A Mythical Rovers Derby, Melchester v Felchester: Two Very Different English Fictional Football Fantasies

Creative Writing, Leisure activities, Media & Communications, Memorabilia, Popular Culture, Sport

The ardent British football fan while waiting for match day or counting down the off-season days to next August can often be found lapping up all the available literature he or she can get their hands on about the beloved round ball game. The appetite for football fiction extends to the graphic novel and it’s predecessor the comic book. The perennially popular exemplar of this quintessential “Boy’s Own” exploits genre is Roy of the Rovers. 

[R] 17-y-o Roy Race on his ‘debut’

The comic Roy of the Rovers had its debut in Tiger magazine in 1954…the strip follows the fortunes of fictional football team Melchester Rovers, with the spotlight very much on its star centre forward Roy Race. Captain Roy and his team invariably find themselves the underdogs, battling adversity, foul play, injuries and bad luck, somehow in the end they manage to beat the odds and spectacularly win the game in the last minute usually with a corker of a goal by Roy (for supposed ‘underdogs’ Melchester Rovers are decided overachievers – over the years racking up eight fictional FA cups, three European cups and one UEFA cup!).

Roy on the field epitomises fair play (often in contrast to his opponents), his personality embodies all the virtues of “sportsmanship, etiquette and why a fractured ankle, a broken rib and an early case of polio should never stand between a determined team captain and victory in FA cups” (McGinty). Roy’s Rovers competed against the other teams in the League—like their arch-rivals Tynefield United—who never come close to ever matching up to the ethical pedigree of Melchester Rovers.

Roy of the Rovers moments
Roy of the Rovers permeates English football culture to the extent that it is a standard trope for fans of the game to invoke the comic strip to describe memorable sporting incidents, unexpected comebacks, miraculous wins from behind, etc.

Roy is beyond the slightest doubt the absolute gun player in Melchester’s colours, however it’s not quite a one man band. He gets stirling assistance from teammates, most notably from Johnny Dexter the team’s “hard man” and goalie Gordon (“the safest hands in soccer”) Stewart (cf. Gordon Banks).

The créme de la créme, the “Roy of the Rovers Annuals” were a staple for boys each year…over the years of the publication Roy and his team go through all the highs and lows – relegation to Second Division; kidnapping of players; a terrorist attack; the club experiences financial calamities and so on. In the process Roy briefly defects at one time to a rival club before returning to the fold before losing a leg in a skiing accident. After enforced retirement he becomes Melchester manager and his son Rocky assumes the mantle of the side’s star striker.

[B] Roy with his Prince Valiant hairstyle

By the early 1990s, with the inevitable ebbing of ROTR’s popularity, the publication folded. However, at several intervals, the comic, phoenix-like, has been resurrected for the diehearts, most recently in 2018.

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Socialism in one football club
In 1988 the BBC produced a two series radio program drawing inspiration from the legendary Roy of the Rovers comic but taking it in a very different direction. Lenin of the Rovers, “the story of Britain’s only communist football club”, written by Marcus Berkman, is both spoof and affectionate satire, sending up the football comic classic while retaining a sliver of nostalgia both for Roy of the Rovers and the British game of yesteryear. Lenin of the Rovers conversely takes a massive swipe at the contemporary (that is, as at 1988) world of Brit soccer, ridiculing big game commentators and pundits alike, skewering top-flight players for being overpaid, pampered show-ponies with their “in-car leopard skin yoghurt dispensers” (nothing’s changed!). Also in the program’s cross-hairs is the run amuck degree of football sponsorship (eg, the “Heinz Sandwich Spread FA Cup”) and stockbroker hooligans (Hughes). The LCD gutter press also gets a pummeling for its bald-faced lies and facile and trivalising reporting (eg, “Curvy Corinne’s” tabloid article in The Daily Tits: “My night of lust with Ralph Coates”✧).

