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I have some nice pictures of the late Al Feldstein from several San Diegos ago, but I couldn’t find them in my 20000+ digital photo library. But I did find this bad blurry photo of Feldstein and the late Jerry Robinson from 2008. I wish I’d gotten a better photo of them together but they literally saw each other in Artist Alley and were just saying hi. It was a nice moment to witness.

I’m so lucky to have been able to meet these comics industry founders, and if you can look beyond William Shatner and Matt Smith at the many comics show springing up, you might be able to find more of these pioneers and legends, just sitting and willing to talk and sign. Please take advantage while you have the chance.

Speaking of Feldstein, Steve Ringenberg has the Comics Journal obit. And here’s Gary Groth talking to Feldstein in 2013 for Child of Tomorrow, the Fantagraphics collection of Feldstein’s comics.

Multiple sources, including Bill Finger’s son Fred and Carmine Infantino, claimed that Bill derived some inspiration for the Joker from a grinning figure at Coney Island, in Brooklyn—specifically at an amusement park called Steeplechase Park.

• Bill mentioned the grinning character he saw at Coney Island to the Bat-team (Bob Kane and Jerry Robinson).
• Bill showed the team a photo book featuring Conrad Veidt in the 1928 film The Man Who Laughs.
• Jerry designed the Joker caricature on his signature playing/calling card.
• Bill wrote the first Joker story in late 1939 or early 1940. The character looked primarily like Veidt with an aura of the Steeplechase mascot.

Part 2.

There’s this convention in 1965 where Bill first publicly spoke about his involvement. Were you there?

I don’t remember if I was there or not.

There was a panel that you were not on, but maybe you were there.

I might’ve been there, but I don’t have any specific memory now.

Did you ever go to a convention with Bill after that?

I can’t remember ever doing that.

So you never got to see Bill interact with fans?

If I was at that one, I might have, but I don’t remember generally, no.

Were you in touch with Bill up until his death?

Sporadically. He would visit here. For a while, I was sharing an apartment with another writer, just before I got married. And he collaborated with him on various things. Mostly for television, I believe. And so they would write up here in my apartment and I would see him then. And then on a few other occasions. I’ll tell you something but it’s not for print.

Okay.

[redacted]

Do you remember how you heard that Bill had died?

I don’t know if I read it or somebody called me, I’m not sure.

Were you at his funeral?

No, I never knew that there was one. Usually, DC has a service, but they never had one for him. They had one for Siegel and Shuster and I attended each one.

Where were their funerals, by the way?

I don’t know if they had a public funeral as such, but we had a special service at DC.

For both of them?

Not together, each one.

Do you know where Bill is buried?

No, I don’t know that, either. It may be that nobody survives who does know. That’s possible.

[I say that Freddie’s friends might know but I don’t how to find them…though eventually, I did find some]

I never knew the service for Portia. I was never called. And I knew I was one of the closest friends.

You weren’t called when she passed away?

[inaudible no]

If you were doing this book [on Bill] yourself, who would be the main players?

The editors at DC and some other editors. But on a personal level he might have had some other friends I don’t know of, some school friends. Portia. His son. [something including “myself” and “Bob”] …the editors at DC we dealt with, mostly [Mort] Weisinger and [Jack] Schiff.

…

[Bill] created most everything for [Bob]. He definitely was a full co-creator. I think he had more to do with the molding of Batman than Bob. He just did so many things at the beginning. As an artist, I can appreciate what goes into that. Aside from creating almost all the other characters, creating the whole persona, the whole temper, the history, origin of Batman. Everything. It made it a success from the beginning.

Do you know what Bill thought of Jerry and Joe going after the rights to Superman?

I don’t remember discussing it with him specifically, but I can’t imagine he would be other than supportive or happy about it.

Do you think it ever gave him a kick to try to do that himself, get some rights to Batman?

He might’ve entertained it, but I think he was so beaten down, and without resources, and without any seeming legal avenue to do it, he probably never thought seriously.

