X-POSITION: Phoenix, Upstarts & More Tear Up Bowers & Sims' "X-Men '92"
Every day this month, I will be examining the first pages of random comics. Today’s page is from Secret Warriors #10, which was published by Marvel and is cover dated January 2010. Enjoy!
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Later, over cigarettes and coffee, Perry returned to the subject of thievery. “My friend Willie-Jay used to talk about it. He used to say that all crimes were only varieties of theft. Murder included. When you kill a man you steal his life. I guess that makes me a pretty big thief. See, Don – I did kill them. Down there in court, old Dewey made it sound like I was prevaricating – on account of Dick’s mother. Well, I wasn’t. Dick helped me, he held the flashlight and picked up the shells. And it was his idea, too. But Dick didn’t shoot them, he never could’ve – though he’s damn quick when it comes to running down an old dog. I wonder why I did it.” He scowled, as though the problem was new to him, a newly unearthed stone of surprising, unclassified color. “I don’t know why,” he said, as if holding it to the light, and angling it now here, now there. “I was sore at Dick. The tough brass boy. But it wasn’t Dick. Or the fear of being identified. I was willing to take that gamble. And it wasn’t because of anything the Clutters did. They never hurt me. Like other people. Like people have all my life. Maybe it’s just that the Clutters were the ones who had to pay for it.” (Truman Capote, from In Cold Blood)
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Hey, look at that! I’m back in Arizona and I picked up almost two months’ worth of comics! Yeah, I’m not going to review them properly here – that would take waaaaaaaay too long. This is more of a “What I bought and the random thoughts I have about the issues and, why not, what I did in Pennsylvania for seven-and-a-half weeks.” Can you handle that??????
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“Am I ever going to be told what you really think you’re doing?”
“You have been told.”
“Lie upon lie.”
“Perhaps that’s our way of telling the truth.” But then, as if she knew she had smiled once too often, she looked down and added quickly, “Maurice once said to me – when I had just asked him a question rather like yours – he said, ‘An answer is always a form of death.’ ” (John Fowles, from The Magus)
“… No, it is impossible; it is impossible to convey the lifesensation of any given epoch of one’s existence – that which makes its truth, its meaning – its subtle and penetrating essence. It is impossible. We live, as we dream – alone …” (Joseph Conrad, from Heart of Darkness)
There was no hope for an empire that lost the will to prosecute the grand and awful business of adventure. (Michael Chabon, from Gentlemen of the Road)
“We met long ago,” said Galip. “When we first met, your legs looked so thin and so delicate that I was afraid they would break. Your skin was rough when you were a kid, but as you got older, after we graduated from middle school, your complexion became rosy and incredibly fine. If they took us to the beach on hot summer days when we went crazy from playing indoors, coming back with ice-cream cones we bought at Tarabya, we would scratch letters with our long nails into the salt on each other’s arms. I loved the fuzz on your skinny arms. I loved the peachy color of your suntanned legs. I loved the way your hair spilled over your face when you reached for something on the shelf above my head.”
“We should have met long ago.”
“I used to love the strap marks left on your shoulders by the bathing suit you borrowed from your mother, the way you absentmindedly tugged at your at your hair when you were nervous, the way you caught between your middle finger and thumb a speck of tobacco left by your filterless cigarette on the tip of your tongue, the way your mouth fell open watching a movie, the way you unwittingly scarfed up the roasted garbanzos and nuts in the dish under your hand while you read a book, the way you kept losing your keys, the way you screwed up your eyes to see because you refused to accept you were nearsighted. When you narrowed your eyes on a distant point and absconded for parts unknown, I understood that you were thinking of something else, and I loved you apprehensively. Oh my God! I loved with fear and trepidation what I couldn’t know of your mind as much as I loved what I did know.” (Orhan Pamuk, from The Black Book)
“I write in blood, and the best truth is a bloody truth.” (Irvin D. Yalom, from When Nietzsche Wept)
The great French revolutionary hero Danton, who will lose his head during the ‘Terror,’ is making a rueful remark. ‘… But Robespierre and the people,’ he observes, ‘are virtuous.’ Danton is on a London stage, not really Danton at all but an actor speaking lines of Georg Büchner in English translation; and the time is not then, but now. I don’t know if the thought originated in French, German, or English, but I do know that it seems astonishingly bleak – because what it means, obviously, is that the people are like Robespierre. Danton may be the hero of the revolution, but he also likes wine, fine clothes, whores; weaknesses which (the audience instantly sees) will enable Robespierre, a good actor in a green coat, to cut him down. When Danton is sent to visit the widow, old Madame Guillotine with her basket of heads, we know it isn’t really on account of any real or trumped-up political crimes. He gets the chop (miraculously staged) because he is too fond of pleasure. Epicureanism is subversive. The people are like Robespierre. They distrust fun. (Salman Rushdie, from Shame)
Neither of the two people in the room paid any attention to the way I came in, although only one of them was dead. (Raymond Chandler, from The Big Sleep)
While we wait for chocolate malteds I notice a high-schooler sitting at the counter exchanging looks with the girl next to him. She’s gorgeous, and I’m not the only other one who notices it. The girl behind the counter waiting on them is also watching with an anger she thinks no one else sees. Some kind of triangle. We keep passing unseen through little moments of other people’s lives. (Robert M. Pirsig, from Zen and the Art of Motorcycle Maintenance)
“When you wake up in the morning, Pooh,” said Piglet at last, “what’s the first thing you say to yourself?”
“What’s for breakfast?” said Pooh. “What do you say, Piglet?”
“I say, I wonder what’s going to happen exciting today?” said Piglet.
Pooh nodded thoughtfully.
“It’s the same thing,” he said. (A. A. Milne, from Winnie-the-Pooh)
“Concentration-camp existence … taught us that the whole world is really like a concentration camp,” wrote Tadeusz Borowski. “The weak work for the strong, and if they have no strength or will to work – then let them steal, or let them die. … There is no crime that a man will not commit in order to save himself. And, having saved himself, he will commit crimes for increasingly trivial reasons; he will commit them first out of duty, then from habit, and finally – for pleasure. … The world is ruled by neither justice nor morality; crime is not punished nor virtue rewarded, one is forgotten as quickly as the other. The world is ruled by power …” (Otto Friedrich, from The End of the World)
“That’s why opera is important, Baron. Because it’s realer than any play! A dramatic poet would have to put all those thoughts down one after another to represent this second of time. The composer can put them all down at once – and still make us hear each one of them. Astonishing device: a Vocal Quartet! … I tell you I want to write a finale lasting half an hour! A quartet becoming a quintet becoming a sextet. On and on, wider and wider – all sounds multiplying and rising together – and the together making a sound entirely new! … I bet you that’s how God hears the world. Millions of sounds ascending at once and mixing in His ear to become an unending music, unimaginable to us! That’s our job! That’s our job, we composers: to combine the inner minds of him and him and him, and her and her – the thoughts of chambermaids and Court Composers – and turn the audience into God.” (Peter Shaffer, from “Amadeus”)
“It took me some time to figure out that love is in the details. It’s in the books and records and the stereo and the convertible. Love is always in the details. And that’s where the pain is too.” (John Crowley, from Aegypt)
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