The story line is pure farce, supposedly detailing the experiences of communist East European football player Ricky Lenin (Alexei Sayle in a heavily accented voice which appears to be channelling his Balowski family character from The Young Ones) at Midlands club Felchester Rovers. Lenin is portrayed as a “tactical mastermind/balding midfield maestro” but more accurately might be described as thick as two planks. Through constant rhetorical flourishes Lenin lectures the team on dialectical materialism, the inevitable destiny of Felchester Rovers football club*, but he is exposed as a faux Marxist for covertly trying to enrich himself through football connexions. Lenin launches a proletarian coup which removes the club’s manager Ray Royce (a  transparent pun on Roy Race), and then himself has to ward off a challenge from Felchester’s “burly defender” Stevie Stalin and “hard nut” henchman Terry Trotsky.

A riotous hoot
Many misadventures follow as Lenin and the club bungle their way through sex scandals, corruption and dodgy business deals, and a disastrous mid-season holiday in a war-torn Central American banana republic (El Telvador)+. The latter episode spoofs cult movie Apocalypse Now (“I love the smell of shin-pads in the morning”), with a side reference to the WWII football plot of Escape to Victory!

In the episode where Felchester travel to Germany to play Borussia Mönchenpastry (cringe!), they encounter diabolical German tabloid publisher Max Gut, a thinly disguised Robert Maxwell. Piss-taking comes fast and furious in LOTR, another episode involving Ricky putting out feelers for a move across the Irish Sea to represent the Republic of Ireland national whose team sheet reads like the United Nations with not a solitary Gaelic name in it! One of the team apparently qualified for Ireland due to having once read a James Joyce novel!

A recurring device sprinkled liberally through Lenin of the Rovers has Ricky Lenin speaking random lines from well-known pop songs – “We are family! I have all my sisters with me”; “A rebel to the core”, Don’t go breaking my heart“, etc. ad nauseum.

From go to whoa it’s a pun bonanza, reminding me a lot of those exquisite Sixties radio comedies like I’m Sorry I’ll Read That Again. Felchester’s Euro opponent is Swiss club FC Toblerone (groan!). Their arch-rivals in the English comp is the thuggish Crunchthorpe United, however the Felchester team itself triumphs in the Cup employing the same tactics of illegal crunching tackles and skilless brawn. Needless to say that in the computer football universe, Felchester Rovers would be Melchester’s Crunchthorpe United.

 

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✧ LOTR takes no prisoners with the reputations of past FA stars with a constant flow of running gags at their expense (particularly cruel on Ralph Coates)

* with ideological fidelity he also devises a “five year goal plan” for the club, prompting his teammates to slag Arsenal for its “five goals a year plan”

+ there’s a reference to Terry Venables here, the former English manager’s nickname was “El Tel”

 

Reference material:

‘A teen magazine for boys — but will they buy it?’, The Scotsman, Stephen McGinty, 15-Jan-2004, www.thescotsman.co.uk

‘Lenin of the Rovers’, Wikipedia, http://en.m.wikipedia.org

‘Radio revolution’, Rob Hughes, When Saturday Comes, November 2010, www.wsc.co.uk

‘Lenin on the goalpost’, Paul Shaffer, Lion and Unicorn, 2017, www.thelionandunicorn.wordpress.com

Thurn-und-Taxis Post, the Holy Roman Emperor’s Transnational Postmen

International Relations, Media & Communications, Regional History

The background story of Thomas Pychon’s novel The Crying of Lot 49 involves a centuries-old conflict between two mail distribution companies, Thurn and Taxis and Trystero. In the novel Thurn and Taxis triumphs over its rival in the 18th century, forcing Trystero to go underground and operate incognito as a waste disposal business. Trystero (sometimes in the book ‘Tristero’) does not exist, it is a fictional creation of Pynchon, and in true Pynchon style it may not even exist in the novel…Pynchon leaves the question floating, open to speculation and interpretation throughout the novel. Thurn and Taxis on the other hand is a very real historical entity.

