Lewinsky? At least Melvin did not directly refer to Paula Jones, Juanita Broaddrick or Kathleen Willey. Just the mere mention of Monica was enough. In the dust up that ensued, Melvin focused upon the idea that Bill really should personally apologize to her. Hell no, was Bill’s response. Hadn’t he suffered enough? Those legal bills to defend himself don’t pay themselves. Bill had clearly gone off the rails with his self-destructive response. What a contrast to a novel that depicts a president with razor-sharp dedication to the job. President Duncan is the president that Bill can only wish he could have been.
Hey, let’s do a book!
The novel’s President Duncan is a dashing war hero who, by all counts, is God’s gift to America. He is flawless expect for one thing: he’s just too darn honest and brave! Almost single-handedly, this Prez literally saves his country from the mother of all cyberattacks, one that is so dastardly that it could toss America into the Dark Ages. Dare I say, this is one heck of a superhero-like president.
For her New York Times review, Nicolle Wallace dusted off a handy quote just screaming to be inserted. This is the one by Tom Wolfe that goes: “The problem with fiction is that it has to be plausible.” How often has that old chestnut been used in genteel conversation? But it does make sense here. I can well imagine James Patterson coming to a screeching halt at his typewriter. For some reason, I see him as using a typewriter. And so he calls up Bill to ask him if North Korea is as bad as he’s heard. This, of course, was well before Trump fixed everything up. So, Bill goes over and asks Hillary and they begin to fight over competing interpretations. Bill says he’ll have to call him back. Anyway, Bill, or Richard Clarke, would eventually make “plausible” whatever hiccups occurred in the narrative.
But there’s this one particular moment that occurs right in the Oval Office of all places that may defy plausibility. This highly-twisted plot features Nina, a young woman who creates the computer virus that threatens America, if not the whole world. Again, I can well imagine James Patterson working himself up into a fit of frustration over this. Finally, he calls up Bill with his perplexing question. Bill ponders it for a long while and then replies, “You know, James, I do believe that it is quite possible for a young woman to find a way to discretely enter the Oval Office and be alone with the President of the United States.” The great James Patterson lets that sink in but has to add: “Alright, Bill, but I just have a feeling that someone will take issue with that. Heck, it might even happen on the TODAY Show!”
The comics I’m enjoying the most lately are coming from Insight Comics. Scoop, Vol. 1: Breaking News is a perfect example of their fresh and engaging content. This is an action adventure featuring 14-year-old Sophie Cooper, a red-headed Cuban-American, high school freshman.
There are quite a lot of specifics here which add up to a story with unique depth and dimension. Sophie’s dad, the kind and responsible type, has been framed and placed under house arrest for embezzlement and money laundering. It is up to Sophie to prove her father’s innocence which leads her to become an intern at a local news station. One thing leads to another, and Sophie is piecing together Cuban history that is somehow connected to some pretty crazy secret lab experiments. I can see why this is just the first volume!
Scoop, Vol. 1: Breaking News
A growing trend for comics publishers is to feature more diverse main characters. Within the last few years, leading the way has been the character of teenage Kamala Khan, Marvel Comics’ first Muslim character to headline her own comic book, Ms. Marvel, which debuted in February 2014. Another compelling title, in the same spirit, is the soon to be released limited series, She Could Fly, featuring Luna, a 15-year-old hispanic high school sophomore, from the Dark Horse Comics imprint, Berger Books. This brings us to Sophie Cooper.
With Sophie Cooper, writer Richard Hamilton (Dragons: Race to the Edge) gives the reader yet another authentic voice. And artist Joseph Cooper (Marvel, DC, Valiant, Dynamite, and Image) proves to be an excellent collaborator. Rounding out the creative team are colorists Peter Pantazis and Alba Cardona. Some of the best comics are the result of a finely-structured collaborative process. That is certainly the case here right down to the details in production. This is a book that is a pleasure to read and behold.