Did you ever play golf with him?

No.

Or tennis?

I don’t know that he played tennis. If he played tennis, I’m surprised I wouldn’t have [played with him], because my thing was tennis.

Anything in particular about Bill that you think kids would find interesting?

[unintelligible] …how widely read he was and how he would absorb everything and you never know how something he read would turn up in the feature. He was very hard-working. [unintelligible] …one of the best writers in the business, certainly at that time. … As you probably know, it came hard for him. He was always late in deadlines. Maybe some of his personal life interfered with that as well, but I know a lot of times it was due to his painstaking work, that he wouldn’t hand it in until he was satisfied with it. And they would never appreciate the time and effort he put in, even though they were benefiting from it and it made the feature so great. But he couldn’t help himself. He would slave over it. He was not a natural writer in the sense that it would pour out.

Where did he do his research?

We’d go to the library. We’d go to the newsstands. Movies. Park. Everywhere.

Did he carry with him a notebook and a pen and jot things down in movies and places like that?

I don’t remember him doing that. I think he would clip things in that extensive clip file when he read things. Anything that he thought might be useful.

He clipped out things from magazines?

Yeah.

But he wasn’t jotting things down all the time?

I don’t remember him doing that. But he had a great memory so he probably didn’t have to.

[asked about the two blizzard stories that were similar enough to seem like the same event, yet still different: one in Batman and Me, one in Men of Tomorrow; Jerry’s response (part verbatim, part paraphrased): “Bob was full of crap” (laughs); he probably read that, that’s what he did all the time—read a story, adapt it as his own, “I never heard that story before”; Jerry mentioned the “preposterous” interview Bob gave to Jerry Bails where he said Bill Finger didn’t create anything—anyone who would say that is capable of anything; “I’m probably the one who gives Bob more credit than anybody”; I asked Jerry about the sketches dated 1/17/34 and how Gerard Jones said they were fabricated; Jerry agreed and said another Bob lie was that he said he went to anatomy classes]

Anything else about Bill that I didn’t cover?

He suffered a lot. And that’s sad. He didn’t deserve it. He was a very fine guy and a very fine writer and a good friend.

How did he influence you?

In many ways. I was an inspiring writer myself at that time. That’s what I intended to be. Fortunately, as my career went I was able to do a lot of writing. So his approaches and inventiveness, his creativity, humor, I appreciated his injection of that to humanize the strip and Batman. His idea of introducing Robin to humanize Batman enlarged the plot potential, the parameters of the strip. I think a lot of his reading went into the creation some of the great villains that he molded, like the Penguin, the Riddler.

Was he funny in person?

He could be. We joked a lot.

But it was a defining characteristic of him in person?

I wouldn’t say defining.

Was he already married when you met him?

No.

Did you guys ever go try to pick up girls together?

No, I think early on he fell in love with Portia. I don’t know where they met, actually, being she was way up there till she came to New York. I think pretty early on, because I was still on Batman in this instance where I told you when he stopped and called Portia. [After he?] married, I don’t know that he ever fooled around. Not to my knowledge.

Sorry, I wasn’t implying that. I just thought if he wasn’t already married…

No, I understood what you said. I think he very deeply loved Portia. She was a fighter, she would call me and rail against the injustice done by Bob. She hated it.

When did they divorce?

I don’t know when they divorced. I wasn’t in touch with them at that time. And when I did find out and talk to Portia, I was very surprised.

Because you never saw signs of that?

No.

[asked him about comment he made in Comics Journal that Joe Shuster did marry at one point]

In his later life, yeah. At the end of his life, the last few years. Married in California.

But then divorced because I think he was a bachelor when he died?

Were you in touch with him at that time?

I was in touch with him but I didn’t meet her. Jerry and his wife knew her very well.

Do you know how long Joe was married?

Not exactly, but it wasn’t too long. [unintelligible] …few years.

