Since the Lee monument was FINALLY removed from the Capital today, I thought it would be fun to look back at the moment of national unity in 1910 that brought it there in first pla- oh, wait, no, the opposite happened.

Here's New York's GAR with a WTF and a GH Thomas namedrop

Time once again for my occasional series "Women with great hair fleeing gothic houses!"

And today all the covers are by Walter Popp...

Crucible of Evil, by Lyda Belknap Long. Avon Gothic Original, 1974. Cover art by Walter Popp.

Hornet's Nest, by Evelyn Bond. Avon Gothic Original, 1972 Cover by Walter Popp.

The House In Munich, by Dorothy Dowdell. Avon, 1974. Art by Walter Popp.

The Secret Of Chateau Laval, by Susan Marvin. Avon Gothic, 1973. Art by Walter Popp.

on a very basic level it is astounding to me that seemingly half the country is hooked on the adventures of The Vision & Scarlet Witch, whose last series together was a precise contemporary of Watchmen and The Dark Knight Returns, and which was quarter box fodder for decades

in hindsight, of course, the idea of framing a superhero story as a suburban dramedy seems novel and fresh to people, but that’s only because other people spent literally three and a half decades sleeping on it

now, of course, many new fans who look into the history of the matter might wonder why such a seemingly popular and fecund direction for these two characters was permanently shelved in the late 80s, what set of factors could possibly have -

they were able to put back some of what was broken - in time - but they never were able to get back to the marriage, and by the time the characters had new status quos in the early 90s the company had moved away from those kinds of genre experiments, and the rift became permanent

the Vision was a humorless drip for years, doing much the same schtick as Data during the precise years ST:TNG was airing

and as a consequence of those stories Wanda permanently became the poster child of women who cannot handle their power because of female inconstancy ...

I've completely fallen down a well of reading crappy superhero comics. (virtually all superhero comics are crappy.)

it's a comfort food thing. takes me back to my ill spent youth.

read a bunch of Dan Slott's she hulk run, which is depressingly sexist, all things considered. (the old, there's something wrong with you if you're a powerful woman who enjoys being powerful trope.)

Gail Simone's Birds of Prey is pretty fun; character interactions are great but she's got trouble figuring out worthwhile plots. all the villains are pretty eh.

read some Bendis avengers and new avengers. he writes fun characters, but the crossover stuff is so omnipresent it's hard for him to develop any narrative cohesion.

Dear hearts, some terrific news that I can now share❗️I got a book deal❗️YAS! I am overjoyed that my next book, ABUNDANT BLACK JOY: THE LIFE AND WORK OF PATRICK KELLY, will be published by @AmistadBooks @HarperCollins in Fall 2023! 💜💜💜💜❤️❤️❤️🎊🎉😍🥰🙏🏿✊🏿

There’s much more work to do, but those who know me know that I’m a gratitude girl, so right now I want to pause and sit fully in this moment and just be grateful and express that gratitude.

I’m so grateful to my agent, Tanya McKinnon, & Carol Taylor, editorial director at @McKinnonLit ,for their wisdom, kindness, & artful guidance in process, but also in the ways they’ve inspired me to be open to new ways to think about my work as a scholar, writer, & creative.

I’m grateful to my Soul Sister, @alexispauline, for connecting me w/Tanya. I’m grateful also for ways Alexis & @SangodareJulia, also my kindred and who I consider my pastor, have been a loving presence beside me & encourage me in this ancestrally held work. I love y’all so much.

I’m excited to work w/ my editor, the other Patri(c)k, Patrik Henry Bass. To be shepherded through process by a longtime & proven talent in publishing, and someone who knows books and fashion/beauty industries through his years as an editor at Essence, is a dream come true.

The more I think about the Bruce Springsteen Jeep ad, the more disgusted I get. It's allegedly a call for unity, but it is drenched in a very particular culture's iconography: a Christian church (that superimposes the cross on the US flag), farms, rural living, "the middle" ...

... it's all so white. This is the "America" of nationalist fairy tales: rural land, settled by self-reliant white farmers & good Christians. It's all trucks & dust & manual labor & squinting at the horizon while wiping sweat from your brow. This is the kind of "unity" ...

... designed to comfort (or at least not threaten) white people. It says, "let's unify by joining together to reaffirm America's mythical self-conception, despite the real-world violence & repression it has always entailed."

If I'm, I dunno, a latino housekeeper in Vegas or black Uber driver in Sacramento, what's in the commercial for me? What does this kind of "unity" promise me? What can I find in "the (mythical) middle"? Nothing. It's not for me.

If America ever does come together in some kind of social solidarity again (which looks pretty doubtful), it's not going to be around the myths & iconography of 20th century hegemonic white culture in the US. It's going to be around something NEW -- new stories, new icons.