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  STAN LEE

  STAN LEE

  THE MAN BEHIND MARVEL

  BOB BATCHELOR

  ROWMAN & LITTLEFIELD

  Lanham • Boulder • New York • London

  Published by Rowman & Littlefield

  A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc.

  4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706

  www.rowman.com

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  Distributed by NATIONAL BOOK NETWORK

  Copyright © 2017 by Rowman & Littlefield

  All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review.

  British Library Cataloguing in Publication Information Available

  Library of Congress Cataloging-in-Publication Data

  Names: Batchelor, Bob, author.

  Title: Stan Lee : the man behind Marvel / Bob Batchelor.

  Description: Lanham, Maryland : Rowman & Littlefield, 2017. | Includes bibliographical references and index.

  Identifiers: LCCN 2017006405 (print) | LCCN 2017007019 (ebook) | ISBN 9781442277816 (hardback : alk. paper) | ISBN 9781442277823 (electronic)

  Subjects: LCSH: Lee, Stan, 1922– | Cartoonists—United States—Biography.

  Classification: LCC PN6727.L39 Z54 2017 (print) | LCC PN6727.L39 (ebook) | DDC 741.5/092 [B]—dc23

  LC record available at https://lccn.loc.gov/2017006405

  The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992.

  Printed in the United States of America

  To my heart and soul,

  my daughter (and budding author),

  Kassandra Dylan.

  All my love and more than I can express to

  Suzette and Sophia

  for endless joy, love, and laughter.

  CONTENTS

  Acknowledgments

  Prologue: Dawn of the Fantastic

  1 Stanley Lieber, New Yorker

  2 Teenage Editor

  3 Army Playwright

  4 Return to Marvel

  5 Public Enemy Number One

  6 Birth of the New Hero: The Fantastic Four

  7 Spidey Saves the Day!

  8 Horde of Superheroes

  9 Marketing the Marvel Universe

  10 Creating an Icon

  11 Marvel’s Multitude of Maladies

  12 Lure of Hollywood

  13 Marvel Manipulations

  14 Rise and Fall of Stan Lee Media

  15 Meanwhile . . .

  16 Larger Than Life

  Conclusion: American Icon

  Notes

  About the Author

  ACKNOWLEDGMENTS

  Stan Lee: The Man behind Marvel is the product of a lifetime of reading, researching, and studying comic books and contemporary American popular culture. I taught myself to read so that I could unlock the joys of Spider-Man and the Avengers, then later I grew obsessed with the reality-bending What If? series. I do not remember a time without Stan Lee, and the “Stan Lee Presents” banner is ever present in my mind’s eye.

  I never could have written Stan Lee: The Man Behind Marvel without a great deal of help, support, and friendship. First and foremost, my thanks to Stephen Ryan, senior editor at Rowman & Littlefield. We are coconspirators, cocreators, and more or less coauthors of this book. His wisdom and way with words made this a better book (perhaps some of Stan’s alliterative flourishes are rubbing off on me). I would also like to thank everyone who had a hand in this book at R&L, including the design team for its work on the book cover, the copyeditors, the marketing team, and the production staff—first-rate one and all.

  Thoroughly grounded in multiarchival research, Stan Lee would not exist in its present form without the wonderful libraries and archives that bring Lee’s career and accomplishments to life. My deepest appreciation goes to the American Heritage Center (AHC) at the University of Wyoming. How Lee’s papers got to Laramie, Wyoming, is itself a great story. The AHC staff, led by director Bridget J. Burke, is professional and overwhelmingly helpful and gracious. In particular, I would like to thank Amanda Stow, who welcomed me to the library and provided keen insight, and most notably John Waggener, who provided immense help navigating the papers and photographs, as well as served as a kind guide to all things Laramie.