Scoop, Vol. 1: Breaking News
Getting back to specifics, this comic will keep the reader engaged with various added touches. As explained in the afterword, nothing was left to chance. Pantazis and Cardona were careful to find just the right skin tones and just the right shade of firebrand red for Sophie’s hair. When it comes to evoking a sense of urgency and distress, Joe Cooper was sure to depict Sophie’s cracked cell phone and chewed fingernails. And, in story that includes UFOs and alligator-men, Richard Hamilton deftly adds various historical references including the 1953 attack of the Moncada Barracks that ignited the Cuban Revolution.
The unlikely team of Hal Ritz and Sophie Cooper.
In the course of this first volume, we follow Sophie as she navigates her way as an intern for a news station that is not exactly ready for prime time. Sophie discovers she has a nose for news and ends up helping the station’s veteran reporter, Hal Ritz, who shamelessly takes credit for an implausible lineup of journalistic achievements. But Hal is no fool either and readily spots Sophie as a rising talent and someone to keep an eye on. This unlikely team will need all the help they can get as they quickly find themselves well over their heads.
The Devil is in the Details.
Paranormal mystery meets conspiracy thriller in this action-packed comic for young adults. This has a fresh and original kick to it.
Scoop, Vol. 1: Breaking News is a 96-page full color trade paperback available as of June 19, 2018. For more details, visit Insight Comics.
Jerome Charyn concludes his Isaac Sidel mystery series with the recently published “Winter Warning.” In this interview, we begin with discussing the crime fiction genre and quickly gravitate to the strange resemblance between Charyn’s President Sidel and our current American president. Both men are prone to go it alone in the extreme. Mr. Charyn has some choice words to share on his view of the current political landscape as well as the art that can emerge from troubled times
Henry Chamberlain: Would you share with us your thoughts on the American roots to crime fiction and how it was perhaps inevitable for you to make your own contribution to this genre?
Jerome Charyn: I’ve always felt that all novels are crime novels and I just didn’t realize it. Of course, my brother was a homicide detective. And, once I’d read Dashiell Hammett, after having read Hemingway and Faulkner, I began to feel that Hammett had invented a new kind of language: a poetry of crime. To some degree, Hemingway also wrote crime stories. There’s one called “Fifty Grand.” I was overwhelmed by Hammett and not so much by Chandler. Chandler was recognizable in terms of his literary qualities. But Hammett was a true original. We had never had another writer like him, an actual Pinkerton, who described what it was like in that world, and the craziness of that world really mirrors the craziness of the world we’re living in now.
I don’t know if you’ve seen this series, “Berlin Station.”
No, I haven’t.
You should. It’s excellent. It’s about a CIA station in Berlin. And it has the same kind of madness that you would find in my own fiction. So I was very happy to watch it. I think after the discovery of Hammett, and particularly his novel, “Red Harvest,” I felt that this was a world that I had to enter as fast as I could. Also, I had read Ross McDonald but after a while, his novels became repetitive whereas it was Hammett who had invented a new kind of language for the 20th century. And, it seems to me, he has never received the recognition he deserves.
Jerome Charyn, a kid from the Bronx.
You have a terrific hook in “Winter Warning” with a renegade president. What some readers may not be aware of is that you had already laid down the groundwork for Sidel’s political rise to power in the two previous Sidel novels, “Citizen Sidel” and “Under the Eye of God.” With the latest novel, “Winter Warning,” you have Sidel as an accidental president. And you find yourself with the added bonus of the current president.
I wrote this before the election of Trump and, like everyone else, I didn’t anticipate that Trump would win.
Is it a bonus or is it more of a distraction in a way?
It’s certainly not a distraction as much as a mirror, a crazy funhouse mirror of what is actually going on in the world today. There are many resemblances between Trump and Sidel. Republicans and Democrats hate them both. They both have to maneuver on their own. They both have a kind of poetry. Isaac is tenuous. And Trump is not. There are certain similarities: the sense of the maverick, the person who goes his own way.
I imagine you followed current political trends while tapping into timeless qualities of the contemporary American presidency.
I was particularly fascinated with the presidency after writing a novel about Lincoln. And I also wrote a novel about Teddy Roosevelt just as he’s about to become an accidental president after McKinley dies. So, it was very much on my mind as to how the office shapes the man and the man shapes the office—because, in some way, the American presidency will never be the same after Trump. Never. It can never go back to what it was.