…

What I’d like to do is, I mean, you’re the legacy, and if this gets together, I’d like to show you what I wrote. It’ll be as short as what you read, the Boys of Steel book. (laughs) It won’t take much of your time. I’d welcome all your feedback.

Yeah, I’d appreciate it before it’s published.

[NOTE: Sadly, Jerry died in December 2011, six months before the book came out.]

Part 1.

When was the first time you guys started to feel like celebrities? Was that a feeling back then or not quite that early?

No, not generally. The only time I felt like a celebrity was back in my home town. A local celebrity.

Can you think of any anecdotes about Bill that you haven’t told anybody else? Something that gives a little bit of texture to him, like a joke that he made or something that he once did that made a big influence on the strip?

If something pops to my head, I’ll tell you.

Did you know his parents?

No.

Did he ever talk about them?

Not very much.

And he didn’t have siblings, right?

No, not that I know of. 


[NOTE: turns out he did]

Did you know Freddie?

I knew him when he was a baby. He was a, you know, uh…he was a…Batman was long gone—Bill was long gone before he grew up to know anything about it.

[NOTE: Jerry’s timeline was off. Bill died in 1974, the year Fred turned 26.]

You mean before Freddie knew what was going on?

Yeah.

So you never saw Freddie as an adult?

No. I may have once. I was trying to think of that the other day. I know I spoke to Portia about him several times. I can’t remember meeting him. If I did, it wasn’t very much.

Do you remember Bill talking about him?

Only as a child, when he was young.

Was Freddie born while you guys were already working on Batman?

No, I think he was born later, as I recall? At least it might have been after I had left Batman, not Bill.

And what year did you leave?

I left about ‘47.

Was Judaism important to Bill?

Not that I recall.

Do you know what his inspiration was for his oversized props? You drew oversized villains on the covers. I was wondering if that might have influenced him or he influenced you?

I also drew oversized props. I haven’t thought of where that began. I know I used them in my covers ‘cause I tried to do very symbolic covers and splash pages if you ever looked at them. I never tried to do a literal theme.

So you don’t remember where you guys—

[unintelligible] track it down. I know he had employed them in his scripts. I would hesitate to take credit for them, but who knows, I might have done [here?] without even thinking of it, [thinking?] of doing a symbolic cover, you know, obviously has part of the symbolism.

Did you guys ever have a moment where you felt, to use a modern word, “cool”—like if you were on the street and you saw some kids eagerly buying a Batman comic?

Yeah, I would say that might have occurred. I [could] remember that, yes. It’s kind of marveling that it was so part our culture already.

Do you have a specific incident in mind?

Not with Bill… [tells the Cuba story that’s also in one of his Alter Ego interviews]

What did Bill look like?

[NOTE: At the time of this interview, I’d seen only the two regularly republished photos of Bill, neither of which was an especially clear likeness; I went on to uncover close to a dozen others.]

He was not tall. I’m not tall either but I think he might’ve been a little shorter than me. I was like five eight 5’8” or something. I think he was [slightly?] shorter. He was a little stocky—not heavy. Strong. As you probably know, he loved golf.

Was he balding?

Not at that time.

But later?

Later he was.

Did he have a certain style?

No, I don’t think he was that concerned with fashion. I think it was just everyday stuff.

What did his workspace look like?

He worked in his apartment. The times that I visited he and Portia there, it was just a part of the living room, but he may have had a study, I’m trying to remember now, with files. I think he did, because he had extensive files.

In filing cabinets?

Yeah.

And back then they were probably wood, right?

I would guess. Although we had steel files then [too]. We’re not talking about prehistoric times. (we both laugh)

Part 3.

In 2006, I had the privilege of interviewing Jerry Robinson, one of the earliest ghost artists on Batman and a true class act, in my research for Bill the Boy Wonder: The Secret Co-Creator of Batman.

I ended speaking with him multiple more times, including once at his New York City apartment, which was chockablock with priceless Golden Age art and other mementos.