  I would also like to extend my hearty thanks to Jenny Robb and the wonderful team at The Billy Ireland Cartoon Library and Museum at The Ohio State University. Materials at the library were essential in completing the book. And, the museum’s exhibits gave the researcher a pleasant respite during long stretches of research. Additional comic book resources, including rare books and Marvel materials, were hunted down at the Public Library of Cincinnati and Hamilton County; the Stow-Munroe Falls Public Library; the Lane Public Library in Oxford, Ohio; and the King Library at Miami University and via its vast interlibrary loan consortium. Finally, I would be utterly remiss if I did not acknowledge Marvel for introducing its digital Marvel Unlimited subscription service. The archive opens up the company’s back catalog and enables one to trace Lee’s work across the decades.

  Stan Lee benefits from the insightful analysis I gained from Joe Darowski, Chris Olson, and Norma Jones, who read early drafts and provided thoughtful feedback. Of course, they only improved the manuscript; any resulting errors are mine alone. Beth Johnson, art director at Matter Creative Group, provided sage advice regarding the book cover and art.

  I am fortunate to have a fantastic group of mentors and friends whom I can turn to when research, writing, and editing get tough. My deepest thanks to Phillip Sipiora, Don Greiner, Gary Burns, and Gary Hoppenstand. Thank you for being wonderful role models and guides. Many friends offered cheer along the way: Thomas Heinrich, Chris Burtch, Larry Leslie, Kelli Burns, Gene Sasso, Bill Sledzik, Josef Benson, Jesse Kavadlo, Sarah McFarland Taylor, and Heather and Rich Walter and family. I have been lucky to have many fantastic mentors, whom I would like to acknowledge: Lawrence S. Kaplan, James A. Kehl, Sydney Snyder, Richard Immerman, Peter Magnani, and the late Anne Beirne. I benefit from the friendship of a group of like-minded popular culture aficionados: Brian Cogan, Brendan Riley, Kathleen Turner, Norma and Brent Jones, and Leigh Edwards! Thanks to my friend Jason Pettigrew at Alternative Press for his support and a timely press pass. I would also like to thank my Miami University colleagues in the Media, Journalism and Film Department.

  My family is incredibly supportive considering what writing books means on one’s time and energy. Thanks to my parents, Jon and Linda Bowen, for everything they do to make our lives infinitely better. Thanks also to Josette Percival and Michel Valois for their support and many kindnesses.

  I cannot express my love and appreciation deeply enough for Suzette and Sophia (“Roberto”). They have brought endless love and laughter. Without Suzette’s tenacity, I might have never fulfilled my lifelong dream of meeting Lee. Finally, my daughter, Kassie, is my inspiration, hope, heart, and joy. I can’t wait to watch her writing life unfold. I am blessed to have such a wonderful daughter!

  PROLOGUE

  DAWN OF THE FANTASTIC

  “Stan, we’ve gotta put out a bunch of heroes. You know, there’s a market for it,” Timely Comics publisher Martin Goodman barked at his editor Stan Lee.1

  When he sensed a trend in the making, Goodman wasn’t shy. His eyes lit up with the thought of cash registers across the country ringing up children’s dimes. Those coins would eventually roll into his pockets. H
e could practically hear those thin dimes hit the cashbox.

  Goodman’s feeling didn’t come from divine inspiration or a lucky hunch. A much more practical business leader, he didn’t work that way. Instead, reportedly after golfing with some fellow executives who happened to run the distribution arm of his main rival National Periodical Publications (later simply known as DC), the home of Superman, Batman, and Wonder Woman, Goodman listened in as they bragged about a new line of comic books that were selling fast. In particular, they couldn’t stop when it came to a new superhero team that would be getting its own title later in the year. Never willing to let a little bit of competitive intelligence slide, Goodman jumped at the news. Returning to the office, he squawked in Lee’s ear about creating a new superhero team to match DC Comics . . . and on the double.

  Little did Goodman know, however, that his longtime editor had been suffering from bouts of frustration and despair. Lee could not stomach working in comics any longer. He warred with the idea of chucking a twenty-year career, regardless of bringing home the steady paycheck that Goodman’s mediocrity dispensed.

