Professor Teague Bohlen recently visited ASU in partnership with Superstition Review and Project Humanities to discuss the evolution of the superhero in narrative. Along with providing a closer look at spandex tights and masks, Teague presented the history of comics as it relates to the rise, fall and comeback of the narrative. It was fascinating to learn how such seemingly small stories have affected the development of narrative structure over the last several decades.
Teague began his talk by explaining that comic superheroes were not always the same virtuous characters they are today. In fact, he pointed out several instances where the early Superman and Batman figures instigated violence and actually killed people out of rage. Hollywood’s version of Clark Kent would never commit such an offense, so how did this change in character come about?
At first, comics served a wide audience of children and adults with edgy story lines. In fact, comics were so popular in their early years that they became a strong force of advertising and propaganda during WWII. Who can resist the pressure when even “Captain Marvel joins the Navy”? However, after the war, comics returned to stories involving monsters, crime and homeland violence.
In the 1950’s there was a shift in the content of comics with the adoption of the CCA—Comic Code Authority. While some people viewed the reduced violence and “criminal content” in comics as a benefit to society, Teague discussed the devastating effect these restrictions had on the narrative plots within comic books. As he put it, “Imagine if everything on television had to be appropriate for a 5 year-old.” Suddenly comic storylines became surface-level and simplistic, and a few publishers replaced the dialogue almost entirely with comic art. Fortunately, over the last decade comics have made an impressive comeback as publishers have bypassed the CCA and returned to a more creative approach to storytelling.
Overall Teague’s talk left us with countless nerdy facts and a much greater appreciation for the role comics have played in the history of storytelling. I can speak for everyone present when I say it was a delight—and the superhero cookies weren’t half bad either. Thank you for a wonderful presentation, Teague. We do hope you come again.
San Tan Valley is one of the newer cities in Arizona, but what it lacks in population it makes up for in education and culture. One of the more striking aspects of this burgeoning area is the Combs High School Creative Writing curriculum. While most seniors in high school focus on securing the earliest release possible, the students in Mrs. Burnquist’s Creative Writing class have taken this course to pursue an education in reading and writing literature.
Although much of their time in class is spent discussing stories from established writers and in workshop, these seniors have also been actively engaged in developing the next issue of their own online literary magazine, IMPRINT. As if they hadn’t already impressed us enough! The magazine was started last year by the inaugural Creative Writing class as a way to encourage literature and to provide an outlet for students to “leave their mark”—the slogan of the first issue. The 4th issue of IMPRINT was launched on Monday, February 4th with an Adventure theme and can be viewed online here.
Superstition Review first took an interest in this group after visiting Mrs. Burnquist’s class in the fall to discuss the publication process of our own lit mag. This semester a group of s[r] interns returned to Combs High to participate in small workshop groups—one lit mag to another. We discussed everything from character development to college applications, and had a great time doing it.
About their magazine, one of Mrs. Burnquist’s students, Kat Johnson, stated, “I am interested in the production of our own literary magazine because it allows me to leave my own ‘imprint’ in Combs history. It gives me a sense of accomplishment.” As it should, Kat. And to the rest of the Combs High students who have participated in this impressive endeavor, the pen doesn’t stop here. We look forward to seeing great things from all of you.
When I was given the opportunity to interview Teague Bohlen about his upcoming talk at ASU I was thrilled—his flash fiction/photography pieces were some of my favorites from Issue 10. His stories are compact and powerful.
In just a few weeks Teague is scheduled to talk at ASU about a topic of personal expertise—Superheroes. If you enjoy this interview, don’t miss the opportunity to hear Teague speak at the Polytechnic Campus on February 13 from 2 p.m. to 3 p.m.
Brooke Passey: Thank you for taking the time to answer these questions, we are all so excited to hear you speak at ASU in February.
Teague Bohlen: Thank you for having me, both for this interview, and at ASU in February. It’s always good to come back to Tempe, and February is quite possibly the best time of the year to do it. Especially from Colorado.
BP: The title of your talk is “Superheroes in Narrative: Comics Come of Age in Print and Film.” That is intriguing to say the least! Can you tell us a little about where you plan to focus the discussion? Will you talk about the craft of writing with superheroes, the history behind it, the transition to film…? Give us a teaser.
TB: The idea behind the talk is how the archetype of the hero—specifically, in this case, the superhero—has changed over the many years since its modern inception. I’m going to start with a bit of the history of the superhero itself, how it’s changed, and how those changes have been reflected not only in the comics from which those heroes come, but also in traditional literary narrative. It’s an interesting parallel, I think; there’s been a specific maturation of both media over the last few decades–for sure, more for the previously kid-focused comic book medium, but there are certainly parallels. Now that the geeks have inherited the pop-culture earth, so to speak, this is becoming even more apparent, from a book like Chabon’s Kavalier and Clay to a deconstructive film like Whedon’s The Cabin in the Woods.
BP: On your website you mention reading Peanuts comic strips in high school. When did Superhero comics become important to you?