Most if not all of the numerous interviews I conducted for the book contain gems that did not make it into the book, so here is my chance to share them nonetheless. This one (which I transcribed from a recording) is edited slightly. Upon rereading it, I am surprised how much info it contains that I had not—and still have not—read elsewhere.

How did you meet Bill Finger?

I met Bill Finger I think at the first time at Bob’s apartment when I first joined the team. He introduced me to Bill when I joined Batman. It was only a couple of months after it started.

Did you get a different impression from him than you did from Bob?

They were definitely different personalities.

How would you describe Bill’s personality?

Bill seemed very soft, kind. Not outgoing. Reserved but very easy to get to know. He wasn’t standoffish…

Did you become friends?

We became fast friends. He actually became my I say cultural mentor. … Remember, I was a 17-year-old kid. Just graduated high school. I knew nothing of New York. I was still going to Columbia, studying journalism, and commuting from my little room in the Bronx. Bill introduced me to everything in New York. Museums, galleries, movies. I soaked everything up like a sponge. I was fortunate that we hit it off. Personally, I think we each appreciated each other’s contributions.

Do you remember what you talked about besides the work?

Everything. Bill was widely read. He also was interested in everything, as I was, in learning everything. And he had very good taste. I don’t know how he was introduced to all these things himself, but he certainly knew them. [unintelligible] …the Metropolitan, MOMA, and foreign films, and other talks and things around town. The galleries.

Did you ever meet his friends that were not in the industry?

That’s a good question. I don’t remember. I knew his wife very well.

Is that Portia?

[unintelligible but affirmative] When he was first courting Portia, I think she came from Rochester was it? Or Albany? You probably know… [unintelligible] Before I met her, he was going with her … I remember several occasions where we’d be going out for lunch or dinner and he’d stop and say “I’ve gotta call Portia.” He’d get in the phone booth. At that time, they had the Superman-type phone booths. I’d stand and wait for him. He had endless conversations with Portia on the phone.

Was she interested in his work?

Yes. She knew what he was doing intimately. They were very close. She was a very intelligent gal. Once she came to New York they were married. They were both friends. I would go out to dinner with them, just the three of us.

Was she more dominant or more outgoing than he was?

I guess maybe in those terms, somewhat. She wasn’t [unintelligible]. She was very articulate and expressive.

What did she think of his work schedule? He was working late into the night.

We all did. (laughs)

So she just accepted it.

Yeah, I’d say so. [goes on in mumble about how some writers were night owls, some morning people]

Was Bill allowed to tell people that he was writing Batman?

They couldn’t stop him from talking to anybody. I think any of us knew…well, of course I knew. His name wasn’t on the feature, obviously.

If his name wasn’t on the feature and he said he wrote it, would people be suspicious?

I don’t think so. I don’t think anybody would just make that up. [unintelligible] They knew every strip wasn’t done just by the author, or the artist signed his name in many cases.

What was Bill proud of?

I think he was proud of his work. He was a very careful craftsman. He was proud of his creation. All of us were. I think that was part of the tragedy of Bill, as it was Siegel and Shuster, that they weren’t credited with their genius.

Do you think that shows a lack of business savvy on Bill’s part or did he just accept that that’s how things were?

Well, he was naïve, as most of us were. If we knew then what we know now, it’d be a different story. I might be head of Warner Bros. We were dealing with very wise publishers who had dealt with artists and contracts before. Some of these cases [were] the first thing they ever sold. It was the beginning of the industry.

Did Bill ever originate a character without an artist?

He wrote many television scripts, and I think even a couple of movie scripts.

That was later in his career, right?

Yes. He worked for a lot of publishers so I’m sure he had a hand in creating a lot of the characters.

[I mention Green Lantern, Wildcat, and he says he doesn’t know others besides those I mentioned]

Do you know if Bill read any fan mail?

I don’t think we were privy to it. I don’t they generally showed us the fan mail. We knew it was popular in sales and so forth, but that wasn’t gotten into until later. [mentions Stan Lee developing rapport with readers]

Would you describe Bill as one of the guys? If you ever went out with a group, was he chummy and social and making jokes?

