CLARIFICATION FROM SEAN HOWE

Sean Howe sent me this e-mail, which, in the interest of fairness, I'm sharing with you:

I just wanted to send a note of clarification: I did request an interview with you, back in 2008. You declined to speak on the phone, but told me that you'd try to answer email questions. I really don't like the format of email questions, for a number of reasons, and don't usually conduct interviews that way. What probably happened was that I remembered that you wouldn't talk on the phone, but I forgot about your email offer. So I'm sorry for that, and for any hard feelings. But I look forward to reading your blog posts.

I didn't remember Sean's request, but, there are, of course, no hard feelings.  I think I made it clear in the blog that I didn't consider not being interviewed for the book to be even remotely a big deal.

Tony

MARVEL COMICS: *MY* UNTOLD STORIES

No volume of comics history has ever made me feel as sad as Marvel
Comics: The Untold Story by Sean Howe [Harper; $26.99] and that’s
coming from me, the guy who has often said that the history of the
comics industry is the history of comics creators being screwed by
publishers, editors and even their fellow creators.  It’s taken me
several attempts to push through that sadness to write what isn’t
at all a proper review of Howe’s book.

The Untold Story is a well-written if sensationalistic history of
Marvel Comics.  Not without some justification, Howe’s book almost
invariably portrays industry people (bosses and workers alike) at
their most venal.  However, credit to Howe, this is a page-turner.
I have no doubt the uninvolved will relish its revelations and not
give much heed to whether or not they are accurate.

Understand, I am not accusing Howe of any knowing fabrications in
this book.  Nor am I verifying any of them that do not pertain to
me directly.  But, as I’ve also said on several occasions, we are
all the heroes of our own stories.  Howe interviewed many people in
the preparation of this book.  I suspect, knowingly or otherwise,
they tried to put themselves in the best possible light.  We all do
that.  I recognize this in myself as I recognize it in others and
it’s the reason I try (and certainly do not always succeed) to tell
my own stories as accurately as possible.

My sadness comes from knowing so many of the people who Howe writes
about.  The occasions when those people suffered misery saddens me
because they mostly didn’t deserve that.  The occasions when they
were the architects of someone else’s misery saddens me because I
have always wanted comics creators to be better than that.  So, for
me, someone involved in several of the events and who knows, loves
and admires many of the players, the book is far more sad than it
is fascinating.

And thus I vent for a moment before continuing... 

Oh my God. I'm back. I'm home. All the time, it was...we finally
really did it. You maniacs! You blew it up! Ah, damn you! God damn
you all to Hell!

Okay...I’m back.

Howe did not interview me for this book.  That doesn’t bother me as
much as it bothers some of my readers.  God bless them for how much
they love my writing, but I think a realistic assessment of my role
in Marvel Comics history is that I was a damn fine utility player
who took whatever position needed playing, did it as well as or
better than most and managed to write some memorable stories
along the way.  I was on staff at Marvel for less than four years
all total.  I was out of the loop as often as I was in the loop.

Early on in my reading of this book, I decided I would only address
the handful of mentions of me in the book.  I tended to avoid the
office dramas as much as I could.  Almost every woman I dated while
living in New York was not involved in the comics industry or even
comics fandom.  I hung out with non-comics friends almost as much
as with comics friends...and I tried to keep both “sides” separate.
I figured out early on that, as much as I loved comics and working
in comics, I would occasionally need a break from comics.

Before I address those specific mentions of me in this book, I want
to make an opening statement of sorts.  I enjoyed my time working
in the Marvel Bullpen, especially when Roy Thomas was the editor-
in-chief.  I learned a lot from Roy, Sol Brodsky, Stan Lee and many
others.  I thought my hard work was appreciated as much as anyone’s
hard work could be appreciated in the comics industry.  I have fond
memories of my co-workers.

Over the years, I’ve come to the opinion that the Marvel writers of
my time there constituted the best writing staff in comics before
and since that time.  In a company often unfairly considered to be
no more than a comic-book fast food joint, Marvel had a whole lot
of extremely talented writers all of whom brought their own voices
to the work.  When I compare myself to guys like Roy, Steve Gerber,
Don McGregor, Steve Englehart, Doug Moench, Archie Goodwin, Chris
Claremont, Jim Starlin, Marv Wolfman and Bill Mantlo, I’m clearly
an “also present.”  If my writing was memorable, it was because I
was playing on the same field with those writers.

Howe first mentions me on page 127:

Tony Isabella, a devout Catholic and a copyboy at the Cleveland
Plain Dealer, moved to New York to assist Sol Brodsky, who’d
returned to Marvel and was overseeing repackaging comics for the
British market. Isabella also began helping out with the monster
magazines.