TB: I’ve been reading comic books since I was a young kid. Some of my earliest reading memories were of comic books. My uncle once brought me a huge box of comics when my grandfather passed away—I was five. My grandfather was gone, and my uncle—in some wonderful gesture of love and sorrow and sympathy—brought me a box of comics. There were Archie and Batman and Scrooge McDuck and Spider-Man, the last of whom I already knew from the PBS show The Electric Company, and from his Spidey Super Stories books. A couple of years later, I remember getting hold of the issue of Amazing Spider-Man in which Gwen Stacy—Spidey’s girlfriend—is killed. I remember that blew my mind. They killed someone; someone important. She wasn’t coming back. It was just like real life. I remember it was like a world opened to me—these weren’t just stories where everything worked out (which was true for books like Superman, etc., where the status quo and the cast rarely changed).
BP: This might be slightly off topic but I have to ask you about your upcoming collection of flash fiction/photography. Three of your flash fiction/photography pieces were featured in our last issue (all of which I adored, especially All His Shirts) but what inspired you to combine these two artistic mediums?
TB: I’m glad you enjoyed those. I’ve really come to love flash fiction. I edited for a great journal for a few years—Quick Fiction, now sadly defunct—that really made me appreciate the form. I’d been working in the medium for a while, and a lot of my flash work seemed to be centered around the Illinois Midwest, as was my first novel. It’s where I grew up, and where my heart still very much lies. The idea of adding photography came about when my cousin, Britten Traughber, chose to focus her own artistic bent on the same region. So much of her amazing work is set there, and it seemed like a natural pairing-up. We both wanted to allow the fiction to stand alone, and the photos to stand alone—and to be able to appreciate a new third thing, this alchemy of the two together, when they appear next to each other on the page.
BP: On a similar note, after reading your very serious and compelling stories I was surprised to find out that you were such an expert on comics. How do these two very different styles work together in your life?
TB: For a long time, I wasn’t sure they did! But then I moved from being a TV critic to being more of a pop-culture critic, and then a pop-culture humorist of sorts, and all that’s come together in interesting ways. I have a comic-book novel floating around in my head, which I want to get to at some point–that’s a book about people who like comics, who live in that world and speak that cultural language. People always try to pigeonhole your work into one thing–oh, he’s serious, or oh, he’s funny–but the truth is that most of our best writers are both, and more. Sometimes I spread myself too thin, but I think the range is good. It works for me, anyway.
BP: I read your pieces on Terrian.org and noticed that those photographs were also taken by Britten Traughber, who you just mentioned is your cousin. Did she take all the pictures for your upcoming collection?
TB: She did; the book is very much a collaboration between her and me, and the coming together of our work in rural Illinois. I come from a close family, so I feel like she’s more my sister, really. I’ve always admired her work, and since we share a Midwestern focus in some of each of our work, it seemed like a natural partnership.
BP: And last, but not in the least bit serious, let me end with a question about sugary snacks. I came across an article you wrote in 2009 titled, “The 10 Dumbest Comic Book Hostess Ads.” You made some very pertinent points, but what insights would you add to that article if you had written it after Hostess took their tumble?
TB: Ha! What a good question. You know, just to go back a bit, I love that series of silly lists I did for Village Voice back in the day. I miss doing them. They were crazy fun to research and write up. I’d like to do it again sometime. As for how that particular piece would have changed today, given the apparent demise of Hostess and all its wonderful products…well, honestly, the whole disappearance of Ho-Hos and Fruit Pies has me too depressed to even think about it. Though maybe I should write up something about where Hostess mascots Twinkie the Kid and Fruit Pie the Magician ended up–I’m thinking a lounge act on some ’70s-throwback cruise line.
BP: Thank you so much for your time. It has been a pleasure and we look forward to hearing from you again very soon.
TB: Thank you for the questions, Brooke! Looking forward to coming to ASU and talking comics. We’ll nerd-out, academic-style.
Before I started as an intern for Superstition Review, I wasn’t aware that most literary magazines and organizations send out biweekly newsletters. As I’ve become more acquainted with the literary scene, I’ve realized just how much information I have been missing. Let’s talk about why newsletters in general are so great.
First of all, newsletters are one of the best resources for compact and relevant literary information. They cover literary news, updates and advice from published authors, upcoming literary events, and articles on a wide range of beneficial writing topics.
Better yet, the information comes to you—delivered right to your inbox. Other sources of information such as Facebook, Twitter, and Google Reader are useful, but newsletters allow you to get the information as soon as it is published. Most newsletters are monthly or biweekly, so they won’t ever crowd your inbox.
Most importantly, they’re free! And who doesn’t like free things? Especially free things that help you to become a better writer, be involved in a network with successful authors, and stay up to date in the field.
Over the last few months I have subscribed to over 20 newsletters not only to improve my own writing skills, but also to take advantage of all the beneficial, interesting, and free information. Here are my top 10 newsletters. They are my favorites because they have consistently provided fresh and useful information along with dependable resources.