The apartment I shared with Mort Meskin and, before he left to the army, Bernie Klein, it was kind of the hangout for [contributors who were near?] DC. Bill would be a frequent visitor. I think I have a, one of the books you have, you know, where people who visit draw a cartoon or…

Like a guest book?

Yeah. And there were usually crazy drawings or serious or whatever. And the old girlfriends would write in it.

You have it still?

I have [something, yeah?].

So Bill’s writing is in it?

I’m pretty sure he’s there saying, uh…we [sounds like “found” but might be “had”] a dart board on the wall. I remember that was a pastime for everybody. We challenged…in darts. I think Bill wrote something that was like “Damn it, Jerry, beat me again.”

[NOTE: Bill’s page is reproduced in Bill the Boy Wonder…and the original suffered a sad fate.]

Would you shoot around Batman ideas while you were playing darts?

We would always be…you know, if [we weren’t on another topic?], we would do it in social [situations with?] other artists around, unless we were talking about comics. But Bill and I, and sometimes we were with Bob, we would always be kicking around ideas. We used to live, breathe, eat, and sleep Batman. [Wild age to be in?]

Part 2.

Jerry Robinson, one of the first (and best) ghost artists on Batman, who passed away in 2011, was a member of the National Cartoonists Society.

For a time, so was I.

And so I was given a copy of the NCS membership album (50th anniversary edition, no less). 

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On January 23^rd, Columbia University Library acquired a double-bill of Golden Age related comics materials, including the research materials Larry Tye compiled to write his Superman biography, The High Flying History of America’s Most Enduring Hero, and six 1940’s BATMAN scripts from the estate of Jerry Robinson. These add to the ongoing Rare Book and Manuscript Collection at Columbia under the steerage of Graphic Novels Librarian Karen Green, already including Chris Claremont’s 2011 X-Men archive donation, and the large ELFQUEST bequest announced in early March. Columbia University, and a standing room only audience on March 7^th, decided it was time to celebrate the donation, with a panel and reception entitled “Comics at Columbia: The Golden Age”, fortuitously coinciding with Will Eisner Week throughout the country.

The panel was moderated by Paul Levitz, educator, writer, and former president of DC Comics, and included Jay Emmet, former Warner Communications executive responsible for some of the first licensing of DC characters into toys and games, Denny O’Neil, former BATMAN editor and comic book writer, Al Jaffee, whose ongoing career as an artist on MAD Magazine can only be described as legendary, and Larry Tye, journalist and biographer, most recently of Superman.

Levitz introduced panelists who he hoped would help express the Golden Age of comics as “lived and seen” and trace the impact of the Golden Age into later comics history and his synopses of their careers pointed out that Emmet’s licensing of toys and action figures changed American childhood experience, O’Neil’s career sparked an era of “social consciousness” in comics, Jafee’s work introduced the tradition of “wiseass” humor into American comics, and that Tye has brought a level of “serious” journalism and biography to comics history by carefully engaging with all those whose lives have impinged on Superman’s development.

Levit’z general question to his panelists, “Why comics?” sparked a great deal of discussion as each member delved into their own pasts and tried to convey how they became drawn into comics as a career and what part comics have played in their lives. Jaffee supplied the historical context for comics just before World War II. At the “height of the depression”, he said, with “non-existent job prospects and anti-Semitism engulfing Europe”, he and many of his contemporaries found that the “old, established advertizing agencies” in New York would simply reject applications from those with Jewish names. Comics, on the other hand, Jaffee explained, were dominated by Jewish editors, artists, and writers, and beginning to flourish at that time. Since “comic book people were receptive”, Jaffee said, he and his contemporaries “jumped into it”, particularly since it was a paying gig.

