Publishers From The United States

"There is an emerging alternative to the big government-big business-big labor kind of "rebuilding" of America. Its basic strategy is to get investment capital out of the hands of the big banks ... and into the hands of the communities. Its greatest champions are neither politicians nor oppositional political groups, but – remarkably – bankers; or, more specifically, those few bankers who describe themselves as "community development bankers.""

"The subject," I say, suddenly unable to hold myself back any more, "is the SDS leadership's alienation from its followers. Not just here! Not just you!" Suddenly, horribly, I begin to sob. You could have heard a pin drop as people waited for me to continue. "I didn't want to be an SDS leader! And I don't think I've been a good one. But there's some things I'm proud of – ." Finally I manage to turn and look at Jean. "Why are you all so intolerant? Why are you all so vindictive? Why is it getting so that you only listen to people if they can quote from Father Karl or ... or Father Leon? ... Why are we giving up on trying to develop an analysis of our own? And for ourselves not just for others? Why? Why?"

"More and more of us have, over the last 10 years or so, become deeply involved in one or more of the movements mentioned above. At the same time, though, the radical political movements of the 1969's seem to have collapsed. Could there be a connection? I believe that the radical political movements declined as soon as they began to promote a doctrine of us-against-them, of "we have all the answers", of separation rather than healing. As soon as they began to promote a dogmatic Marxism that overstressed our need for things and tried to make us feel guilty about our deeper needs, which are emotional, psychological and spiritual (and which are what got us into the radical political movements in the first place)."

"At the root of our troubles is a cultural complex whose six main elements make up a "Six-Sided Prison" that traps us all. In Part I[,] I try to name and describe the six sides of the Prison: patriarchal attitudes, egocentricity, scientific single vision, the bureaucratic mentality, nationalism, and the big-city outlook. Capitalism and socialism are, I argue, both rooted in the Prison (which predates capitalism by hundreds of years) – though neither needs to be. (Racism, militarism, exploitation, ecocide, etc., are also rooted in the Prison.)"

"What Keys, Laszlo, Falk, and many other New Agers are proposing … could be called a "planetary guidance system." ... A planetary guidance system would regulate the world, not run it. ... Does this chapter strike you as impossibly idealistic? In 2011, Parag Khanna of the New America Foundation argued that a decentralized planetary guidance system is currently arising outside the confines of the United Nations. To Khanna, it consists of an ever-changing (depending on the issue) array of representatives of governments, non-governmental organizations (nonprofits), corporations, super-wealthy individuals, and universities. Although Khanna, a buttoned-down radical centrist, doesn't use terms like "synergic power" and "win-win approach," it is obvious from his text that that's exactly how (some of) these entities are beginning to operate in the global context."

"It can not be overstressed that draft resisters will probably never be able to return to the U.S. without risking arrest. This applies even to family emergencies. When a draft resister's father died last summer, two FBI agents showed up at the funeral."

"The toughest problem a draft resister faces is not how to immigrate but whether he really wants to. And only you can answer that. For yourself. That's what Nuremberg was all about."

"By [refusing] to work for a traditional revolution we would not be "giving up the struggle". As we saw in the previous three chapters, we would be struggling – nonviolently – against the Prison [of consciousness] and its institutions, which are more responsible for the sterility of our lives (and our society) than "human nature" or "capitalism". But even if we can't do any more than embark on the stage of self-healing, even if we can't get a strong group together, or if all our group efforts fail to heal society, we would still be learning to preserve our worth as human beings. And that is an essential part of the political process today. For without life-oriented people ... there can be no New Age evolution. And only New Age evolution can take us off of the production-consumption continuum and out of the Prison."

"FBI agents have told some parents that their sons can be returned. This is not true. Rumours have been circulated by U.S. authorities because there is no other way the government can keep young Americans from coming. One recent AP wire had it that 71 "fugitive warrants" had been issued for young Americans in Canada. The story implied that the warrants were valid in Canada. They were not; they cannot be. ... Public officials, amateur draft counsellors, lawyers who do not specialize in draft work, and, unfortunately, the "underground" press are notorious sources of misinformation. Read this handbook again and again, and contact a Canadian anti-draft programme if need be."

"We have not tried to sell you on Canada – our chapter on climate is chilling – but the truth is that Canada is a nice place to be. There is little discrimination by Canadians against draft resisters, and there is a surprising amount of sympathy. Most Americans lead the same lives in Canada they would have led in the U.S. Americans who immigrate are not just rejecting one society; they are adopting another. Is it really freer? Most draft resisters – and most Canadians – think so."

"Not long after Miles and Eric hitch to St. Louis, Graham turns to me and says, "Let's hitch to Chicago!" "Right now?" I ask, peering up from my American government text. "Why not?" says Graham. "You've got to learn to do things when you want to; otherwise you'll be just like one of the plastic people, the dead people." So by one A.M. we are on the road. ..."