Pynchon’s muted horn

The Thurn-und-Taxis story usually starts with one Franz (or Francesco) von Taxis—an Italian nobleman from Bergamo near Milan—who acquires the office of postmaster-general from the Habsburg Holy Roman emperor Frederick III in 1489 (in 1504 Philip I of Spain gives the Taxis family the same right to his territory). By these royal approvals Franz von Taxis is awarded the right (along with his brother Janetto) to carry both government and private mail from its base in the Austrian Tyrol the length and breadth of the Holy Roman Empire and Spain, in what was the world’s first public access mail service [‘Thurn and Taxis postal system’, Britannica, www.britannica.com/].

Franz von Taxis

Tassis antecedents
Franz von Taxis’ elevation to imperial postmaster in 1489 is not the family’s first foray into the mail distribution business, far from it in fact! Some of Franz’s Italian ancestors were in the game as far back as the late 13th century. The association appears to start with the Bergamascan Omedeo (or Amedeo) Tasso. This chapter of the story begins in the small city of Bergamo in the alpine region of Lombard (northern Italy). After Milan conquers Bergamo Omedeo Tasso organises his relatives into a company of couriers (Compagnia dei Corrieri) around the year 1290. His post riders (known as i Bergamaschi) operates routes to three Italian city-states, to Rome and Venice from the company’s Milan base [‘Omedeo Tasso’ Wikiwand, www.wikiwand.com]. In the mid-15th century another relative, Ruggiero de Tassis, extends the mail network north to Innsbruck, Styria and Vienna, and later to Brussels. Thus, by the time the Holy Roman emperor awards the mail distribution rights for the Kayserliche Reichspost (“Imperial Post”), to the Tassos’, the family has notched up an impressive CV of service to popes (Posta papale) and the ‘merchantocracy’ of Venice.

Thurn-und-Taxis crest

Tassos to Taxis
The change of the original Italian family name ‘Tasso’, sometimes rendered ‘Tassos’ or “de Tassis’, to “Thurn and Taxis”, comes about in 1650…one of the nobles in the German branch of the Tassis family, Lamoral II Claudius Franz, gets imperial permission to change the family name from the French, “de La Tour et Tassis” to the German, “Thurn und Taxis”. As the Thurn-und-Taxis business become more lucrative the family’s social standing follows a similar upward trajectory…in the 17th century they accumulate a sequence of hereditary titles  – from “imperial free baron” to grafen (“imperial count”) to a ‘princely’ status in the Fürstenhaus (“first house”) [‘Thurn und Taxis’, www.thurnundtaxis.de/].

(Image: www.labrujulaverde.com)

The Taxis’ Imperial Post thrives with improvements in service and greater efficiency. Emperor Maximilian I is able to despatch correspondence via the Post from Innsbruck to his son Philipp (Fillippo) in Brussels in five days (six in winter). The creation of a series of postal stations along the route—located 35 km apart—improves the speed of delivery [Schobesberger, Nikolaus, et al. “European Postal Networks”, News Networks in Early Modern Europe, edited by Noah Moxham and Joad Raymond, Brill, LEIDEN; BOSTON, 2016, pp.19-63, JSTOR, www.jstor.org/stable/10.1163/j.ctt1w8h1ng.9. Accessed 10 Dec. 2020]. The Tassis family postal fortunes continues with succeeding holy Roman emperors…Charles (Carlos) V appointed Janetto’s son, Giovanni Batista de Tassis (Signoria di Taxis) as master of posts in 1520, recognising the necessity of an efficient, reliable method in communication in the empire continually expanding to include new acquisitions (such as the Burgundian and Spanish territories).

Imperial Post, Quincentenary commemorative card (Image: Collection of Museum for Communication, Nuremberg)

Thurn-und-Taxis and Imperial Post, democratisating postal services
Before Taxis takes charge of the Imperial Post, the Habsburgs depend on courier services that are exclusive to the elites of society. Dedicated messengers service sovereigns, aristocrats, merchants and other corporate bodies like universities and monasteries, but are not available to the general public. Thurn-und-Taxis changes that pattern, being the first to carry both private and public items on its trans-empire routes (Schobesberger).