It is a very sobering thought. The pieces on the geopolitical chessboard are being jostled with by Trump. With Obama, we had a good role model. With Trump, I think, we have some sort of throwback.
It’s not simply that he’s a throwback. We never realized before the powers that the president had. With the separation of powers, with the Supreme Court, with the Congress, there seemed to be some limits on his powers. But there are no limits. He does what he wants, when he wants, as he wants. He says what he wants. He retrieves what he says. He denies what he says.
And, also, we’ve never had a president who tweets. I mean, it is a kind of crazy poetry. One has to give him that particular credit. He stays up in the middle of the night and tweets his platform. We’ve never seen this. We don’t know how to deal with it. And, obviously, the Democrats, who should have won the election, are completely bewildered—and didn’t know what to do with him. And we still don’t know what to do with him.
I think there is a strange resemblance between “Winter Warning” and the current situation. As I said, I didn’t write it with Trump in mind.
East and West Berliners tear down a portion of the Berlin Wall, November 9, 1989.
It’s interesting how the timeline for the Sidel series puts us in 1989, or an alternate 1989, I should say. In some ways, that was a more quiet time but the world is always changing and we are right on the cusp of the implosion of the Soviet Union.
Yes, as the so-called Soviet Union implodes, separates into separate nations; it is the end of the Cold War but it’s the beginning of a different kind of war. To some degree the secret agents that were in place, on both sides, remained in place even after the end of the Soviet Union, the coming down of the Berlin Wall, and so on. It’s very difficult to determine what is real and what is not real these days as we have a constant variation on the truth, or a constant multiplication of the truth. The truthful lie. I don’t know how else to describe it. Sidel isn’t like that. He’s a very moral person. But, remember, he’s killed his way to the top. He would never have gotten to where he is without his Glock.
I look at “Winter Warning” as a political thriller and a thinking person’s world-weary journey so, in that sense, Trump seems to me to be a distraction. He’s not in the equation to this novel and yet there is an undeniable connection.
He isn’t in the equation except that he is also a kind of accidental president. And Sidel has to go his own way because he’s so isolated in the White House. I particularly like the two trips he makes – to Prague and to Riker’s Island, where he tries to settle a war between the inmates and the guards. New York is still very much in the narrative frame. And everyone around him seems to want to kill him! (laughs)
“I Am Abraham” by Jerome Charyn
There are some presidents who will always lend themselves well to fiction. Lincoln stands out.
Lincoln is quite fascinating. I did a great deal of research on him for my novel. He really grew in the office. He had the prejudices of his own time. The presidency made him great and he made the presidency great. It was a strange evolution. When he talks about the better angels of our nature, there’s real poetry in what he wanted to say. He was our resident poet in the White House. I was hoping that Obama would be the same kind of poet but, in the end, he wasn’t. His speeches didn’t hold up in the same way. We don’t have a Gettysburg Address, which is overwhelming. It’s a kind of tone poem. Everyone was expecting Lincoln to give an hour speech and he spoke for four or five minutes.
Lincoln haunts Isaac Sidel’s White House because, of course, he haunts my own head. We will never see another man like him. I don’t think so. Teddy Roosevelt, in his own way, did a lot of great things but he wasn’t anywhere as poignant as Lincoln.
Of course, I wanted Isaac to be poignant. On the other hand, after completing forty years of work, I didn’t want to have a musical climax or crescendo. It’s just the end. His life can go on. It was the end of a jagged symphony. It was the last twisted movement.
I didn’t want to sum things up. But, on the other hand, I wanted him to end as a sitting president, to go all the way up the American ladder of success. He went from a deputy chief inspector to chief inspector to first deputy commissioner to police commissioner to mayor to vice president, although he never served as vice president. I did think of having him in that job (vice president) but it would have seemed a bit artificial to me. I wanted him to dig right into the dirt.
“Hard Apple” concept art by Tomer and Asaf Hanuka
Without having to give anything away, will the upcoming animated series, “Hard Apple,” based upon the Sidel books, (art by Asaf and Tomer Hanuka) be able to cover all the books?