"Slowly at first, and now in growing numbers, from Maine to Alabama to California, from ghettos, suburbs and schools, young Americans are coming to Canada to resist the draft."

"There is no draft in Canada. The last time they tried it was World War Two, when tens of thousands of Canadians refused to register. Faded "Oppose Conscription" signs can still be seen along the Toronto waterfront. The mayor of Montreal was jailed for urging Canadians to resist – and was re-elected from jail. No one expects a draft again. It's a different country, Canada."

"Scott wants us each to talk about "the kind of society we'd like to live in." ... From the start I am very nervous. Phil goes on about "the redistribution of wealth"; nearly everyone comes out for "socialism" of one kind or another; Brick even hints at "another revolution." When it is my time to speak I am moved to say, "I think people's tolerance is the main issue, even more than socialism. I mean, look at the people who are for the war. Look at the courthouse square." I am afraid to go on and say what I don't like about socialism. ..."

"Both Mark Satin and Jerry Rubin speak of legitimate mystical experiences where good and evil dissipate into the One. [Marilyn] Ferguson claims that good and evil are transcended by an awareness that "unites opposites." ... But what is left of ethics? The New Age is morally unfit to lead us politically. It lacks any absolute standards that would tell us that the outcome of the great transformation would be more good than evil."

"This article was written for those who believe that the spectrum of opinion is more like a circle than a straight line. It was written for those who believe that each of the different perspectives on terrorism has something to add to the whole. In this view, coming up with a solution to terrorism is not a matter of adopting "correct" political beliefs. It is, rather, a matter of learning to listen – really, listen – to everyone in the circle of humankind. And to take their insights into account. For everyone has a true and unique perspective on the whole. Fifteen years ago the burning question was, How radical are you? Hopefully someday soon the question will be, How much can you synthesize? How much do you dare to take in?"

"The New World Alliance (NWA) is a conscious attempt to create a national political movement based on values that have traditionally stood outside politics. NWA is the brainchild of Mark Satin. ... When Satin returned to the United States under Carter's Vietnam amnesty program, he decided to take a cross-country bus trip to assess the mood of "new age" activists, to learn from them what was needed to start a new national political organization. "I went systematically to 24 cities and regions from coast to coast, ..." he wrote to us in a letter. "I stopped when I found 500 people who said they'd answer a questionnaire ... on what a New Age-oriented political organization should be like – what its politics should be, what its projects should be, and how its first directors should be chosen." ... In December 1979, the NWA held its first governing council meeting in New York."

"The thirty-nine members of the NWA Governing Council included teachers, futurists, environmentalists, feminists, think-tank members, an others from a variety of professional backgrounds. ... The NWA sponsored a number of conferences and facilitated local and national networking. In 1981 the group put forward a "Transformational Platform," which was the first attempt to take ecological, decentralist, globalist, and human-growth ideas and translate them into a detailed, practical political platform with about 300 specific proposals. ... Yet something was missing. Satin observed: ... "We are engaged in theoretical-verbal overkill in exactly the same way the military people are engaged in stockpiling weapons and for the same kind of reasons. ... We don't know what to do.""

"How long, Lord, O how long will it be before I can f--k someone like the girl sitting at the SDS literature table?"

"Put these values together and you can see how the radical middle draws holistically on our entire political tradition. Each value is a sort of updated version of an aspect of our 18th-century political heritage – liberty, equality, happiness, and fraternity, respectively."

"Few political authors employ the term New Age anymore; however, ... many use equivalents or near-equivalents such as communitarian, evolutionary, green, holistic, integral, post-socialist, radical centrist, spiritual, transformational, and transpartisan, and that's OK. Perhaps the new generation, not being ego-attached to any of these, will finally come up with a term we can all say "Aha!" to."

"::::The Hulk I created when I saw a woman lift a car. Her baby was caught under the running board of this car. The little child was playing in the gutter and he was crawling from the gutter onto the sidewalk under the running board of this car — he was playing in the gutter. His mother was horrified. She looked from the rear window of the car, and this woman in desperation lifted the rear end of the car."

":::I know all about Thor and Balder and Mjolnir, the hammer. Nobody ever bothered with that stuff except me. I loved it in high school and I loved it in my pre-high school days. It was the thing that kept my mind off the general poverty in the area. When I went to school that’s what kept me in school — it wasn’t mathematics and it wasn’t geography; it was history."

"I always enjoyed doing monster books. Monster books gave me the opportunity to draw things out of the ordinary. Monster books were a challenge — what kind of monster would fascinate people? I couldn’t draw anything that was too outlandish or too horrible. I never did that. What I did draw was something intriguing. There was something about this monster that you could live with. If you saw him you wouldn’t faint dead away. There was nothing disgusting in his demeanor. There was nothing about him that repelled you. My monsters were lovable monsters."