Thurn & Taxis post-roads, western Germany, 1786 (Image: www.euratlas.com)

Serving the emperor: Privilege, surveillance and censorship Generally, the Reichspost under the management of the Taxis neatly serves both it‘s own interests and that of the Habsburgs. The Taxis provide the efficient postal system required of the vast Habsburg empire. They keep the imperial confidential posts and security secrets safe and when the opportunity arise, they engage in espionage (including intercepting correspondence hostile to their masters)[Cole, Laurence. Central European History, vol.42, no.4, 2009,pp.763-766. JSTOR, www.jstor.org/stable/40600986. Accessed 10 Dec.2020]. In return, the emperor grants them various concessions in business building to a monopoly by Taxis/Imperial Post over the postal industry by forbidding competition from rival courier providers (the right of monopoly confirmed by Emperor Rudolph II in 1595). Thurn-und-Taxis are also co-opted into a political role on behalf of the Habsburgs, appointed principal commissar (making them the emperor’s personal representative at Regensburg). At its peak (ca. 1700) the company employs a staff of around 20,000 (messengers, administrative workers and state representatives).

T & T postal timetable, Augsburg (Germ.) (Source: www.postalmuseum.si.edu)

Defection and reconciliation
In a rare miscalculation Thurn-und-Taxis in 1742 finds themselves briefly on the wrong side—backing the Wittelsbach successor (Charles VII) to the imperial crown against the Habsburgs’ candidate—although the Taxis’ manage to patch things up with the Habsburgs after Charles’ death. Reconciliation is facilitated by Empress Maria Theresia’s recognition of what the Taxis provide,  “organisational know-how and (a) communications network which left no effective competitors” (Cole).

Empress Maria Theresia

Vicissitudes of war
The outbreak of wars affecting the empire is a recurring threat to Thurn-und-Taxis’ prosperity (and even its survival). The Dutch War of Independence prompts a virtual collapse of the Taxis system (Schobesberger). The Revolutionary and Napoleonic wars  result in economic crises that Thurn-and-Taxis have to weather. Swift changes in the balance of power in Europe in the early 1800s means that the Taxis have to pull off some astute business manoeuvring between Napoleon and the Habsburgs. Thurn-und-Taxis’ Princess Therese is especially instrumental in negotiating vital port agreements with Napoleon which keeps the company business going during wartime (Cole).

End of the Keyserliche Reichspost but Thurn-and-Taxis survives sans royal imprimatur
The Napoleon-dictated Confederation of the Rhine (Rheinbund) dissolves the Holy Roman Empire in 1806 and therefore the Imperial Post. Thurn-und-Taxis are still able to continue operating as a private postal concern in western-central Europe. In 1810 Thurn and Taxis relocates its capital from Regensburg to Frankfurt am Main.

Issue No 1
In 1852 Thurn-und-Taxis (borrowing the recent English invention) introduces its own adhesive postage stamps. A minor hitch arising from this is that the company has to issue two sets of stamps in Germany, owing to the different currencies in use – the Northern Germanic states deal in silbergroshens while the Southern Germanic states deal in kreuzers [‘German States Stamps Thurn and Taxis A Brief History’, Stamp-Collecting-World, www.stamp-collecting-world.com].

Endgame and after for Thurn-und-Taxis
The shadow of an expanding Prussian military state forebode ill for the company’s future. The Thurn und Taxis’ business is past its best days and its entry into the German-Austrian Postal Association in 1850 earns it the displeasure of future chancellor Bismarck. With Prussia’s triumph in the Austro-Prussian War (1866) it’s army occupies Thurn-und-Taxis’ Frankfurt headquarters and the company is wound up in 1867 after being forced to sell all its postal contracts to the Prussian government for three million thalers.

