Kirb Your Enthusiasm (13)
March 1, 2011
Thirteenth in a series of posts, each one analyzing a single panel from a Jack Kirby-drawn comic book.
An interviewer recently noted about my fiction that when it comes to endings, I often seem to set the stage for a massive, inevitable reckoning, but then pull away just as all hell’s about to break loose. In other words, I seem to be interested in endings that leave the reader with a sense of the inevitability of what’s about to unfold but don’t necessarily take the reader all the way there. Another fiction writer, Charlie Baxter, having noticed the same thing in my work, once teased me for being the king of the in media res ending. There’s a lot I like about that strategy: for example, it’s a useful way out of the circumscribing box that some of the narratives I choose would seem to generate. When I write a story about crew members on the Hindenburg, the reader mutters to herself, How on earth is this going to end in a way that’s at all surprising? But stopping where I do allows me to mobilize Chekhov’s assertion that the job of the short story isn’t to solve the problem but to state the problem correctly.
Thinking about Jack Kirby has reminded me how much of that tendency I may owe to him. Way back and lost in the mists of time, when I was six or seven, probably, I came across one of his stories in one of the fantasy/sci-fi comics in which he worked — almost certainly either Strange Tales or Journey into Mystery. I no longer remember that much of the story or its title. But I’ll never forget its ending, and the effect it had on me. The story involved two different aliens — both with the kind of squashed-down, monsters-of-the-weight-room physiognomies that Kirby so loved — having arrived on earth to take it over, and discovering each other before having revealed their presence to the humans they intend to sweep aside. And the story ends with the two aliens locked in mortal combat, swinging away at one another. In the next-to-last panel they begin their battle, and in the final panel we’ve moved farther away from them, and they’re continuing their battle, in a long shot. While the world unsuspectingly goes about its business. I was floored. I thought about that comic for the rest of the day, the week, the month. And I still can picture that final image today.
The panel I chose, from “The Thing Called… IT!”, (Strange Tales, March 1961) illustrates the other aspect of Kirby that meant so much to me: his visceral and nightmarish and utterly dramatic sense of space. How many disorienting angles can we be given at once? The mad scientist is falling, upside down, and we’re vertiginously above him, and his left hand is reaching out for us? And how inspired is that black and spidery hair? Did anyone in comics do more to make space within the frame dynamic in ways that were unsettling? I’m no expert, but on the basis of what I’ve seen, I’d say no.
2011: KIRB YOUR ENTHUSIASM (Jack Kirby panels): Douglas Rushkoff on THE ETERNALS | John Hilgart on BLACK MAGIC | Gary Panter on DEMON | Dan Nadel on OMAC | Deb Chachra on CAPTAIN AMERICA | Mark Frauenfelder on KAMANDI | Jason Grote on MACHINE MAN | Ben Greenman on SANDMAN | Annie Nocenti on THE X-MEN | Greg Rowland on THE FANTASTIC FOUR | Joshua Glenn on TALES TO ASTONISH | Lynn Peril on YOUNG LOVE | Jim Shepard on STRANGE TALES | David Smay on MISTER MIRACLE | Joe Alterio on BLACK PANTHER | Sean Howe on THOR | Mark Newgarden on JIMMY OLSEN | Dean Haspiel on DEVIL DINOSAUR | Matthew Specktor on THE AVENGERS | Terese Svoboda on TALES OF SUSPENSE | Matthew Wells on THE NEW GODS | Toni Schlesinger on REAL CLUE | Josh Kramer on THE FOREVER PEOPLE | Glen David Gold on JOURNEY INTO MYSTERY | Douglas Wolk on 2001: A SPACE ODYSSEY | MORE EXEGETICAL COMMENTARIES: Joshua Glenn on Kirby’s Radium Age Sci-Fi Influences | Chris Lanier on Kirby vs. Kubrick | Scott Edelman recalls when the FF walked among us | Adam McGovern is haunted by a panel from THE NEW GODS | Matt Seneca studies the sensuality of Kirby’s women | Btoom! Rob Steibel settles the Jack Kirby vs. Stan Lee question | Galactus Lives! Rob Steibel analyzes a single Kirby panel in six posts | Danny Fingeroth figgers out The Thing | Adam McGovern on four decades (so far) of Kirby’s “Fourth World” mythos | Jack Kirby: Anti-Fascist Pipe Smoker
ALSO ON HILOBROW: Joe Alterio’s Cablegate Comix | HiLobrow posts about comics and cartoonists | HiLobrow posts about science fiction | The New Gods generation
2014: KERN YOUR ENTHUSIASM (typefaces): Matthew Battles on ALDINE ITALIC | Adam McGovern on DATA 70 | Sherri Wasserman on TORONTO SUBWAY | Sarah Werner on JOHNSTON’S “HAMLET” | Douglas Wolk on TODD KLONE | Mark Kingwell on GILL SANS | Joe Alterio on AKZIDENZ-GROTESK | Suzanne Fischer on CALIFORNIA BRAILLE | Gary Panter on SHE’S NOT THERE | Deb Chachra on FAUX DEVANAGARI | Peggy Nelson on FUTURA | Tom Nealon on JENSON’S ROMAN | Rob Walker on SAVANNAH SIGN | Tony Leone on TRADE GOTHIC BOLD CONDENSED NO. 20 | Chika Azuma on KUMON WORKSHEET | Chris Spurgeon on ELECTRONIC DISPLAY | Amanda French on DIPLOMA REGULAR | Steve Price on SCREAM QUEEN | Alissa Walker on CHICAGO | Helene Silverman on CHINESE SHIPPING BOX | Tim Spencer on SHATTER | Jessamyn West on COMIC SANS | Whitney Trettien on WILKINS’S REAL CHARACTER | Cintra Wilson on HERMÈS vs. HOTDOG | Jacob Covey on GOTHAM.