That paragraph is mostly accurate.  Based on my introducing Jesus
into the cast of Ghost Rider, I can see why someone would assume I
was a devout Catholic.  But, at the time I wrote those stories, I
hadn’t been inside a church in years. 

While living with my parents and working for the Plain Dealer, I
quickly figured out that, as long as I left the house for about an
hour on Sunday mornings, they assumed I was going to church and not
one of the local diners for breakfast.  I moved out of their house
before I moved to New York, which meant I could dispense with that
routine.  And, to the best of my recollection, I never stepped into
a church while I lived in New York.

I suppose you could call me a Christian back then...since I tried
to do what Jesus would do to the best of my ability.  But “devout”
remained off the table.  Adding Jesus to the Ghost Rider series was
a fantasy/mythology thing to me.  I thought there needed to be some
sort of counter to all the Satan-types in the Marvel Universe.  I
dabbled with born-again Christianity for a time until I figured out
I had gotten it right the first time.

It’s possible my co-workers believed me to be a “devout Catholic.”
It might explain why I was never invited to participate in the drug
use Howe describes in his book.  My New York drug experiences
were but thrice in occurrence.

The first occasion was because an artist and staffer convinced me
I should try pot.  I burned my lip, but otherwise had no reaction
to the demon weed.  On the other hand, that artist would turn into
a right-wing jerk in his later years, possibly proving that pot is,
indeed, a gateway drug to asshat behavior.

The second occasion was...I asked Duffy Vohland to get me some pot
as a birthday present for a woman I knew.  I wasn’t dating her, but
she was a terrific friend and, at the time, I thought this was just
a really good idea for a gift.

The third occasion was...when a woman I was dating smoked some of
that pot when we were all together.  I wasn’t smoking, but, because
she thought I should, she would inhale and then give me these long
soulful kisses.  I rather enjoyed that.  I might have gotten a bit
high at the time, but I’m not convinced it wasn’t because the lady
was such an amazing kisser.

I pause here so my children can utter a collective “eww!”

We’ll return to Marvel Comics: The Untold Story and my own untold
stories tomorrow.  See you then.

© 2012 Tony Isabella

E-MAIL CORRECTION

When linking to my email address earlier today, I made a typo.  If you've tried to email me concerning this week's sale and not received a response, you may have used the wrong email address.

This is the correct one.

I apologize for any inconvenience.

VAST ACCUMULATION OF STUFF SALE 12/3

The honest truth is that I get a kick out of going through my Vast
Accumulation of Stuff looking for items I can put into these weekly
sales. I find items I had forgotten I owned and, sometimes, realize
I’m not willing to let them go just yet.  Thankfully, I also find
a lot of items I am ready to sell...and I always try to price these
items so that the customers get a deal and I still make a few bucks
on the transaction.

Most of this week’s items come from boxes scattered throughout my
office, my son’s bedroom and my soon-to-be-reading room.  I figure
I’ll be mining those rich veins for several weeks to come before I
start excavating my downstairs storage area.

My goal is to have my house stuff all squared away by the time my
garage sales resume in April or May.  The more you buy, the closer
I get to achieving that goal.  Think how happy my Sainted Wife Barb
will be when she gets most of her house back.

In addition to these new items, I have previously offered items at,
in many cases, reduced prices.  For those of you who’ve asked, once
the last already-assembled and ready-for-shipping mystery boxes are
sold, then I’ll start taking orders for new mystery boxes.  When
I’m ready to take orders, I’ll announce it in a bloggy thing and on
my Facebook page.

Here’s how my VAOS sales work...

First come, first serve. In other words, the quicker you e-mail me,
the better your chance of getting the item or items.  Only e-mail
orders will be accepted.  All the items are in very good or better
condition unless otherwise noted.

Let me stress that “e-mail only” rule.  Most of the few mistakes I
have made in assembling/shipping orders have happened with orders
I accepted via phone or Facebook message.  So...I’m not gonna break
my own rule anymore.

Items will be shipped via United States Postal Service.  There is
a $5 shipping/handling charge for up to four items via media mail.
Add $1 for every two additional items.  The charge helps defray my
expenses.

Payments are by check, money order or PayPal.  My PayPal address is
the same as my email address.  Purchases will be shipped within a
week of checks clearing,  money orders received or PayPal payments
received.

Because this is a one-man operation done between family, household
and work responsibilities, these items are only available to buyers
within the United States and to APO buyers.

When you receive your order, please check it and let me know of any
omissions as soon as possible.  I’ll be double-checking the orders
on my end, but, if there’s a problem, I want to make it right in a
timely fashion.

Each week’s sales end on Friday at 6 pm EST.  The following week’s
sale begins as soon as I post the new items.  Which would be right
about now...