St Emmeram Palast, Regensburg (T& T) (Photo: Pinterest)

The House of Thurn-und-Taxis is something of an anomaly among European nobility, acquiring its aristocratic standing and wealth not from land as is customary, but from a monopoly over an imperial postal service (Cole). Since its postal connexion ended, Thurn-and-Taxis finds its future financial security in brewing, with sidelights in the accumulation of property and land and the construction of palaces. Today Thurn-und-Taxis—and its current family head Albert, 12th Prinz of Thurn-und-Taxis, Regensburg—with its diverse business interests still has a place among the richest noble houses of Europe.

Endnote: Thurn-und-Taxis, transnational mail mover
Branches of the Taxis family operate both locally and transnationally across Europe – Austria, Spain, Luxembourg, Italy, Hungary, Germany, Belgium and the Netherlands. While Thurn-und-Taxis are funnelling the imperial mail through its distribution networks to all points of the empire, other countries in Europe launch their own nationwide postal systems. Nikolaus Schobesberger contends that Thurn-und-Taxis ultimately was out of kilter with the prevailing trend – early modern Europe was witnessing the ascent of nation-states with strong central governments, calling for efficient national systems of relaying mail (itself an ingredient of nation-building) that could be controlled by the state…so France (from 1477) and England (from 1516) both introduced royal post services which functioned as a state monopoly (Schobesberger).

 

‘Thurn & Taxis’ game

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‘Tasso’ means ‘badger” in Italian (features on the family crest)

  by the first half of the 17th century these narrow to just 15 km

the Taxis’ couriers carry a coiled horn to alert towns and change-stations of their approach, and they transport the mail which include newspapers in a felleisen, a satchel encased in iron [‘Franz von Taxis and the invention of the Post’, (Museum for Communication, Nuremberg), www.artsandculture.google.com].

it never amounts to a watertight monopoly, two northern Protestant princes (Brandenburg and Prussia) are able to create their own state postal systems in the second half of the 17th century, independent of the Imperial Post (‘Taxis invention of the Post’)

the last postmaster-general of the Imperial Post is Prinz Karl Alexander von Thurn-und-Taxis

having originated in Italy

 Taxis is no longer in the brewing business having sold its interests to the Munich-based Paulaner Group, but the Thurn und Taxi brand of bier is still stocked on retail liquor shelves

there’s even a “Thurn and Taxis board game” for which the House no doubt receives royalties

 

Caedmon to Audible: From Spoken-Word LPs to Audio Book Bonanza

Creative Writing, Leisure activities, Literary & Linguistics, Media & Communications, Memorabilia, Old technology, Popular Culture

The “Groundhog Day” existence of coronavirus, with people ‘sentenced’ to indeterminable periods of isolation and lockdown inside four square walls, has been a boon to the pursuit of leisure activities※. Social media platforms have gone “gang-busters” – Twitter, Instagram, Facebook, Zoom, and Snapchat and TikTok (for the Gen-Zs) among others. Streaming services like Netflix, Amazon Prime and Stan, ditto. In this year like no other, Audible tell us that audio books are more popular than ever – a trend promoted undoubtedly by Audible’s own deft marketing (eg, during Covid-19 they are streaming a selection of children’s stories free to the public). The uptake of Borrow Box loan activity in 2020 underscores this assertion.

Cohen & Roney 1952: taking the 1st steps for audio booksellers (Photo: Lib of Congress Blogs)

Audio books (ABs) in one form or another have been around a long time, arguably the pioneer in the area of spoken-word records was Caedmon Records, the first to hit the mark with a mainstream audience. The Caedmon company evolved out of the initiatives in 1952 of two 22-year-old female college graduates (Barbara Cohen and Marianne Roney) in the US to record a poetry reading by Welsh poet Dylan Thomas. The popularity of the poetry album which included A Child’s Christmas in Wales laid the groundwork for today’s AB industry. The development of technology assisted the progression of “spoken books”… from the first LPs (Long-playing records), emerging in the 1930s, which gave way to tape cassettes in the 1960s and 70s, which in turn lead later still to compact discs [‘Caedmon Records and Audiobooks, (HarperCollins), www.200.hc.com].

