Stevereads: African Genesis

Our book today is Robert Ardrey’s landmark 1961 book African Genesis: A Personal Investigation into the Animal Origins and Nature of Man, which in its very first line takes aim squarely at two vague and persistent notions: that modern humans originated in the Near East, and that those origins were peaceful, almost idyllic. “Not in innocence, and not in Asia, was mankind born,” Ardrey declares right at the beginning of his book. “Most significant of all our gifts, as things turned out, was the legacy bequeathed us by those killer apes, our immediate forebears.” 

In the course of the book, Ardrey has one particular killer ape in mind: Australopithecus africanus, “the carnivorous ape of the high, ancient veld,” which was first discovered by Raymond Dart, who’s an odd and recurring character in the book. The central struggle Ardrey portrays so dramatically is the struggle to amend what he calls “anthropology’s appalling approach to the australopithecine problem” – amending it, that is, to show an Australopithecus africanus who carefully crafted and ruthlessly used weapons, hoarded food, and very likely made war in its own primitive way. 

These elements went against the grain of common thinking in the discipline when Ardrey wrote his bombshell of a book, but it wasn’t mere iconoclasm that accounted for the wildfire popularity of African Genesis – there’s hardly a parallel to that popularity in our own science-denying era. The book was widely translated, widely discussed, widely debated … and there’s a good case to be made that it inspired an entire new generation of anthropologists, many of whom were eager to question the given wisdoms of the discipline. 

But again, it wasn’t mere iconoclasm that gave this book wings; it was Ardrey’s soaring, passionate prose line. When he writes about modern humans (he immortally describes us as “bad-weather animals, disaster’s fairest children”), he strikes a note that still prompts a deep breath even now, 60 years after the book first appeared:

No creature who began as a mathematical improbability, who was selected through millions of years of unprecedented environmental hardship and change for ruggedness, ruthlessness, cunning, and adaptability, and who in the short ten thousand years of what we may call civilization has achieved such wonders as we find about us, may be regarded as a creature without promise.

Challenging given wisdoms always includes forcing well-established luminaries to eat a certain amount of crow, and Ardrey spent more than enough time talking with such luminaries while working on his book to know the size of some of the egos he was dealing with – and not to care all that much. “A scientist … has the right to be wrong,” he writes. “It is a right approximating an obligation, for if a scientist becomes more concerned with being right than with expressing the convictions of his judgement, then he violates a public trust.” 

That 1961 edition of African Genesis included not only dozens of black-and-white drawings of various animals but also wonderful fold-out charts of deep-time chains of life as they were imagined at the time. The mass-market paperback of the book, which sold boatloads more copies that found their way into every used bookstore in the entire world, didn’t typically have those fold-out features, but the main impact of the book was undiminished. It’s ultimately a story about the wonder of science, and although the science might have advanced in gist and detail since the book first appeared (we have, among other things, genetic analysis that was undreamt of in Dart’s day), that particular exultant tone carries the day:

Man is neither unique nor central nor necessarily here to stay. But he is a product of circumstances special to the point of disbelief. And if man in his current predicament seeks a fair mystique to see him through, then I can only suggest that he consider his genes. For they are marked. They are graven by luck beyond explanation. They are stamped by forces that we shall never know.





Comics: Ulik Unchained!

Our book today is one of the newest entries in the “Epic Collection” series of full-color reprints from Marvel Comics: Ulik Unchained, the seventh volume featuring the mighty Thor, this one reprinting twenty issues running from 1973 to 1975, when Gerald Ford was US President and single comic book issues cost 25 cents each but sold in such quantities that their many artists, writers, colorers, and editors could earn a living wage, whereas now, fifty years later, individual comics cost $5 apiece and sell so poorly that their almost all-freelance staff lives in abject poverty. 

A different time, and a different Thor. The character in these pages, so elegantly drawn by John Buscema, is noble (although a bit of whiney-pants - the ‘70s were big on characters feeling sorry for themselves), self-sacrificing, no-nonsense, and of course immensely powerful. That last is always tricky with this character: he exists in Marvel’s normal superhero universe of lower Manhattan, where you can qualify as a supervillain if you’ve got a pair of stilts or a pair of vibrating gloves, but he himself is the immortal Norse god of thunder, able to rip apart steel like tissue, summon ferocious storms at will, and draw on thousands of years of combat experience … a bit of an imbalance, then, if Thor goes up against the nefarious, um, Owl. 

The writer of these issues, Gerry Conway, solves this problem by pitting Thor against immense, otherworldly foes. In these pages, he faces the titular Ulik the troll, a contingent of Asgardian warriors led by his half-brother Loki, the indestructible Destroyer, his good friend/sparring partner Hercules, the gods of ancient Egypt, the world-devouring Galactus, and Ego the Living Planet … there simply isn’t room to squeeze in the Circus of Crime. 

These Epic Collections aren’t cheap – this one retails for $45 – but they’re in gorgeous full color (with discreet fixes to earlier printing errors, including re-paginating issue #231 to fix a problem with the original printing), and they save on shelf space; Ulik Unchained collects in one volume what the hardcover (and obscenely more expensive) Marvel Masterworks volumes needed two to cover. 

Several things jumped out at me while re-reading this volume (because of course I bought it, even though I have those two obscenely-expensive Marvel Masterworks volumes, and even though I still have the original issues I bought from the dry goods store and read so lovingly through hot Iowa summers and slushy Iowa winters), including Conway’s weird decision to make Hercules, one of the mightiest characters in the Marvel universe, Thor’s ineffective sidekick for a dozen issues. He fights the new herald of Galactus, Firelord, until Thor steps in; he fights the Destroyer until Thor steps in; he fights a mutated beast-man until Thor steps in (Thor swoops in and says “I see thou art recovered” and Hercules quite rightly responds, “How can one recover when he never fell?”), but he hardly ever seems tempted to out-sine the Thunder God in his own book.

These were grand old issues, and they sparked many a heated debate in the letters columns, fifty years ago: should Thor ditch his winged helmet, as Hercules suggests (“Keep it, yes, but in the name of mercy, keep it in a dark place”)? Can Thor manipulate the movements of his hammer after he’s thrown it, or is it just a one-direction missile? Is it Thor’s human alter ego Donald Blake who’s in love with the nurse Jane Foster, or is it Thor? And if it’s Thor, isn’t he also in love with the goddess Sif? And more broadly, just what do the normal humans of this world think about Thor and his fellow Asgardians? In these issues, as mentioned, Asgardian warriors actually attack Earth, and one glum old general is contemplating using nuclear weapons against them – does the general public even know that Thor is essentially the one Earth-loving member of a warlike super-race that could show up on Washington’s doorstep at any moment? At one point in this collection – in another issue beautifully drawn by John Buscema matched with his ideal inker, Joe Sinnott – Thor stops some routine street criminals with negligent ease, and one of the awestruck cops inadvertently strikes the very note I was thinking about as I re-read these issues: “A guy with power like that could rip this city apart and not even end up breathing hard.” 

It’s a neat note, but it isn’t sounded often in these stories, mainly because Conway keeps Thor busy offworld, fighting living planets, living skeletons, and an array of robots. The artwork in these issues is mostly by Buscema, inked very well by Sinnott and less well by Mike Esposito or Dick Giordano, and also a couple of issues penciled by Rich Buckler (with a backup Hercules story drawn by George Tuska), and there a dozens of great moments and great sequences. Despite the silly and poorly-crafted bits scattered throughout, it’s was a delight to revisit it all one more time.