Emmet was born into the comics industry, as the nephew of a Warner board member, and he spoke quite frankly about the “greed” and money-driven aspects of the industry that he perceived growing up. He reflected on his own role in getting lifetime sum of money for Siegel and Schuster, but from a merchandiser’s perspective, Emmet still felt that the lack of pay for the creators of Superman was negligible. Emmet’s most personal story, however, included a “sad story”, as Jaffee described it, of having an entire “silo” of comic books and pop culture memorabilia destroyed by his spring-cleaning wife who didn’t realize their emotional value to him. Needless to say, as the nephew of a Warner executive, Emmet had “every issue” of Golden Age comics in the destroyed collection.

O’Neil spoke about his work post Golden Age, handling many of the same characters. Levitz asked O’Neil why he felt characters like Superman and Batman have lasted so long, and are still relevant today. O’Neil’s eloquent response conveyed a great deal about his philosophy of comics creation. You have to “keep the essence of characters intact but let them evolve”, he explained, a lesson he learned from Julie Schwartz. It’s essential, O’Neil feels, to “let the character reflect what’s outside the window” to remain relevant, and it’s “those allowed to evolve who are still with us”, he concluded.

Levitz humorously pointed out that of the panelists, most “wandered into comics before frontal lobes were fully developed for judgment”, leaving them little choice but to pursue the medium, however, Tye’s position as a biographer returning to comics as subject matter was unique.  Tye explained that the question of why Americans embrace the heroes that they do led him to write his biography of the Man of Steel. He, too, however, had a childhood connection to Superman, and loved working on the book for two years, feeling “10 years old” again.

Levitz asked individual panelists some specific questions about their areas of expertise, and started off by asking Emmet to explain just how DC licensing came about. Emmet explained that licensing was a new idea when he was a young publicist, and that he wanted to do “what hadn’t been done before”. Remarkably, his uncle tried to dissuade him from giving up a cushy job to pursue licensing, but Emmet proved predictions wrong by making astonishing sales in his first year of work by simply visiting and personally pitching DC character licensing to every toy company in New York. When Jaffee was asked to talk about daily life working for MAD as a young  man, as many cartoonists today will find relatable, he said he simply spent all his time cartooning. Jaffee discussed one unique aspect of working for MAD that stood in contrast to working on superhero comics, that he could “use many characters” and had “freedom” since MAD was a “voracious consumer of material”, but that the pressure could be intense to come up with new ideas since “I was only as good as the next idea I had”.

O’Neill was asked to discuss how he managed to write over a 1000 BATMAN stories and still keep material fresh for readers. He admitted that he personally has a “low attention span” and is “bored easily” so tried to bring that reality to his work. He “set the rules” for himself early on with a 5 page document that spread to 35 pages of notes by the end of his career reminding him of guidelines to keep Batman’s universe on track. But after that, as an editor, the key was to hire “good creative people” and give them a “sense that what they are doing is not trash”, and then know, as an editor, when to “step back”. Imbuing creators with a sense that their work has some particular value to readers and fans formed one of the themes for the evening’s discussion. O’Neil memorably commented that while writing comics for him was a “job” and he was cognizant of the need to provide for his family, the “first death” of Robin, decided upon by reader-response phone-calls to “vote” on whether Robin would “survive”, was a wake up call for him about the significance of his work. Ordering food in a deli one day soon after Robin’s “death”, the owner heard he edited BATMAN and declared to the other customers that this was the guy who had “killed Robin”. Previous to that moment, O’Neil said, he had felt he was working in a “backwater” of publishing, but afterwards felt that he was, in fact, a “custodian of post industrial folklore” with deep meaning for readers. It was a sobering moment for him that conveyed a sense of “uncomfortable responsibility” and “enormous privilege”.

Tye, certainly, agreed with the value of comics as an art form and the essential role of preserving and archiving documents, explaining that two kinds of records are particularly important in preserving comics history, the written documents, such as those produced in the Siegel and Schuster law cases that shed light on the Golden Age of comics, and secondly, the documentation of oral histories from those involved in the early days of comics who are still living. All the panelists agreed that they hope soon Columbia Library will also be able to archive audio recordings of oral histories, and many of the scholars and professionals attending the event in the audience confirmed that they have recordings that might be useful for such an archive. In the age of digital files and increasingly easy transfer between older formats and digital files, why not? Karen Green agreed that it was a possibility for Columbia to attempt to preserve these files in the future as part of their comics-related collection.