My own personal history as a consumer of spoken-word records begins with the aforementioned Caedmon, circa 1977. In the mid-Seventies I had watched several films in a series of commercial releases under the title “American Film Theatre”, film adaptations of a number of well-known plays…the series which utilised Lord Olivier as its promotional face included Galileo (Brecht), Rhinoceros (Ionesco), Luther (Osborne), The Homecoming (Pinter) and The Iceman Cometh (O’Neill).

At the time I came across vinyl 78s of two of the plays-to-films in the series—Butley (Simon Gray) and A Delicate Balance (Edward Albee)—in a tiny spoken-word section of a second-hand record shop. Snapping them up, this marked my first foray into the (at that time) still embryonic world of collecting ABs.

Audio books then were pretty much unknown in retail record departments and shops… major book retailers were yet to cotton on to the potentiality of thus broadening the market for their products, and online goliaths like Amazon were yet to come into existence. I remember that I got my first spoken-word cassette by (pre-online) mail order from the Royal Blind Society in 1978. The RBS had more incentive than anyone else to embrace “talking books”, an innovation which opened up a whole new world of leisure for the visually-impaired. The first (double cassette) AB that I purchased was a BBC recording of Rosencrantz and Guildenstern Are Dead by Tom Stoppard.

Since that time the audio book industry has exploded with heavyweights like Hachette Audio, HarperCollins, Macmillan, Penguin Random House and Simon and Schuster, all with significant “skin in the game”. Lording over all these competitors is Audible (Amazon), unchallenged as the dominant market leader. Even before the pandemic the global AB market was valued at US$2.67 Bn in 2019 (wwwgrandviewresearchcom/]. The coronavirus is sending that worldwide sales trajectory even higher (US audio unit sales are up 16% dwarfing the book market growth of the industry as a whole (wwwthenewpublishingstandardcom/)).

The success of audio books has been welcomed by the book industry as a positive addition (cf. the advent of Kindle and e-books which raised fears of ‘cannibalisation’ of the main product). The takeaway from the AB phenomena is that the aural experience is a different one, and that ABs (according to a Deloitte report) tend to attract a younger demographic that is less inclined to read print books [‘A word in your ear…why the rise of audiobooks is a story worth celebrating’, (Alex Preston), The Guardian, 02-Aug-2020, www.theguardian.com].


The versatility of audio books is behind its blossoming into an integral part of the literature landscape for ‘readers’. ABs can be integrated easily into one’s life in all manner of ways that are not confined to a sedentary or stationary state – while exercising, walking, jogging, cycling, in the gym, while cooking, doing housework, driving a car, commuting, etc [‘Audiobooks: The rise and rise of the books you don’t read’, (Clare Thorp), BBC, 06-Jan-2020, www.bbc.com].

For many buyers of audio books a factor in choosing a title is the reader itself. Having “A-list talent” and the “dulcet tones of a familiar voice” as reader certainly can add value to the product✦, but big names only work if they have a genuine connexion with the material (Thorp). Some ABs work better when the author doubles as reader, this particularly applies to memoirs and non-fiction titles. Having this can convey to the listener a more authentic experience of the subject’s journey. For myself, the AB experience that I most enjoyed was John Lithgow’s brilliant reading of Tom Wolfe’s Bonfire of the Vanities. Character actor Lithgow brought such an energy to the reading, greatly enhancing the flavour and tone of Wolfe’s biting satire on greed and status in NYC (in marked contrast to the disappointing Tom Hanks movie version), probably my all-time favourite AB.

Another memorable audio book collection I would place high on my AB order of merit are the recordings of Samuel Pepys’ Diaries (readings by Kenneth Branagh and a BBC dramatisation). From both sets of recordings I got a real “living history” insight into Pepys’ thought processes and compromised behaviour—flaws and virtues, so redolent of that of the modern bureaucrat—and of the everyday life of an event-filled London in late Stuart Britain.