1000 COMIC BOOKS YOU MUST READ by Tony Isabella. The best book on comics ever written by Tony Isabella. Hardcover. Signed on request. Price includes shipping. $29.95 

AIR; FLYING MACHINE by G. Willow Wilson and M.K. Perker [DC; 2009]. Reprints issues #6-10. Softcover. $6

BLACK LIGHTNING TOTAL JUSTICE ACTION FIGURE [Kenner; 1997]. Great looking figurefeaturing the costume designed by Eddy Newell.  It’s my favorite BL costume and Eddy is my favorite BL artist.  I have two unopened action figures available at this time.  I’ll sign them on request.  Price includes shipping. $10

CAPTAIN BRITAIN VOL. 2: SIEGE OF CAMELOT [Marvel; 2011]. Reprints Captain Britain and Black Knight stories from UK’s Super Spider-Man and Captain Britain and Incredible Hulk Weekly. Hardcover. Over 300 pages. $20

CINDERELLA: FROM FABLETOWN WITH LOVE by Chris Roberson and Shawn McManus [DC].  Reprints six-issue mini-series. Softcover. $7

COLONY by Bob Layton and Dick Giordano [IDW; 2012]. Graphic novel.Softcover. $12

COMICBOOK CANDY SECRET ORIGINS [DC/Leaf; circa 1980].  Complete set of eight mini-comics presenting origins of Aquaman, Batman, Flash, Green Lantern, Hawkman, the Justice League of America, Superman and Wonder Woman. No candy or wrappers, just the eight mini-comics. $25

FABLES #100 by Bill Willingham, Mark Buckingham, Steve Leialoha and others [DC; 2011]. Over 100 pages. $5

FABLES: ROSE RED Bill Willingham, Mark Buckingham, Steve Leialoha and others [DC; 2011] . Reprints issues #94-100. Softcover. $9

FABLES: THE DELUXE EDITION BOOK TWO by Bill Willingham and others [DC]. Reprints issues #11-18, graphic novel Fables: The Last Castle Willingham’s illustrated short story “A Wolf in the Fold,” a new introduction by Willingham and special sketchbook section with art by Craig Hamilton, P. Craig Russell and Mark Buckingham.  Unopened hardcover. $15

FLINTSTONES AT THE NEW WORK’S WORLD FAIR [1964]. First printing. No date on cover. $7.50

GIRLS’ LOVE STORIES #127 [DC; May 1967]. $3

GIRLS’ ROMANCES #91 [DC; March 1963]. John Romita cover. Interior art by Romita and Mike Sekowsky. $5

HARD TIME: 50 TO LIFE by Steve Gerber and Brian Hurtt [DC; 2004].Reprints issues #1-6. Softcover. $5

HERITAGE MAGAZINE FOR THE INTELLIGENT COLLECTOR [Winter 2012/2013]. Auction house magazine with great photos of items and articles on Babe Ruth, baseball memorabilia, Joe Simon and more. $4

JACK MAGIC: LIFE AND ART OF JACK KIRBY VOLUME ONE by Greg Theakston  [Pure Imagination; 2011]. Softcover. $12

JACK OF FABLES: THE FULMINATE BLADE by Bill Willingham and Matthew Sturges [DC; 2011]. Softcover. Reprints issues #41-45. $7.50

JACK OF FABLES: THE END by Bill Willingham and Matthew Sturges [DC; 2011]. Softcover. Reprints issues #46-50. $9

MADAME XANADU: DISENCHANTED by Matt Wagner and Amy Reeder Hadley [DC; 2009]. Softcover. Reprints issues #1-10. $7

MADAME XANADU: EXTRA-SENSORY by Matt Wagner [DC; 2011]. Softcover. Reprints issues #24-29. $9

SHOWCASE PRESENTS TALES OF THE UNEXPECTED VOLUME ONE [DC; 2012]. Reprints issues #1-20. $10

TENSE SUSPENSE #1 [December 1958]. All stories drawn by Dick Ayers. $10

UNKNOWN SOLDIER: DRY SEASON by Joshua Dysart and Alberto Ponticelli [DC; 2010]. Reprints issues #15-20. Softcover. $7.50

UNKNOWN SOLDIER: BEAUTIFUL WORLD Joshua Dysart & Alberto Ponticelli [DC; 2011]. Reprints issues #21-25. Softcover. $7.50

WALKING DEAD VOLUME 9: HERE WE REMAIN by Robert Kirkman and Charlie Adlard [Image; 2009]. Reprints issues #49-54. Softcover. $7.50

WALKING DEAD VOLUME 10: WHAT WE BECOME by Robert Kirkman & Charlie Adlard [Image; 2009]. Reprints issues #55-60. Softcover. $7.50

WANDERING SON VOLUME ONE by Shimura Takako [Fantagraphics; 2011]. Hardcover. $10

Here are the previously-offered items...

