Kirby: The King...or the Charlie Brown....of Comics?

From almost day one of becoming a comic book fan, I've been a fan of Jack Kirby's artwork.

Among my first comic book purchases was Marvel's Greatest Comics #57, which was a reprint of Fantastic Four #75. The story's artwork by someone named "Jack Kirby" was so dynamic and distinctive, it's no exaggeration to say that this single issue may have been what "set the hook" (to use a fishing term) and made me a comic book fan for life.

Later that year, a buddy of mine received his first issue of FOOM Magazine (Marvel's fan publication). Trumpeting "Jack's Back", the cover made it clear that this Jack Kirby guy was one important dude. This, paired with the stunning artwork from MGC #57, cemented my perception of Jack as a sort of demi-god of the comic book scene.

That perception was tempered somewhat as I grew older and became aware of various voices within the comic industry and their competing views of its own history. As with any large industry boasting such a long and organic history, the comic biz had (and continues to have) its share of competing perspectives, factions, and agendas.  Sadly, these divergent (sometimes contradictory) views of the same history can cloud the character and contributions of its most prominent architects...even a giant like Jack Kirby.

It's with this wary attitude that I now approach all comic book histories, knowing full well that its narrative often conforms to the perspective and proximity of the author. Even widely acclaimed comic book histories like Gerard Jones' Men of Tomorrow (which I recommended here) have a viewpoint not everyone is going to agree with or appreciate...so imagine my wariness as I approached Kirby: King of Comics by Mark Evanier, a long time Kirby acolyte and chronicler.

As the first of two Kirby biographies, this hardcover volume is intended to be a sort of "Silver Surfer" prelude to the more extensive "Galactus-sized" biography the author is still working on. Despite the streamlined approach of its "coffee table" format, Evanier still provides a brisk overview of not only Kirby's long career but also the early influences and attitudes that shaped it.

Of course, being primarily an "art book", the highlight of the book was the impressive amount and variety of artwork. From childhood sketches to his first professional gigs, from his Olympian heights to his twilight years, the book offers a comprehensive overview of Kirby's entire career....which, considering how prolific the man was, is no small accomplishment. Better yet, many of the images are reproduced from original artwork that Evanier procured from various sources, which alone justifies the purchase price.

However, as much as I enjoyed the artwork, Evanier's proximity to Kirby and his estate made the book read more as hagiography than biography. Sure, in some respects I was pleasantly surprised...such as Evanier often giving the benefit of the doubt to Stan Lee (a well-beaten pinata of Kirby partisans) and actually acknowledging (albeit passingly) various quirks of Kirby's personality that may have contributed to the other problem I had with the book: it's steady drumbeat of prosecution and victimhood.

Although the negative aspects of a life should never be ignored, Evanier seemed to wallow in negativity by portraying Kirby as little more than a hard working, yet hapless victim tossed this way and that by clueless and/or vindictive know-nothings. Ironically, in an effort to make Kirby look good by blaming most of his setbacks on the ungrateful or uncomprehending nitwits around him (which apparently included everyone except his wife Roz), Evanier makes Kirby come off as an insecure, paranoid masochist.  That's unfortunate, because the essense of Kirby I see in his artwork is full of joy, pride, and enthusiasm...and not the beaten-down wage slave of Evanier's depressing hard luck tale.

Personally, I would have loved to get more insights into the artwork itself, Kirby's working process, or any other "behind the scenes" glimpses into his marvelously creative mind, rather than the familiar litany of personal slights and corporate screw-overs allegedly inflicted upon the man. At one point, even the motivations of Kirby's various inkers were called into question in a quote by fellow inker (and Kirby pal) Mike Royer:

"I kept seeing other artists trying to make Kirby work
look like their work and impose their viewpoints..."

This quote sums up my irritation with the book. Royer, who should know better (at its core, the very act of inking another artist's pencils is "imposing" another viewpoint), instead characterizes the honest efforts of Kirby's fellow professionals in the worst possible light...as if they had some anti-Kirby agenda they were advancing. Worse yet, Evanier (for whatever reason) decided to include it. This is the spirit of persecution and finger pointing that characterizes so much of the book from Kirby's early career onward, and it's a damn shame Evanier chose to take the story of this man's interesting and influential life on such a low road.