One of the reasons I took to audio books is that it offered me a way into critically acclaimed works of fiction that in print form I had found Sphinx-like and impenetrable. Back in the 1970s I made several attempts at reading the 754 abstruse and puzzling pages of Joyce’s Ulysses before raising the white flag in defeat. Ulysses’ emergence in the AB format in the, must be late Eighties/early Nineties (albeit in an abridged four-CD form) was the key I needed to unlock the stylistic labyrinth of Joyce’s prose. ABs also let me get a handle on that other Irish author of literary complexity Flann O’Brien, and his convoluted metafiction maze The Third Policeman.

FN: Cædmon
Caedmon, the name chosen by Cohen and Roney for their revolutionary business enterprise, was the name of the first known English poet (flourished late Seventh century AD), a Northumbrian cowherd turned exponent of Old English (Anglo-Saxon) verse poetry.

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※ another pastime, gaining impetus in the lockdown and perhaps capturing the zeitgeist of 2020 is doomscrolling – the social media practice of continuing to read long streams of news feeds which are disheartening in content

the term as I recall more in currency at the time than audio books

print books managed to repulse the challenge from e-books in part due to pricing strategies which disincentivised e-book purchasing [Amazon’s Audiobook Boom’, (Alex Shepard), The New Republic, O3-Jul-2018, www.newrepublic.com]

✦ the rise of ABs has provided a source of peripheral work for some actors, a very welcome and in some cases lucrative sideline

Wondrous Origins of Wonder Woman

Biographical, Creative Writing, Gender wars, Leisure activities, Literary & Linguistics, Media & Communications, Popular Culture

In a way the Wonder Woman story starts in Medford, Massachusetts, at Tufts University, in the 1920s. William M Marston, a young progressive and unorthodox psychology professor, teaches his own DISC theory to his students. One particular female student takes a shine to Marston’s DISC ideas and to the professor himself. Next thing we know Marston immerses himself in a ménage a trios with the student (Olive Bryant) and his (initially quite reluctant) wife Elizabeth. The polyamorous relationship allows Bill to explore a latent interest in BSDM and arrive at the conclusion that women are the “love leaders” of society, predicting that women would “take over the rule of the country, politically and economically, within the next hundered years” [Tim Hanley, Wonder Woman Unbound: The Curious History of the World’s Most Famous Heroine, (2014)].

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(Source:
www.money.org/)

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1st sighting of  the pioneering super-heroine: Marston uses the pseudonym “Charles Moulton” for the Wonder Woman comic books

Marston over the years tries his hand at many things in addition to psychology —inventing a systolic blood pressure test (which contributes to the development of the polygraph); writing screenplays for early silent films; authoring self-help books—without ever really attaining a measure of lasting success in any. Marston’s venture into creating comic books in 1940 turns that trend around. Always looking for a new business opportunity, especially after finding himself on the outer in academe, Marston finds a new way to champion his faith in female superiority by creating Wonder Woman, the first super-heroine in comics.

Wonder Woman on the lie detector

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Marston’s ‘superwoman’
Having successfully pitched the idea to DC Comics boss Max Gaines, Marston’s Wonder Woman debuts in 1941 in All Star Comics #8, with cartoonist HG Peter supplying the pencilling which have a touch of art nouveau about it. Marston embodies WW with all the attributes and values that added up to his idea of perfect femininity (based seemingly on an amalgam of the brace of women in his life, Elizabeth and Olive). The make-up of WW’s character reflects Marston’s fascination with Greek mythology. She is depicted as an Amazonian princess , as “strong as Hercules”, “wise as Athena” and “beautiful as Aphrodite”. Garbed in a sexy but patriotic suit of star-spangled red, white and blue, her accoutrements are distinctively martially potent – including the “Lasso of Truth”, a device to compel people to tell the truth (an idea germinating from Marston’s lie detector prototype). WW wears indestructible bracelets which deflect bullets, a golden tiara which doubles as a projectile and an ‘invisible’ jet to whisk herself away from danger [Wonder Woman Psychology: Lassoing the Truth, edited by Travis Langley & Mara Wood (2018)].