":To make the [reader] happy was not my objective, but to make the [reader] say, “Yeah, that’s what would happen” — that was my objective. I knew the [reader] was never happy all the time. You take the Thing, he’d knock out 50 guys at a time and win — then maybe he’d sit down and kind of reflect on it: “Maybe I hurt somebody or maybe we could have done it some other way” like a human being would think, not like a monster. In other books the guy would knock out the gangs and that would be the end of it. You would see the guys in jail, and that’s it. Or it would say, “Wait until next week.”"

"::The artist is the lowest form of life on the rung of the ladder. The publishers are usually businessmen who deal with businessmen. They deal with promotional people. They deal with financial people. They deal with accountants. They deal with people who work on higher levels. They deal with tax people, but have absolutely no interest in artists, in individual artists, especially very young artists."

":I knew this much — that everybody voted Democrat down my way. If you were poor, you voted Democrat and if you were rich you voted Republican."

"::Oh, communism! That was a burning issue. It was an outrageous issue. To be termed a communist would damage your whole family, damage your whole world — your friends wouldn’t talk to you. I’m talking about other people — because I wouldn’t go near the stuff. Sure, I was against the reds. I became a witch hunter. My enemies were the commies — I called them commies. In fact, Granny Goodness was a commie, Doubleheader was a commie."

":::Anything radical was dangerous to me, as it was to the average American. Nobody knew where a thing like that would lead and we were always afraid of chaos. So communism became the doorway to chaos, and the doorway to chaos was the doorway to evil. Your family might be hurt. Your friends might be hurt. You didn’t want to see a thing like that."

"I was a young man. I was still growing out of the East Side. The only real politics I knew was that if a guy liked Hitler, I’d beat the stuffing out of him and that would be it."

"::::I enjoyed working on any story. I’m essentially a storyteller. You name the subject, and I’ll give a good story on it."

"The right idea to Darkseid is anything that benefits him. He isn't going to worry about you. He sees the world from where he sits, and of course what he sees is big. He's a big man. Darkseid is a tremendous, powerful, evil figure, and he's going to see everything in a cosmic view. He's not going to see a view of the candy store around the corner or what's playing at the Palladium next week. Darkseid is going to see everything in an over-powering cosmic view, and of course what else would he want but complete subjugation of everything? Earth is included in that everything, and my concept is that somewhere on Earth is someone who can solve the Anti-Life Equation, and Darkseid is after that poor soul."

"Darkseid considers anything evil that's going to stop him. If you stop me, I consider you evil."

"I don't classify gods as far as their power goes. I classify them as far as their personality goes. Each god, if he used his power right, could defeat another god. If I used my power right I could defeat anyone on Earth if I wanted to. As a man, if I used my physical strength at its best, I could overpower anybody I wanted to. If I did it right. It's the same way with the gods. If they used their super-powers right, they could defeat any other god. Darkseid is no different except that Darkseid is an evil guy with a lot of class. He's the kind of guy that might outthink you, and with super-powers involved it could be in a very dangerous and earthshaking way."

"If someone took control of your mind and you were not able to think as yourself any longer, you would no longer be yourself. You'd be something in his command. You as an individual would be dead. That's Anti-Life. In other words, if you gave yourself to some cause, and gave up everything as an individual and you were at the beck and call of some leader, you would be dead as an individual. And that's what Darkseid wants. He wants control of everybody. If it was snowing outside and you weren't wearing any shoes and it was 38 degrees below zero and this guy says, "Go out and get me a bologna sandwich," you have to go through all that; you obey him automatically, you obey him meekly. You walk out without a coat and you freeze to death. He doesn't care. You do it anyway despite the fact that you don't want to do it. You're dead as an individual. You have no choice. You can't object and you have no stature as a person. You're dead. A slave is a dead man. That's what Darkseid wants. Darkseid wants complete subjugation of everything at a word - his word. He wants every thinking thing under his control. I believe it's an evil concept but he doesn't think so."

"I feel that nonviolence coupled with some kind of sustaining influence can work in comics. I don't feel that you have to show blood and gore and guts. I think it's repellent. I've seen enough of it in its reality, and it's just as repellent when it's drawn as in reality. I see nothing of any value in anything that has what you call shock value. I see nothing in that except using that sort of thing to prove a point. In other words if you're making an anti-war document or if you're trying to tell the truth about a certain subject, and the blood and gore was a part of that subject, I wouldn't omit it. If I were going to make an exposé on anything I would show anything connected with it. For instance, in a gangster movie I would show the results of being a gangster-the life activities as well as the end and death. I would show exactly how it is they ended. I would show the bullet holes because it's part of the picture, but I wouldn't exploit it for its value alone. I see no entertainment in that sort of thing."