Well, we will start with “Blue Eyes.” It takes several months to do one episode of animation. I would like it to follow Isaac Sidel’s career. I wouldn’t work on all the books but perhaps six or seven and have Sidel end up all alone in the White House.
Trump on North Korea
Do you think that Trump will make as satisfying a fictional villain as, say, Nixon? Or will people have soured so much on Trump that it will somehow not work?
One never knows. We’re living in such a strange time that I wouldn’t even want to make any kind of prediction. It would be very interesting to write about him just as a phenomenon because that’s all that one can say. He’s a kind of hurricane passing through the entire world. And we don’t know quite what to do. We don’t know how to be prepared for it. And yet, there he is.
If one were to deal with him fictionally, well, you must have seen Saturday Night Live. That’s probably the best fictional representation of him, with Alec Baldwin. I don’t think you can get any better than that. So maybe humor and parody are the way to deal with Trump. Anyway, the relationship between fiction and reality is so tenuous that one can’t anticipate what future writers will do in terms of Trump or how he will be treated.
For example, when we used to think about World War II, we had certain novels like “The Naked and the Dead” and “From Here to Eternity” and then suddenly in the Sixties, we had “Catch-22,” which was a completely different take on the war and the madness of war. It took a long time to re-envision what the nature of war was like.
We would never have thought of war in that particular way. And when Heller tried to do a a sequel, it didn’t really work. The original was too much a product of its own time. In other words, it was the Vietnam War superimposed upon World War II and that’s what made it so interesting.
I think it will take a very long time before we can fictionalize the world as it is unfolding today.
Trump on Distorting Democracy
For someone who seems so unintellectual, Trump does play the most devious mind games. There is his strategy of lying where he flips the lie and makes the accuser appear to be the liar—it’s a Russian technique.
He’s very shrewd in his own way. While Hillary was preparing for her victory at the Javits Center, he was out campaigning on the very last night. He was a man who stood there alone. Whether he believed he was going to win or not, we have no way of knowing. It’s not that easy to figure him out. Certainly, I think the tweets are brilliant. And when he uses the term, “Rocket Man,” for example, he does have a kind of poetry.
You were part of the Writers and Editors War Tax Protest in 1968 protesting against the Vietnam War. Do you think that today’s protests get the same kind of attention?
Well, it wasn’t exactly the way it sounds. What I did was help to educate people. I went door to door in California. I wasn’t trying to convince anyone about how they should feel about the war but just provide them with some history.
That is why I’m a little disappointed with the new Ken Burns documentary on Vietnam because it was a more complicated matter, with opposition coming from within the government, but those details got glossed over.
Johnson himself knew that we could never win the war. And we lost the war the first time American soldiers appeared on the ground. It was a very sad epic. And when you think of what we were able to do in World War II and how we rebuilt Europe. We brought these countries back into the world. So, it was a very different kind of strategy, the way Americans used power. And now, I haven’t got the slightest idea. For example, I wouldn’t be able to write about the current situation. But I did write a novel about the Vietnam War and felt comfortable doing it.
There are two films about the current situation, “The Hurt Locker” and “Zero Dark Thirty,” that really capture the craziness in the world. You have these young American soldiers, who haven’t traveled much, and then find themselves in a world where they can’t read the signs or the signals.
What I found most interesting about Vietnam was the lingo that Americans produced. The way that they combined colloquial French and a sort of Broadway slang, to create a whole new language for Vietnam was extraordinary. But the war itself was never winnable, no matter what we did.
Franklin D. Roosevelt fishes with Winston Churchill at the presidential retreat Shangri-La (later called Camp David) outside Washington in May 1943.
All of the characters in “Winter Warning” are colorful and interesting. One that stands out for me is Ariel Moss, the former prime minister of Israel. As a kid, I remember paying attention to the Camp David Peace Accords so I know that Moss is inspired by Menachem Begin.
I didn’t want to use the name. I wanted to invent a Begin-like character and evoke the sadness he went through after his wife died. Then there’s Camp David. And I had fun researching the presidential helicopter service, Marine One. I knew that Camp David and Marine One were going to create the thrust for the novel. I read whatever I could about Marine One and the squad of pilots and how each president leaves his own stamp on Camp David.
