He sat on the bed and began eagerly opening his other packages. One of them was from California and was filled with underground comics. Jon smiled as he examined the cover of R. Crumb’s latest grossly funny masterwork; one of the nonoriginal posters on the wall was Crumb’s popular “Keep On Truckin’ ” poster, with a row of tiny-headed, huge-footed absurd men dancing in a line against a field of orange. One of the undergrounds had some Gilbert Shelton as well; Jon especially liked Shelton, whose “Wonder Wart Hog” was pictured on Jon’s tee shirt, though his “Fabulous Furry Freak Brothers” strip was more famous. Not much else of the underground art was up to their standard, in this batch of books anyway. Maybe the undergrounds were where he could make his first splash, he thought, leafing through several books full of artwork he considered beneath contempt.
Two of the other packages turned out to be rejections. Jon was very disappointed. It wasn’t so much that he’d expected to sell these “graphic stories,” but that he hadn’t realized that this was what the packages contained. He was disappointed that their contents hadn’t been more old comics or fanzines, dozens of which he’d paid for by mail order and should be showing up any day now. Both of the rejected stories were horror tales, and he was told, in a polite note from one editor, that he drew well but his style was too derivative of “Ghastly” Graham Ingels, and if he could just develop a more original style, they would be interested in seeing more. The other publisher included no note, but Jon was not surprised the story was coming back, because he’d heard through the fan grapevine that this company had gone out of business.
The other package perked him up considerably. It was chock-full of EC’s, and he’d half expected the ad he had responded to was a hoax, since these EC’s had been incredibly low in price, costing only five to six dollars a piece. There were four “Vault of Horror,” two “Tales from the Crypt” and one “Crime SuspenStories.” He flopped down on the bed and one by one opened each plastic bag and eased out the comic inside. He didn’t read the stories, he just thumbed through the magazines, window-shopping.
He had just got into the EC horror comics in the last six months or so. He’d heard of them, of course, but had never delved into the “Vault of Horror” because the prices were stiff for books printed as recently as the early fifties. And Jon’s primary interests had been the superheroes of the Golden Age of Comics, which ran roughly from 1937 to 1947, and issues reprinting newspaper strips like Dick Tracy and Buck Rogers.
But lately he’d gone sour on superheroes. They didn’t seem relevant to his life anymore. He guessed it had something to do with knowing Nolan, meeting him, working with him.
He smiled, remembering the first time he and Nolan had met. He glanced at the posters over his bed, which were the only noncomic art posters in the room: photos of Leonard Nimoy as Spock, Buster Crabbe in his serial days, and Lee Van Cleef decked out in his “man in black” gun-fighter apparel. Nolan had looked over Jon’s series of posters and had noticed especially the one of Lee Van Cleef, studying the black-dressed Western figure with the high cheekbones and narrow eyes and mustache, and Jon had told him who Van Cleef was, adding, “Looks something like you, don’t you think?” Nolan had shaken his head no, smiled crookedly and pointed a finger at Buster Crabbe, saying “Flash Gordon’s more my style.”
In a way,
Which was maybe why those fantasy guys didn’t satisfy Jon anymore. Nolan was everything they were and more: he was real, both perfect and imperfect, everything. A superhero couldn’t come up to Nolan’s standards.
Did it matter that Nolan was a thief? Not really, Jon thought, his opinion shaded by the fact that he, too, was a thief of major proportions, since that bank job a year and a half ago. It wasn’t