Levitz’ final assessments about the contribution of his panelists to pop culture included Emmet’s role in “creating American childhood” through licensing, Jaffee’s pioneering persona in encouraging us to “question everything” through his work on MAD, and the social realities that O’Neil introduced and maintained in comics, as well as Tye’s invaluable contribution to uncovering the history of Superman as a cultural phenomenon. It was certainly an evening spent celebrating comics, and in particular, a time to look back on the seminal periods in the development of comics that were directed in their development by true pioneers. What better way to dignify the impact of comics than to preserve their original documents for future study and appreciation? Collecting and archiving comics materials at Columbia has quickly moved from a new program to a steady stream of worthy additions, and the panel celebration suggested increasing momentum in preserving comics history at Columbia.

Hannah Means-Shannon writes and blogs about comics for TRIP CITY and Sequart.org and is currently working on books about Neil Gaiman and Alan Moore for Sequart. She is @hannahmenzies on Twitter and hannahmenziesblog on WordPress.

Much has been made (by me, anyway) about how few photos of himself Bill Finger (uncredited co-creator of Batman) left behind upon his death in 1974.

Early on, I realized something that was even scarcer: Bill’s handwriting. We have plenty of Bill’s writing, of course, but almost all of it is fictional (and typed).

But what would a personal note that he wrote reveal?

The only sample of his handwriting I’d seen was his signature on a 1963 note that Mike Catron had posted:

I’m no handwriting analyst so I can’t say what the curvature of his penmanship suggests about his character. Still, it was exciting to see it…until I learned of something better. Far better.

In 2006, early Batman ghost artist and Joker co-creator Jerry Robinson told me that he still has a guest book from an apartment he shared with other comic book artists in the 1940s. He said it’s filled with comments (and sketches!) by an A-list who’s who of the Golden Age (my phrasing, not his). And he said that includes Bill Finger.

On 8/12/06, when I went to Jerry’s to talk more about Bill, I asked to see the guest book. It is a peerless trove of off-the-grid comics history that would give whiplash to any fanboys with a sense of posterity. Some of the pages were loose and I urged Jerry (not that he needed a reminder) to continue to keep it safe so one day a copy of it might be shared with fandom.

Jerry generously allowed me to copy Bill’s page. I won’t yet say more about what Bill wrote because the page appears in its entirety on the last page of my book.

What I can say is how glad I am that I copied it when I did.

In 2010, I asked Jerry if I could re-copy the page because we needed a more high-res scan for reproduction (when I first copied it in 2006, I had not yet written the book and was so excited to get permission to copy the guest book page that I didn’t think of print quality).

I was aghast to learn that the guest book had since gone missing.

Later that year, the book resurfaced…but Bill’s page was still missing.

I suspected the book had been sent out to be scanned for Jerry’s autobiography (which came out in 2010) but couldn’t believe anyone involved could have been careless enough to let this happen.

In any case, this unfortunate fluke made me the only known person in the world with a copy of this note. And as far as I know, I still am.

Incidentally, I have also dug up some personal (but typed) correspondence of Bill’

It was my great honor to know Jerry Robinson (early Batman artist; co-creator of Robin and the Joker; brave advocate for Superman creators Siegel and Shuster), who passed away at age 89 on 12/7/11. New Year’s Day would’ve been his 90th birthday.

Many others have already paid tribute to him knowledgeably and beautifully, including Ty Templeton (artist for Bill the Boy Wonder: The Secret Co-Creator of Batman), so all I can add is my brief personal experience with Jerry.

From 2006 (over the phone) to this summer (on camera, for a documentary), he selflessly spent hours telling me about his old friend Bill Finger. One of the most poignant surprises (and fluky twists) in my upcoming Finger book is thanks to Jerry.