Franklin Roosevelt first used Camp David as a retreat. Lincoln had his own summer retreat. He’d go to the Old Soldiers’ Home and then ride back to the White House. After writing about Lincoln embodying that world, it was a little bit easier for me to see Sidel in that same house in Lincoln’s shadow. There’s also the way Truman described the White House as the “little white jail.” All of those takes are interesting.
“War Cries Over Avenue C” by Jerome Charyn
Could you name any of the French and Broadway combinations of lingo that emerged from Vietnam?
I wrote a novel called, “War Cries Over Avenue C.” For instance, for “city,” they would use the word, “ville.” I would have to go back and look at the novel. Once I’m out of a world, it’s not easy to go back. It is lingo like you see coming out from this war. You have that in “The Hurt Locker,” just think of the terms themselves. “Black Sites.” “Zero Dark Thirty.”
Like I said, I think “Berlin Station” is very powerful. I think some of the best writing is being done in episodic television. The movies now are for twelve-year-olds. But, in terms of HBO, Amazon, and Netflix, we’re getting exciting options. Think back to “The Wire.” Did you ever see that?
HBO’s “The Wire”
I have yet to see it.
You should. “The Wire” is one of the very best. There are others. “Deadwood” is another one. A lot coming out of the BBC, like “The Singing Detective.” That was probably one of the most creative things I’ve seen on television. It’s the writer-producer who creates the show. In that sense, you can have some very good things as well as bad.
New editions of Sidel books in Germany.
As I wrap up, I just want to say that I enjoyed “Winter Warning” very much and I am going back to read the other books. I am currently enjoying “Marilyn The Wild.”
The series, at the beginning, was very different. It evolved as I evolved as a writer. You never think that you’ll finish all twelve. I consider them three quartets. The only reason I was able to complete the Sidel books is because my editor/publisher at Liveright, Bob Weil, spent a long time on each draft. I’d be working on the Sidel books while he was working on Lincoln, or the book on Emily Dickinson. I had a strange surreal time between novels, trying to keep the distinct voices inside my head.
What I like best about the Sidel books is that you can read any title without knowing anything about the others. It will enrich the experience if you do read the others but each stands alone.
In Germany, they have been republishing each of the Sidel books with a photo of me on the cover that coincides with the time I wrote each book. It’s an interesting idea.
The main thing is that you want to keep working as a writer. I feel that we’re living in a time that is hostile to the writer. You have to have an inner resource to sustain yourself. Writing was something I always wanted to do from the time I finished high school. I never thought in terms of failure or success. I just thought in terms of how to sustain myself. I was very lucky, as my generation was the first that welcomed creative writers to teach at the universities. It had never been the case before. And then I stopped teaching and moved to Paris. And soon I began to teach there. I started a film department at the American University in Paris. As with anything, you also need a tremendous amount of luck.
Four graphic novels by Jerome Charyn, available from Dover Publications.
Yes, luck and will power.
Well, you can have all the will power in the world but if you don’t have any kind of luck, then you defeat yourself. You need some kind of acknowledgement. The books I’ve written are there for people to read. Some of them may survive and some of them may not. One never knows.
Also, the graphic novels that I wrote are very important to me. I was the first American novelist in Europe to work with a French artist and then other French writers began doing it too. I grew up with comics, as you already know. We’ve talked about it.
You have so many portals that one can slip into. You have so many outlets for people to discover your work.
Well, if they take the time. The problem is you don’t have as much time to read anymore. Everything moves so quickly, but if you can take the time to read then you can take the time to discover.
When I went to college, reading was the central occupation of what we did as students. You didn’t do anything but read books. You were much better equipped to deal with the outside world having had these dialogues with writers, with having had Plato inside your head.
Today it’s more of a juggling act. A student’s attention is divided between reading and engaging with social media.
It is in social media where people do their discovering. And, going back to Trump, it’s with his tweets where he’s so brilliant. Maybe you need a child-like manner to do it. I don’t really know. But he has a sort of brilliance with his tweets that very few people have. (laughs)
It’s a very different world. And it has evolved very quickly. What place there will be for books, I don’t know. I don’t feel very optimistic about the future of books.
