|“Grant Morrison: The Early Years” on sale now|
“Grant Morrison: The Early Years” is the first in a projected three-volume set of analytical texts examining the career of one of comics’ most eminent and influential creators, Grant Morrison. Written by Massachusetts-based literature teacher and scholar Timothy Callahan, “The Early Years” offers not just simple annotations to Morrison’s work, but instead provides readers with plainly-written, hugely detailed studies of every single issue of Morrison’s early works starting with the groundbreaking “Zenith” and concluding with his Dadaist superhero manifesto “Doom Patrol,” creating an invaluable resource to fans of Morrison as well as to those new to his work. The book concludes with a lengthy interview with Morrison himself.
“Grant Morrison: The Early Years” is published by the non-profit Sequart Research & Literacy Organization, which is devoted to the study and promotion of comic books as a legitimate artform. “The Early Years” is the first in a new series of scholarly books examining mainstream comics, and will be followed by “Mutant Cinema: The X-Men Trilogy from Comics to Screen.” Other planned projects include a book analyzing the history of the Legion of Super-Heroes.
Yesterday, in the first part of our conversation with “Grant Morrison: The Early Years” author Timothy Callahan, we discussed the seminal “Zenith,” “Crisis on Infinite Earths,”and Grant Morrison’s beloved “Animal Man” series. In this second part, CBR News discusses with Callahan the tremendously successful yet much maligned graphic novel “Arkham Asylum: A Serious House on Serious Earth. ”
Would you say that the book is misunderstood, generally? “The Filth” is obviously difficult for people to understand, but I think because Batman is in “Arkham Asylum,” it’s more misunderstood by more people.
Because of when “Arkham Asylum” was released and because of its reputation… in fact, when I did my little guest spot at Comics Should Be Good recently, I mentioned in my introduction that my book dealt with the “much maligned ‘Arkham Asylum,'” and one of the commentators said, “Much maligned? I’ve never heard of ‘Arkham Asylum’ being much maligned.” And to me, it’s totally maligned!
Arkham’s flashback continues by describing his meeting with two controversial figures: Aleister Crowley and Carl Jung. By referencing these two names, Morrison is giving us the keys to understanding “Arkham Asylum.” Crowley is significant because he created the Thoth Tarot which Morrison references continually in this graphic novel, while Jung’s psychological theory of archetypes relies heavily on the relationship between what he calls the Self (unified consciousness) and the Shadow (the instinctive and irrational side of human nature. Batman and the Joker physically represent these archetypes, although Batman is not a fully realized Self until the end of the graphic novel. At first, and until he achieves victory over the various Shadows (as embodied by not only the Joker, but by other rogues as well), he is a mere persona, as the Joker so readily points out when one of the inmates asks to see Batman’s real face: “[The mask] is his real face,” Says the Joker, “and I want to go much deeper than that.”
– excerpt from “Grant Morrison: The Early Years.”
I think the most typical reaction to “Arkham Asylum” – the plot reaction, not the “pretentious crap” reaction – is that the book is saying Batman is just as crazy as the villains he fights; that he’s some kind of hypocrite. That Batman actually emerges from that dream stronger and saner is missed a lot.
“Arkham Asylum” is hugely ambitious and beautifully executed, and I feel that way now a lot more than I used to, because of your book. “Arkham Asylum” is very complex. But some readers still wonder, is it a good Batman story? If that’s even a separate question.
I don’t know. It’s sort of a ridiculous question that only comic book fans ask, but I understand why that question would be asked.
And that’s kind of my answer about if “Arkham Asylum” is a good Batman story.
There are certain Batman conventions that you would expect to see [in a Batman story], and you can’t just put Batman in any story. If you have him wildly mischaracterized… well, I guess he could be. In the ’50s, he was fighting mutated apes and running around gleefully.
Well, I think we can take it as read that those stories were very bad.
It’s also pretty clear that when Morrison went back to write “Batman: Gothic,” he wanted to add all those things he didn’t get to add in “Arkham Asylum.” He wanted to put in the bat-gyro and he wanted to put in all the little detective things he didn’t get to put in “Arkham Asylum.” I guess you could look at them together as a complete version of Batman. But I do think “Arkham Asylum” is a good Batman story, yeah.
Next, in the final part of CBR’s in-depth interview with Timothy Callahan, the scholar will discuss with us a number of topics including Morrison’s philosophies on both comics and existence, anti-climaxes, superhero traditions, and one of Grant Morrison’s most beloved works, the surrealistic superhero opus, “Doom Patrol.”
“Grant Morrison: The Early Years” is on sale now from Sequart.
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