  “We’re writing nonsense . . . writing trash,” he told his wife Joan. “I want to quit,” he confided. “After all these years, I’m not getting anywhere. It’s a stupid business for a grownup to be in.”2

  Lee had spent decades of his adult life putting out a variety of books that most adults scorned, from silly animal stories to war and romance tales. He had worked alongside Joe Simon and Jack Kirby on the early superhero titles, but they dropped in popularity. The constant flurry of work against tight deadlines and Goodman’s follow-the-leader management philosophy became too much to handle. Lee prepped for the leap into something else—anything else—just not comic books.

  Glum and exhausted, Lee arrived at home in Long Island after a tiring day at the Madison Avenue office. Gripped by stress and more than a little anxiety, he contemplated alternative careers but wasn’t sure which way to turn. What if he couldn’t support his family? What would he do? He told Joan about Goodman’s urgent directive and asked her advice.

  “If you’re going to quit anyway, why don’t you do a book the way like you’d like to do it, and get it out of your system,” she said. “Worst that will happen is that he’ll fire you and you want to quit anyway.”3 Lee’s life’s work hung in the balance—a career that had already spanned more than two decades. It had provided them with a nice home on Long Island, and money was never scarce, unlike his rough early years when his own father faced chronic unemployment.

  Fear and desperation can be great motivators. Lee listened to his wife’s thoughtful words. After all, Joanie was his best friend and closest confidante. On the verge of giving up and frustrated, he reached a breaking point. Maybe, just maybe, if he took a chance, the job would get better and he could break the spell of monotony. Lee realized that he had no choice.

  Although unsure about what the future held and concerned that leaving the job might spell financial doom, Joanie’s support and approval gave Lee the boost of confidence that he needed. He would make a last-ditch effort, a final go at the career he had stumbled into as a young high school graduate just looking for a steady paycheck.

  Lee decided then and there to follow Goodman’s advice—to a point. He would create an original superhero team, one that he concocted, not based on Goodman’s typical retread of whatever DC or one of the other comic book companies put out. Lee’s boss had even suggested a ridiculous name for the new team: the “Righteous League.” Lee saw that idea as yet another in a long list of uninspiring copies of popular DC titles.

  No, Lee thought, these heroes would be more based in reality. “This was the chance to do all the things I would enjoy,” he said. “To get characters who acted like real people, to try to be more imaginative, to make some stories have happy endings and some not, to continue the stories and set them in the real world.”4

  Lee decided to risk it all—consequences be damned. Whatever happened, he hoped that creating a comic that he would want to read would bring the joy back into his work life and appeal to fans. He started sketching out the new team right away. “I forgot about the publisher. I was off and running: I was going to have fun,” Lee explained. “It was very easy for me to control, since I was writing virtually all of them. . . . I could keep them in the style I wanted. I was creating my own universe.”5

  Giving himself the latitude to take chances and be as creative as possible, Lee took up the challenge to create “a team such as comicdom had never known.”6 He realized that this was a go-for-broke moment in his life. “For just this once,” he thought, “I would do the type of story I myself would enjoy reading if I were a comic book reader.” Joanie’s words still rang in his ear: “You could dream up plots that have more depth and substance to them, and create characters who have interesting personalities, who speak like real people.”7 Her words gave him the impetus to go all-out.

  After years of churning out monster comics and suspense-filled science fiction titles, Lee drew on what he knew. The new superhero team would contain elements drawn from across popular culture, not only science fiction stories and popular B movies, but also the real-life Cold War tensions with the Soviet Union over space flight and nuclear weapons.