The art of rediscovering books: “Call It Sleep” by Henry Roth
I feel there are a lot of dedicated readers. My daughter, at 21, prefers to read in print. I like both print and digital equally. There’s a healthy community of readers out there.
It’s not a question of a lack of readers. It’s about the lack of venues for these readers. For example, it’s so much more expensive to put out a print book. When I first started writing, if a publisher liked your work, he knew that you’d have a library sale of between 1,500 to 2000 copies so that you could easily sell four or five thousand copies. That would be enough to do a second book and a third book.
But now the library sales have disappeared; the book clubs have disappeared; and the paperback houses have disappeared so the avenues for income are not there. The only avenue you have left is the translation of a book into a film—and that may be more prominent that it was before. Or a television series. One or the other. And that may be what rescues fiction.
As long as I still get pleasure from books, I will write them. There are fewer book reviews, fewer publishing outlets, so it’s hard to reach the reader.
I think people are reading as much as ever but what they’re reading, I don’t know. Also, someone has to make predictions based upon book reviews. If you look back at the last fifty to sixty years, most of those predictions have been wrong.
What seems to be wonderful isn’t so wonderful. I’m not talking about myself. I am talking about how books can come out of obscurity. For example, “Call it Sleep,” by Henry Roth. It was published in the ‘30s and disappeared. Then it was republished in the ‘60s and it was a phenomenal hit. These things do happen but they happen much less frequently.
That’s the same case with “The Great Gatsby.”
That’s absolutely true. Fitzgerald died at a very early age. He was only 44. He was completely forgotten. It was only because of Edmund Wilson’s essays in The New Yorker that he was revived as a writer. In his own lifetime, Fitzgerald had disappeared into the void, his fame all eaten up.
It’s odd which writers are recycled, which writers come back to haunt us, and which writers speak to us in our own generation.
Thank you, Jerome.
Thank you, Henry
You can listen to the podcast conversation by clicking below:
“Winter Warning” by Jerome Charyn
“Winter Warning” is a 288-page hardcover, available as of October 3rd. For more details, visit Pegasus Books. Be sure to visit the Jerome Charyn website here.
JFK survived the assassination and is out for revenge. That is the premise of Craig Frank’s humorous and thrilling work, JFK SECRET OPS: THE GRAPHIC NOVEL. It is currently the subject of a fundraising campaign that runs through May 25. You can visit the campaign HERE.
As you’ll see in this video interview, Craig is a down-to-earth guy. He’s very gracious and thoughtful. His idea for this book first took root after a visit to Dealy Plaza and visiting The Sixth Floor Museum. He is a seasoned animator and painter. He has always loved the comics medium and the limitless possibilities of the graphic novel. He comes to this project with the skill and the storytelling sense required for the job.
As a fellow participant in Kickstarter (I have my own campaign here), I fully appreciate where Craig is now. The timing is just right for his book in more ways than one. It’s the perfect time for him to be taking on such a project. And, it just so happens that we’re observing the 50th anniversary of President Kennedy’s assassination this year. 50 years later and that event still has the power to haunt, confuse, and strangely fascinate.
The more I think about it, the more I’m convinced how appropriate this seemingly “inappropriate” graphic novel really is. It didn’t fully occur to me until after the interview that we can’t lose sight of the fact that John Fitzgerald Kennedy was only human, right or wrong, and the man could be egregiously, horribly, wrong with his treatment of women. What happens is we get caught up in the myth, fostered by powerful interests, run by the Kennedy family, the Democratic party, and, perhaps, the whole damn system that we can only imagine in all its machinations.
There is, of course, the fact of his tragic death that seems to wipe the slate clean for eternity but maybe not exactly. And the fact, and this is even as tragic, is all that was genuinely good about the man. It’s complicated for sure. Give an inch and admit the shortcomings of one leader and look at his lesser rivals swarm to exploit it. All that said, hell yeah, bring the icon down to earth. This graphic novel is a good and healthy thing.
Enjoy the video interview!
Support JFK SECRET OPS: THE GRAPHIC NOVEL at Kickstarter right here.