At times Jerry would call me—to ask for my address to invite me to an exhibit opening, to ask if Bill’s second wife should be invited to the Bill Finger Awards. I was always surprised he remembered who I was. I suspect dozens of new people thrust themselves into his life each week, and somehow he managed to keep them straight and make time for all of them. I’ve speculated more than once that Jerry probably gave at least one interview a day.

He was a class act in every direction, to all of us whose paths were lucky to cross his. His contributions were not only artistic but altruistic. He didn't need a cape to be a crusader.

You'll still be expected at my book's launch party, Jerry, and now I'm counting on you to bring Bill, too.

In the interview pioneering Golden Age Batman artist Jerry Robinson gave The Comics Journal in conjunction with his recently released biography Jerry Robinson: Ambassador of Comics, he is asked if he feels any other comics creator of his era also deserves a book:

Maybe a biography of Bill Finger, the writer. Somebody might be working on one. I hope they do.

As you will read in Boys of Steel, 1975 was a pivotal year in Superman history.

That year Jerry Siegel turned 61 and resumed his mission to secure financial security from his co-creation. But that time, for the first time, Jerry did not sue. Instead he sent out a press release to hundreds of outlets. He wanted his and Joe's story to be told in the mainstream media. Then public pressure might get him and Joe what decades of litigation had not.

Thing is, no reporters called.

Until Phil Yeh, publisher of a local newspaper in southern California. At the time, Phil was not much older than Jerry had been when he conceived Superman.

Phil assumed he would have to get in line to interview Jerry, but he became the first person to write on the Siegel and Shuster plight.

I consider Phil one of the two most significant yet unheralded people in the seventies segment of the Superman saga. He's now a friend and he kindly agreed to an interview about his role in nudging Jerry and Joe toward the Christmas 1975 settlement that changed their lives. As for the other person, he's also a friend now and his interview is my next post.

For those not familiar with your link to Siegel and Shuster, could you please give the capsule summary?

In 1975, I was publishing an arts newspaper in Long Beach, California called Cobblestone which later changed its name to Uncle Jam and continued through the 1990s. We did our typesetting at the Marina News, a local paper in the Belmont Shore area of the city (I also worked at the Marina News for a few years). Helen Arterburn, the editor of the Marina News got the press release from Jerry Siegel and thought that I would be interested in the story since she knew that I drew cartoons and often had done interviews with cartoonists.

Phil Yeh and friend 1974; photo courtesy of Phil Yeh

Phil Yeh today; photo courtesy of Phil Yeh

I am learning so much lately about following your soul/heart vs. your head. I spent most of last year ignoring my intuition and following my brain. Not a good idea! I finally was forced into a rest and I've been able to think once again; or should I say, feel again. It's been a traumatic last couple of months, lots of failure, death and now rebirthing. So much stretching. Alot of pulling away of should's and old stuff to get to the juicy, authentic middle. So now the order of business is healing and recovering joy. How do I do that? There's always clues.

First order of business: head to church. Our church is Barnes and Noble (no disrespect to the religious, by the way). I love, love books. Love reading them, making them, seeing them. Love the smell of them. Bookstores and libraries are my sanctuaries and safe places. For my upcoming birthday present I bought and treated myself to Maira Kalman's new illustrated book, The Principles of Uncertainty. I still have goosebumps when I look at it. The woman is a color genius. I bought this new sketchbook too (see above). I like the smooth pages. Apologies to my fellow artist friends, but I still haven't bonded with my Moleskin, and prefer the smooth, big pages to draw on. Maira is doing what I want to do: make bestselling books that combine art with writing.

And do check out Susan Moloney's Ireland mini-book. Fab-u-lous! I love handmade books and am actively checking those out, and I love, love Ireland. My goal is to travel there soon with my family.

Step by step, baby step by baby step. Peel away and get to the juicy center.

Hey, and thanks to KJ for the drawing compliments. Here's more sketches above just for you. :)