1000 COMICS YOU MUST READ BEFORE YOU DIE: THE ULTIMATE GUIDE TO COMIC BOOKS, GRAPHIC NOVELS AND MANGA.  Foreword by Terry Gilliam.General editor Paul Gravett. Hardcover. $5

ALTER EGO #110 (June 2012). Shazam! Leonard Starr. $2

ART OF WALT SIMONSON [DC; 1989]. Softcover. $8

BATMAN 3D by John Byrne [DC; 1990]. Softcover. $2

BATMAN: BLIND JUSTICE by Sam Hamm and Denys Cowan [DC; 1992]. From Detective Comics #598-600. First printing softcover. $8

BATMAN: DIGITAL JUSTICE by Pepe Moreno. [DC; 1990]. Hardcover. $8

BATMAN IN DETECTIVE COMICS VOLUMES 1 & 2 [Abbeville Press; 1993]. Features the complete covers of the first 50 years of the title in full-color 4" X 4-1/2" softcovers with introductions by Joe Desris. Originally priced at $10.95 each. For the set: $8.

BOOK OF SCHUITEN. Oversized, unopened hardcover. $10

CAPTAIN BRITAIN by Alan Davis and Jamie Delano [Marvel; 1988] with introduction by Chris Claremont. Softcover. $4

COMIC BOOKS MYSTERY BOX #33. Includes approximately 100 comic books plus another 5-10 items from my garage sales.  Price includes the shipping and handling. $25

DEATH’S HEAD: THE BODY IN QUESTION by Simon Furman and Geoff Senior [Marvel graphic novel; 1990]. Softcover. $2

DISTANT NEIGHBORHOOD VOL. 1 by Jiro Taniguchi. Softcover. $2

FANTASTIC ART: THE BOOK OF LUIS ROYO. Oversized hardcover. $5

FRANK FRAZETTA’S DEATH DEALER SHADOWS OF MIRAHAN: THE COMPLETE COLLECTION DELUXE HARDCOVER. Unopened. $10.

GOLDEN AGE OF BATMAN: THE GREATEST COVERS OF DETECTIVE COMICS FROM THE ‘30S TO THE ‘50S. [Artabras; 1994]. Oversized hardcover. $15

GOLDEN AGE OF SUPERMAN: THE GREATEST COVERS OF ACTION COMICS FROM THE ‘30S TO THE ‘50S. [Artabras; 1993]. Oversized hardcover. $15

GREEN ARROW: THE LONGBOW HUNTERS by Mike Grell [DC; 1989]. Reprints mini-series. Softcover. $4

LIFE AND TIMES OF DEATH’S HEAD by Simon Furman, Bryan Hitch, etc. [Marvel; 1990]. Softcover. 146 pages. $2

MANY LIVES OF THE BATMAN: CRITICAL APPROACHES TO A SUPERHERO AND HIS MEDIA [Routledge/BFI; 1991]. Softcover. $10

PRISONER: SHATTERED VISAGE by Dean Motter and Mark Askwith. [DC; 1989]. Based on the TV series. Softcover. $8

SCHULZ AND PEANUTS: A BIOGRAPHY by David Michaelis. Hardcover. $5

SUPERMAN: EARTH ONE by J. Michael Straczynski and Shane David. Hardcover. $5

SUPERMAN TIN PRETZEL SNACK CAN [DC; 1987]. 50th Birthday with large figure of Superman and comic-book covers. 9" high, 5-1/2" wide with original label on bottom and a few small dents. $10

VIKING GLORY: THE VIKING PRINCE by Lee Marrs and Bo Hampton [DC; 1991]. Introduction by Will Eisner. Hardcover graphic novel. $10

Thanks for your patronage.

Tony Isabella

TONY HELPS THE ECONOMY!

Just received this nice note from a delighted 1000 Comic Books You Must Read reader:

I just wanted to let you know that I've enjoyed reading '1000 Comic Books You Must Read.' Great fun! 

Also—you're costing me a small fortune on eBay. Most of the auctions I'm losing, but I guess I can feel good that my bidding is doubling and tripling many of these sales?

Your influence may be doing more than you've ever thought about for our economy.

 

The book is still available at better comics shops everywhere, from the publisher, via Amazon and, if you want a signed copy, from me. 

TENSE SUSPENSE

Here's Tense Suspense #1 [December 1958], another item that will be showing up in a near-future Vast Accumulation of Stuff sale.

STAR TREK CONFUSIONS

This is the German edition of Star Trek: All of Me by yours truly, Bob Ingersoll, Aaron Lopresti and Randy Emberlin.  Google translate tells me the title has been changed to "Confusions."