2013: HERC YOUR ENTHUSIASM (old-school hip hop tracks): Luc Sante on “Spoonin’ Rap” | Dallas Penn on “Rapper’s Delight” | Werner Von Wallenrod on “Rappin’ Blow” | DJ Frane on “The Incredible Fulk” | Paul Devlin on “The Adventures of Super Rhyme” | Phil Dyess-Nugent on “That’s the Joint” | Adam McGovern on “Freedom” | David Abrams on “Rapture” | Andrew Hultkrans on “The New Rap Language” | Tim Carmody on “Jazzy Sensation (Bronx Version)” | Drew Huge on “Can I Get a Soul Clap” | Oliver Wang on “The Adventures of Grandmaster Flash on the Wheels of Steel” | Douglas Wolk on “Making Cash Money” | Adrienne Crew on “The Message” | Dart Adams on “Pak Jam” | Alex Belth on “Buffalo Gals” | Joshua Glenn on “Ya Mama” | Phil Freeman on “No Sell Out” | Nate Patrin on “Death Mix Live, Pt. 2” | Brian Berger on “White Lines (Don’t Do It)” | Cosmo Baker on “Here We Go (Live at the Funhouse)” | Colleen Werthmann on “Rockit” | Roy Christopher on “The Coldest Rap” | Dan Reines on “The Dream Team is in the House” | Franklin Bruno on The Lockers.
2012: KIRK YOUR ENTHUSIASM (Captain Kirk scenes): Dafna Pleban: Justice or vengeance? | Mark Kingwell : Kirk teaches his drill thrall to kiss | Nick Abadzis: “KHAAAAAN!” | Stephen Burt: “No kill I” | Greg Rowland: Kirk browbeats NOMAD | Zack Handlen: Kirk’s eulogy for Spock| Peggy Nelson: The joke is on Kirk | Kevin Church: Kirk vs. Decker | Enrique Ramirez: Good Kirk vs. Evil Kirk | Adam McGovern: Captain Camelot | Flourish Klink: Koon-ut-kal-if-fee | David Smay: Federation exceptionalism | Amanda LaPergola: Wizard fight | Steve Schneider: A million things you can’t have | Joshua Glenn: Debating in a vacuum | Kelly Jean Fitzsimmons: Klingon diplomacy | Trav S.D.: “We… the PEOPLE” | Matthew Battles: Brinksmanship on the brink | Annie Nocenti: Captain Smirk | Ian W. Hill: Sisko meets Kirk | Gabby Nicasio: Noninterference policy | Peter Bebergal: Kirk’s countdown | Matt Glaser: Kirk’s ghost | Joe Alterio: Watching Kirk vs. Gorn | Annalee Newitz: How Spock wins
What do you think?
Jim, I could comment on how apt I think your narrative analysis is, or nod, stroking my beard (stubble), at your understanding of Kirby’s influence on your stories’ conclusions, but that will have to wait, because all I can think about is that the story you’re thinking of is The Monster at my Window, Tales to Astonish 34, and it does have the most awesome ending. And if someone has said that already, I will meet him on the rooftop and headbutt him with my exceptionally huge cranium.
Wow. I was hoping that a reader would identify the story about which Jim writes here. But so quickly! Amazing. PS: That issue of Tales to Astonish has a cover I’ve loved for years. Wish I owned it.
I believe there was some controversy over a New Yorker cartoon’s homage to that cover, yes?
What was the controversy? I missed it.
See the link I posted above…
I think that idea of the inconclusive, unconluded battle is nicely done at the end of Frankenstein (the novel) where Professor F and The Monster engage in mortal combat amidst a blank arctic white landscape, ultimately becoming part of that great white absence, ceasing to be protagonists, and still less emerging as a winner or loser.
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