I have no doubt matters between Kirby and his employers caused him and his family grief and aggravation...but at the same time, I don't think airing so much of that dirty laundry was the way to go, since it ultimately made everyone involved come across as petty and grasping...even Kirby himself.

Strangely, in the last chapter, Evanier characterizes Kirby's outlook during the final ten years of his life:

"The positive side won out, as it always had with Kirby."

Really, Mark? Now, Kirby may very well have "always" had a positive outlook, but it's a quality that rarely (if ever) surfaces in the preceding six chapters of "Somebody Done Him Wrong" songs....which is why I can only recommend this book on the strength of the artwork alone.  For those who thrive on the "Big Company Screws Little Guy" narrative, this book (and Evanier's larger volume) is definitely for you...but for me?  Eh...no thanks.

Comments

[Brian]

Mark,
Interesting take. I think I liked the book more than you did, but that might have been because I read it shortly after finishing Ronin Ro's Tales To Astonish-- the latter has some really interesting stories in it, but epitomizes even more acutely the "me-against-the-world" narratives you point out (in addition to its occasional inaccuracies about some of the comics), and it becomes even more vindictive and exhausting after awhile. I went into Evanier's book with trepidation (despite my admiration for his comics writing), and was pleasantly surprised at the book's balance.

I also think, in your last paragraph, that you put your finger on something important-- that the various Kirby stories are just emblematic of the larger Romantic myths that comics history and criticism are still struggling with, and that Kirby's very real difficulties with Marvel and other companies can certainly be manipulated to fit our desired frameworks. Maybe that means moving away from biography (or a strict biographical lens?) to focus on other aspects of the artist's work and personality? That's why comics blogs excite me-- the best of them seem really interested in telling new stories about comics.

[Mark Engblom]

"Maybe that means moving away from biography (or a strict biographical lens?) to focus on other aspects of the artist's work and personality?"

Like I said, I don't want to completely ignore the negative aspects of anyone's biography, but Evanier didn't seem interested in much else. I realize the larger book will have the luxury of focusing on other details of his life and the minutia the coffee table book just couldn't fit...but even that limited format could have included other aspects of Kirby's personal and professional life that were positive or, at the very least, humanizing.

For example, who were Kirby's KIDS? The only one mentioned was Lisa, and only then in the context of the Kirby's having to move to California to help her asthma. Did Kirby let his kids sit on his lap while he was drawing? Did Jack make the coolest Pinewood Derby Cars for a Boy Scout son? What were his favorite cigars or pipes? What role (if any) did his Jewish faith play in his life or during his times of trial? What were some of his GREAT memories of working for Marvel during it's 1960's heyday (they can't ALL be bad, right)? Did he know any fellow creators socially?

In other words, WHO WAS THIS MAN other than the Frustrated Genius he's constantly being portrayed as? At some point, Evanier needs to stop AVENGING the man, get beyond the standard victimization tropes, and give us a well-rounded portrait more deserving of a King.

[Joe Lewallen]

Hi Mark,
I really liked the book and did learn some new stuff about Kirby like the story that Simon and Kirby worked on an early Captain Marvel comic.
In regards to the "They Done Him Wrong" theme that runs throughout the book, yeah, a lot of Golden Age creators got the shaft. Siegel, Shuster and Bill Finger all really got worked over by the "suits".

As far as why did Kirby put up with being "exploited" all these years instead of telling the suits to shove it, I think it has to do with him growing up in the Depression. Jobs were really scarce, and if you had one, you knew that you were better off than a lot of other guys. Kirby seem to have a great fear of not being able to support his family.

[Mark. Engblom]

"As far as why did Kirby put up with being "exploited" all these years instead of telling the suits to shove it, I think it has to do with him growing up in the Depression."

Thanks for giving me the opportunity to clarify where I'm coming from, Joe. Here's what I said toward the end of the post:

"I have no doubt matters between Kirby and his employers caused him and his family grief and aggravation..."

I want to make it clear I'm not saying that Kirby should have told his employers to shove it, or that he shouldn't have worried about supporting his family. I completely understand that, actually.

What I'm objecting to in the book isn't the fact that Kirby had a rough time of it with his employers, but that this seemed to be the only thing Evanier was interested in telling us about the man. Again, I know the more exhaustive stuff will show up in the larger biography, but I refuse to believe even the limited art book format couldn't have included information on his family life, his faith, or any of the 1001 additional aspects of Kirby beyond the dreary pity party.