Grant Morrison describes his growing up through comics books as a Manichean affair: “It was an all-or-nothing choice between the A-Bomb and the Spaceship. I had already picked sides, but the Cold War tension between Apocalypse and Utopia was becoming almost unbearable” (p. xiv). Morrison’s first non-comic book, Supergods (Spiegel & Grau, 2011), is one-half personal statement, one-half art history. It’s an autobiography told through comic books and a history of superheroes disguised as a memoir. His early history of superhero comics is quite good, but it gets really, really good when Morrison enters the story full-bore — first as a struggling but successful freelancer and later as a chaos magician of the highest order, conjuring coincidence with superhero sigils.
As if to follow Kenneth Burke’s dictum that literature represents “equipment for living,” Morrison puts a lot of weight on the shoulders of the supergods. “We live in the stories we tell,” he writes, and he’s not just saying that. Morrison wrote himself into his hypersigil comic The Invisibles and watched as the story came to life and nearly killed him.
In Supergods Morrison tells the story in high relief and stresses the transubstantiation between words and images on a page and thoughts and actions in the real world. His works are largely made up of “reality-bending metafictional freakouts dressed up in action-adventure drag,” as Douglas Wolk (2007) describes them, “metaphors that make visible the process by which language creates an image that in turn becomes narrative” (p. 258). If you’re not one for the magical bent, think of it as a strong interpretation of the Sapir-Whorf hypothesis with a Rortian addendum: If we assume that language creates reality, then we should use language to create the reality we want to live in. Morrison writes, “Superhero comics may yet find a purpose all along as the social realist fiction of tomorrow” (p. 116). He insists that whether we realize it or not, we are the superheroes of this world.
The mini-apocalypse of September 11th, 2001 presented an odd dilemma not only for us, but also for our masked and caped heroes and our relationships to them. On one side, the event questions the effectiveness of our superheroes if something like that can happen without their intervention. Our faith in them crumbled like so much steel and concrete. On the other, after witnessing that day, we were more ready to escape into their fantasy world than ever. The years after that event exemplified what Steve Aylett described as a time “when people would do almost anything to avoid thinking clearly about what is actually going on.”
9/11 is conspicuously missing from Peter Y. Paik’s From Utopia to Apocalypse: Science Fiction and the Politics of Catastrophe (University of Minnesota Press, 2010), as is Morrison, but blurbed by our friends Steven Shaviro and Bruce Sterling, the book provides another look at the link between the printed page and the world stage. As a contemporary companion to Barry Brummett’s Contemporary Apocalyptic Rhetoric, which came out in 1991, Paik’s book provides another peek at the larger picture beyond the page that Morrison alludes to. I do find it odd that there’s no discussion of 9/11, a date that also roughly marks an epochal shift between things that were once considered nerdy and now are not. Morrison rails against the word “geek” as applied to comic book fans saying, “They’re no different from most people who consume things and put them in the corner or put them in a drawer… Anyone who’s into anything could be called a geek, but they don’t call them a geek.”
As much of a nerd as I’ll admit I am, I’ve never really been much for comic books. With that said, I found Supergods enthralling, much in the same way I found the screen stories of Tom Bissell’s Extra Lives. Intergalactic narrative notwithstanding, Morrison’s prose seems both carefully constructed and completely natural. As my colleague Katie Arens would say, he writes to be read. My lack of comic-book knowledge sometimes made following the historical cycles of superheroes difficult, but Morrison’s presence in these pages and personal touch kept me reading hyper-attentively. Here’s hoping he writes at least half of the other books hinted at herein.
My own introduction to Grant Morrison came via Disinformation‘s DisinfoCon in 2000 where he explains the basics of chaos magic in an excitedly drunken Scottish accent [runtime: 45:28]:
Brummett, Barry. (1991). Contemporary Apocalyptic Rhetoric. Westport, CT: Praeger.
Burke, Kenneth. (1974). The Philosophy of Literary Form. Berkeley, CA: University of California Press.
Hiatt, Brian. (2011, August 22). Grant Morrison on the Death of Comics. Rolling Stone.
Morrison, Grant. (2011). Supergods: What Masked Vigilantes, Miraculous Mutants, and a Sun God from Smallville Can Teach Us About Being Human. New York: Spiegel & Grau.
Wolk, Douglas. (2007). Reading Comics: How Graphic Novels Work and What They Mean. Cambridge, MA: Da Capo.
I marshal the middle between Mathers and McLuhan.
Editor of Boogie Down Predictions (Strange Attractor, 2022), author of Escape Philosophy (punctum, 2022) and Dead Precedents (Repeater, 2019).