Jules Feiffer

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Last Updated on May 7, 2015, by eNotes Editorial. Word Count: 775

The particular brilliance of Superman lay not only in the fact that he was the first of the super-heroes, but in the concept of his alter ego. What made Superman different from the legion of imitators to follow was not that when he took off his clothes he could beat up everybody—they all did that. What made Superman extraordinary was his point of origin: Clark Kent.

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Remember, Kent was not Superman's true identity as Bruce Wayne was the Batman's or (on radio) Lamont Cranston the Shadow's. Just the opposite. Clark Kent was the fiction. (p. 18)

Superman had only to wake up in the morning to be Superman. In his case, Clark Kent was the put-on. The fellow with the eyeglasses and the acne and the walk girls laughed at wasn't real, didn't exist, was a sacrificial disguise, an act of discreet martyrdom. Had they but known!

And for what purpose? Did Superman become Clark Kent in order to lead a normal life, have friends, be known as a nice guy, meet girls? Hardly. There's too much of the hair shirt in the role, too much devotion to the imprimatur of impotence—an insight, perhaps, into the fantasy life of the Man of Steel. Superman as a secret masochist?… For if it was otherwise, if the point, the only point, was to lead a "normal life," why not a more typical identity? How can one be a cowardly star reporter, subject to fainting spells in time of crisis, and not expect to raise serious questions?

The truth may be that Kent existed not for the purposes of the story but for the reader. He is Superman's opinion of the rest of us, a pointed caricature of what we, the noncriminal element, were really like. His fake identity was our real one. That's why we loved him so. (p. 19)

What matter that the stories quickly lost interest; that once you've made a man super you've plotted him out of believable conflicts; that even super-villains, super-mad scientists and, yes, super-orientals were dull and lifeless next to the overwhelming image of that which Clark Kent became when he took off his clothes. So what if the stories were boring, the villains blah? This was the Superman Show—a touring road company backing up a great star. Everything was a stage wait until he came on. Then it was all worth-while.

Besides, for the alert reader there were other fields of interest. It seems that among Lois Lane, Clark Kent, and Superman there existed a schizoid and chaste ménage à trois. Clark Kent loved but felt abashed with Lois Lane; Superman saved Lois Lane when she was in trouble, found her a pest the rest of the time. Since Superman and Clark Kent were the same person this behavior demands explanation. It can't be that Kent wanted Lois to respect him for himself, since himself was Superman. Then, it appears, he wanted Lois to respect him for his fake self, to love him when he acted the coward, to be there when he pretended he needed her. She never was—so, of course, he loved her. A typical American romance. Superman never needed her, never needed anybody—in any event, Lois chased him—so, of course, he didn't love her. He had contempt for her. Another typical American romance.

Love is really the pursuit of a desired object, not pursuit by it. Once you've caught the object there is no longer any reason to love it, to have it hanging around. There must be other desirable objects out there, somewhere. So Clark Kent acted as the control for Superman. What Kent wanted was just that which Superman didn't want to be bothered with. Kent wanted Lois, Superman didn't—thus marking the difference between a sissy and a man. A sissy wanted girls who scorned him; a man scorned girls who wanted him. Our cultural opposite of the man who didn't make out with women has never been the man who did—but rather the man who could if he wanted to, but still didn't. The ideal of masculine strength, whether Gary Cooper's, Lil Abner's, or Superman's, was for one to be so virile and handsome, to be in such a position of strength, that he need never go near girls. Except to help them. And then get the hell out. Real rapport was not for women. It was for villains. That's why they got hit so hard. (pp. 20-1)

Jules Feiffer, in his introduction to The Great Comic Book Heroes, edited by Jules Feiffer (copyright © 1965 by The Dial Press; reprinted by permission of The Dial Press), Dial, 1965, pp. 11-55.∗

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