"I feel that story, first. I know those people, first. When I put them down they've already lived."

"Darkseid is very evil. He's the equivalent of a mass murderer, but he wouldn't waste his super-powers on just one individual. He wouldn't go out of his way just to kill one man; it would be ridiculous. He wouldn't do it. He'd just walk away. That's how my villains think."

"I wasn't the kind of student that Pratt was looking for. They wanted people who would work on something forever. I didn't want to work on any project forever. I intended to get things done."

"The romance genre was all around us. There was love story pulps, and there was love story sections in the newspapers. There was love stories in the movies. Wherever you went there was love stories! That’s how we got our new material, and it suddenly struck me that that’s what we haven’t done. We haven’t done any romance stories!"

":No, we didn’t do horror in the sense of haunted houses or people with masks the way you might see them today; something lurking in an anteroom. Our stories were more like peasants sitting around a fire. We had the “Strange World of Your Dreams”. Ours didn’t run to bloody horror. Ours ran to weirdness. We began to interpret dreams. Remember, Joe and I were wholesome characters. We weren’t guys that were bent on the weird and the bizarre. We were the kind of guys who wouldn’t offend our mother, who wouldn’t offend anyone in your family, and certainly not the reader. So we knew that we had to depart from adventure and that there were other ways to go and we came up with the “Strange World of Your Dreams”."

"Darkseid constitutes the kind of men Kirby was acquainted with in his youth. The slum lords, made famous in Will Eisner’s A Contract With God, were men (perhaps women?) with agendas. They operated on morals dictated by their business mindset. The cost of rent, the living conditions, and the quality of life they allowed for their tenants was in line with their standards. To them, that standard was appropriate. To call them “evil” or “unethical” is an inaccurate assessment. They were gods within the worlds they created."

"I loved Jack's work and the first time I saw it I couldn't believe what I was seeing. He asked if we could do some freelance work together. I was delighted and I took him over to my little office. We worked from the second issue of Blue Bolt through ... about 25 years."

"Jack’s aliens did not look like anyone else’s aliens. They were dangerous with “alieness.” His characters in general, alien or human, posed with drama. There was something alive, almost sinister, about the locations he drew, whether it was the swamp where the alien craft first landed, or the boarding house where the chase finally ended. Even the coloring was strange, full of raw hues and knockouts where one color was washed over most of a panel, like a raw spotlight shining on the scene. Most of all, the work was vital, bursting with energy even in those panels where characters were merely standing around. And if they were in motion, they moved with authority. It was like no other comic book I had ever seen. In microcosm, that was the genius of Jack Kirby. He was like no other artist who worked in comics, a uniquely gifted individual who brought a new sensibility and a fire to the art and storytelling of American comic books, a fire that burns to this day. I’m happy to say I’m still learning from him."

"He created a new grammar of storytelling and a cinematic style of motion. Once-wooden characters cascaded from one frame to another—or even from page to page—threatening to fall right out of the book into the reader's lap. The force of punches thrown was visibly and explosively evident. Even at rest, a Kirby character pulsed with tension and energy in a way that makes movie versions of the same characters seem static by comparison. The frenetic action and the rooftop fighting so common on the superhero set did not just materialize out of nowhere. Mr. Kirby remembered much of it from his Depression-era youth on New York’s Lower East Side, where, he once told an interviewer, the incessant fights among rival gangs were often staged up and down fire escapes and during running battles across tenement rooftops."

"…Jack took a call. A voice on the other end said, ‘There are three of us down here in the lobby. We want to see the guy who does this disgusting comic book and show him what real Nazis would do to his Captain America’. To the horror of others in the office, Kirby rolled up his sleeves and headed downstairs. The callers, however, were gone by the time he arrived."

"I can’t get over this guy. He creates 100 villains at a sitting and then kills off half of them. Any one of these villains I can make a million off of."

"Jack Kirby—co-creator of the Marvel Universe and big chunks of DC’s—remains one of the most influential writer/artists in the history of comics. Many of Kirby’s works involve the fight against fascism, embodied in characters such as Doctor Doom and the Red Skull. This wasn’t just an imaginary battle for Kirby, who killed Nazis in World War II and was ready to throw down with any fascists he encountered stateside. Many people have fought for freedom in the military; many others have done it through art. Few have waged the war for freedom on two fronts quite like Kirby."

"There was power in the work of Jack Kirby that changed the way I looked at things. There was no one else like him and there never will be."

"Jack didn’t have the resources or the stomach lining to fight Marvel over copyrights, character ownership or past contractual sleights that he believed he suffered."