Академический Документы
Профессиональный Документы
Культура Документы
: How Jewish History, Culture, and Values Shaped the Comic Book
Superhero by Simcha Weinstein
Review by: Robert G. Weiner
MELUS, Vol. 32, No. 3, Coloring America: Multi-Ethnic Engagements with Graphic Narrative
(Fall, 2007), pp. 315-318
Published by: Oxford University Press on behalf of The Society for the Study of the Multi-Ethnic
Literature of the United States (MELUS)
.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact support@jstor.org.
Oxford University Press and The Society for the Study of the Multi-Ethnic Literature of the United States
(MELUS) are collaborating with JSTOR to digitize, preserve and extend access to MELUS.
http://www.jstor.org
315
REVIEWS
is perceptiveand revealing. He does an especially good job examining Addams's attack on the family and, by extension, middle
class America.
The final artist, Saul Steinberg, has a status analogous to
Topliss himself: the outsider to American culture turning his eye
on an adopted country. Born in Romania, educated in Italy, then
emigrating to America, Steinberg brings his Old World Jewish
heritage to the New World and uses his art to understandthe
contradictoryexperience he encounters. The outsider artist succeeds in revealing the New World even more clearly to its inhabitants, embodied best in Steinberg's famous 1976 cover "View of
the World from 9th Avenue." Topliss's analysis of this iconic
drawingis perhapsthe finest study in a book filled with excellent
examinations.One comes away from the chapter fully convinced
of Topliss's pronouncementof Steinbergas a genius.
A short final chapter sets the cartoons in contrastto the other
pervasive art of the magazine:advertising.The chapteris interesting, but perhapsnot all thatnecessary.Topliss has alreadydone his
work, and done it exceptionally well. He gives us a look at art
centralto the first fifty years of The New Yorker,art that might at
first seem peripheralto American culture of the time, but feels
absolutelycentralafterreadingthis insightfuland perceptivestudy.
John Bird
WinthropUniversity
316
REVIEWS
317
REVIEWS
comic book superhero, and the prototype for all those that followed, is included. His name, KA-EL means, "All that is God" in
Hebrew. It also makes sense to believe that many of the Jewish
creators of these comic heroes, either consciously or subconsciously, had the Jewish story of the Golem in mind in creating
their heroes. Indeed, Superman'sJewish connectionwas kept alive
into the 1990s throughthe television show Seinfeld.
Weinstein even documentsthe more recent Jewish connections
for nearly all the superheroes covered in this book. Examples
include the Thing, from The Fantastic Four, coming "out of the
closet" and admittingthat he is Jewish; the Atom's desire to marry
someone Jewish; Batman's alternateuniverse story in which his
alter ego is the Jewish man, Baruch Wane; and Spider-Man's
recent dealings with the Jewish tailor, Leo Zelinsky. Weinstein
also points out that many of the currentcrop of writers, filmmakers, and comics artists who employ graphic narrativeor superheroes in their work are Jewish, including Bryan Singer, Sam Rami,
Michael Chabon,Neal Gaiman,Paul Levitz, Gil Kane, Joe Kubert,
Ben Katchor,and Daniel Clowes.
Two of the more interesting,and more blatantly,Jewish comics
charactersare the mutantsMagneto and Kitty Pryde from X-Men
and Ucanny X-Men. Magneto, the X-Men's main nemesis, is
portrayedas a survivorof Auschwitz and, at one time, a memberof
the Israelisecret service, Mossad. Kitty Prydewas createdby Chris
Claremont,a Jew, who specifically designed her to be Jewish, and
proud of it. The episode in which Kitty lights the traditional
Yartzeit candle, after the death of her former lover and friend,
Colossus, is reprintedin Weinstein's book, as is the one where
Kitty and Magneto attenda gatheringof Holocaust survivorsat the
NationalHolocaust Memorialin Washington,DC.
The most curious chapter is the one on the Hulk. While this
superherohas no overt Jewish connections, Weinstein is quick to
point out that the Hulk resembles the Golem, and one of the
recurringcharactersin the Hulk mythos is the Jewish doctor, Doc
Samson. The Jewish kabbalist, the Arizal, is invoked when discussing the Hulk's angerproblem,but perhapsthe most interesting
Jewish connection is when the Hulk meets the Israeli superhero,
318
REVIEWS
Robert G. Weiner
Mahon Library,Lubbock,TX