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Wonder Woman, a comic book gender transgressor
In the comics of the 1930s prevailing cultural norms are reinforced,  superheroes are male by gender and violent in method – the stereotypical depiction of women was commonly restricted to evil seductresses, the girlfriends of heroes (eg, Lois Lane) or their ‘helpmates’. Wonder Woman represents a radical departure from the norm, her shtick is fighting fascism in America wherever she finds it – using her brains rather than the heavy-handed brawn exhibited by Batman, Superman and co. [‘A Psychologist and A Superhero’, (Margarita Tartakovsky), Psychology Central, updated 15-Mar-2019, www.psychcentral.com].

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Wonder Woman, “deer-hunting”

Comic bondage and a moral backlash
Marston is able to indulge one of his most cherished psychosexual beliefs through Wonder Woman, that “women enjoyed being bound”. In the comics it appears as a standard contrivance, we find WW being tied up by villains as some point or other in the story line. Sometimes WW herself ties up women, and to accentuate the kinkiness  of her character, dresses them in deer costumes for a mock cervid hunt through the forest [‘Wonder Woman (comic book)’, Wikipedia, http://en.m.wikipedia.org]. The BSDM preoccupation reflects a personal fetish of Marston’s but also can be linked back to the powerful influence the suffrage, feminist and birth control movements has on him (pioneering birth control activist Margaret Sanger was Olive Byrne’s aunt) . Wonder Wonder is an instant hit for the comic book-reading public (eventually reaching a weekly readership of five million), drawing the opprobrium of America’s moral guardians who object to the torture motif running through the stories, also considering WW’s outfit to be far too skimpy [‘The Surprising Origin Story of Wonder Woman’, (Jill Lepore), Smithsonian Magazine, October 2014, www.smithsonianmag.com].

   Justice Society of America

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At DC Comics Wonder Woman is invited to join the Justice Society of America (DC’s superhero team in the “Golden Age of Comic Books” as the period was known). WW’s elevation is hardly a step forward for gender advancement however as her designated role in the JSA is that of secretary for the male superheroes, while the ‘boys’ get on with the heroics of protecting the world from the designs of global criminal masterminds [‘The Truth About Wonder Woman’, Robert Kirkman’s Secret History Of Comics, (US documentary)].

Marston doesn’t get to appreciate the success of Wonder Woman for long, he contracts a form of cancer and dies in 1947, still in his early fifties (for the last two to three years he has an assistant, Joye Hummel, who helps ghost-write the WW stories when he is too ill). With the reins of the Wonder Woman comics passing from its originator to new hands, the iconic super-heroine’s persona and fortunes would undergo a number of transformations over the decades to follow.

Initial sketch of WW by HG Peter (1941) 

(Source: Smithsonian Libraries)

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  Marston believes that the behavioural expression of emotions could be divided into four primary types – Dominance, Inducement, Submission and Compliance [‘William Marston’, www.discprofile.com/]

Elizabeth and Olive each have two children to Bill and everyone live under the same roof

like Superman, Batman, etc, WW has a civilian alias – Diana Prince

such scenes may also have inspired by Byrne giving Marston a window into the activities of her sorority at Tufts University – “baby parties” where dominatrix women bind and discipline submissive sorority members [‘Curious Traditions of Times Past: Baby Parties’, (Yim Walsh), Tufts, 18-Sep-2014, www.dca.tufts.edu]

from this exposure Marston learns that the breaking of chains is “a powerful feminist symbol of emancipation” [‘A look back at Wonder Woman’s feminist (and not-so-feminist) History, (Michael Cavna), Independent, 30-May-2017, www.independent.co.uk].

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