  The first swipe Lee took at the traditional superhero was with Reed Richards, the team’s leader. Rather than make him muscle-bound and overtly handsome with astronaut good looks, Richards would be a thin, brilliant scientist who liked to show off his smarts. Next, Lee needed a female lead. She wouldn’t be the typical, weak girlfriend merely waiting for her man to finish saving Earth. Sue Storm was a full member of the team, not merely pining away for her masked hero. As a matter of fact, he thought, “I was utterly determined to have a superhero series without any secret identities.” Lee figured that if he were a hero, he would want the world to know it. “I’d never keep it secret,” he explained. “I’m too much of a show-off.”8

  Once he had the two main characters, Lee decided to turn the genre on its ear again. He needed two more characters to keep the banter even. One would be a hot-headed teenager. Rather than make him a teen sidekick, which had always been the case in comic book history, Lee created Johnny Storm, Sue’s little brother, a central member with enough firepower to stand on his own. Having a brother and sister would add additional tension. Finally, the team needed muscle. Lee brought aboard a rough-and-tumble, blue-collar strongman named Ben Grimm. The battle between brains and brawn played out with Grimm juxtaposed to Richards, the brilliant scientist leader. The scenario created tension, enabling readers to compare the two, and possibly even forcing them to take sides.

  Doodling on a pad, scratching out thoughts in his lefty scrawl, Lee crossed out plot ideas and potential characters over and over again, realizing that the story would not be driven solely by action, like a typical comic book for children or young readers. Instead, he focused on the interaction between the teammates, similar to how families got along and people worked in real life. “I wanted to think of them as real, living, breathing people whose personal relationships would be of interest to the readers and, equally important, to me.”9 Lee also aimed for an older audience, believing that if readers could relate to the superheroes as people, then they would enjoy the book. Television and films were certainly skewing toward the teen and young adult audience, so Lee would aim there too.

  Now all the team needed was a way to gain superpowers. Once again, Lee thought about the Cold War tensions over atomic weapons. The possibility of nuclear annihilation terrified the public, so it grew into a mainstay plot twist for stories and films. Lee’s team ventured into space in an experimental rocket. When the craft crashed back to Earth, the crew was exposed to cosmic rays, giving them superpowers, but simultaneously nearly scaring them to death. Almost instantly they realized that they had to combine forces for the good of mankind.

  Sticking to the alliteration that he liked so much, Lee named his band of misfits the Fantastic Four. In short order, th
ey would not only save Earth and the universe on countless occasions but save Stan Lee’s career and change American culture forever.

  CHAPTER 1

  STANLEY LIEBER, NEW YORKER

  Window shoppers tentatively ventured out onto Times Square a few days after Christmas on Thursday, December 28, 1922. They turned up their collars and instinctively grabbed for their hats as a wintry mix of rain and snow pelted New York City. The dark gray clouds matched the city’s mood as pedestrians bundled up against the dismal weather. A sudden gust could almost knock a woman off the sidewalk or send a man scurrying out into the street to retrieve his errant cap. All across the East Coast a broad, punishing storm pummeled the region, dumping rain and snow on people in the midst of the national intermission between the Christmas holiday season and the New Year.

  In a tiny Manhattan apartment on Ninety-Eighth Street and West End Avenue, Jack and Celia Lieber barely noticed the dreary weather. On this day they welcomed their first child—a son. They named the little tike Stanley Martin.

  The newborn entered the world at a peculiar time in American history. Still recovering from the global upheaval and bedlam of World War I, the nation lumbered ahead. With the war over, leaders from across the globe searched for ways to secure a more peaceful future for Europe. At home, the American economy had slipped and sputtered in the wake of war, falling off as companies recalibrated after the frenzy necessitated with war production. Industry was just starting to chug back to life in 1922. Manufacturing picked up as consumer goods companies produced everything from sleek automobiles to new clothing styles and electric kitchen gadgets.

  What neither Celia nor Jack could have known on the day of their son’s birth was that the gloomy weather outside would be a kind of foreshadowing. The vestiges of the Great War would spiral into the Great Depression and leave the nation reeling. The resulting economic chaos would sweep the Lieber family into near destitution and virtually suck the life out of the parents.