Several of Stanley's greatest stories are in print once again. Many stories of equal worth still languish in limbo--because they feature licensed properties. As the current copyright holders are greedy mega-corporations, these pieces many never see a legitimate reissue.
This post will attempt a Top Ten of currently in-print Stanley Stories. A following post will list my personal 10 favorite pieces not in print--or ever likely to see reissue. I hope this post will be helpful to those approaching John Stanley's work for the first time.
Please note that none of the images here are from the published books. They're digital scans I've picked up in my journeys through comics archaeology.
TOP TEN IN-PRINT STANLEY STORIES:
Art in Time, Abrams Books)
Undeniably goofy, this story is indelibly etched in the memories of anyone who's read it. The great Jim Woodring told me that this story utterly flipped him out when he read it as a young person.
Although sabotaged by sub-standard graphics, "Crazy Quilt" is a mainline into the darker edges of John Stanley's imagination.
As with many of his attempts at horror comics, "Crazy Quilt" is a failure as a traditional genre piece. As a slice of dream-logic, made literal in a mass-market publication, the story is a lunatic success. Faint shadings of Stanley's black humor peek into this short piece, as well.
Little Lulu's Pal Tubby Volume 1: The Castaway and Other Stories, Dark Horse Comics)
A 32-page blend of earthbound comedy, science-fiction elements, and high-stakes storytelling, "Tubby's Secret Weapon" further benefits from the adroit cartoon art of its writer.
John Stanley elected to illustrate the second through ninth issues of the Tubby spin-off comic book, which became an official quarterly title with its fifth issue.
These early Tubby stories are notable for their quite serious themes.
The sheer momentum of story-telling overcomes Stanley's strong grasp of comedy in many of these pieces. This story, which introduces the "Little Men From Mars," later a staple of absurd humor in Stanley's Tubby stories, has more comedy than normal. Its narrative has a great deal at stake, and its blend of laffs and thrills is impressive.
8) "Net Profit" (originally published in Nancy #165, 1959; available in Nancy: Volume One, Drawn + Quarterly)
Stanley's follow-up to his 15 years on the Little Lulu series, Nancy is, in many ways, a sideways continuation of that more famous body of work.
Stanley seems to have had a freer hand with this licensed property. His run on Nancy signals a sea-change in his approach to comics. A harder, broader and more modern sense of comedy informs these stories.
Disdain for the wealthy is a central theme of Stanley's work. Stanley's Rich are a callous, condescending and manipulative lot. Bored with their luxury, they take their ennui out on the less fortunate--and use their great wealth to enable immense, complex (and life-threatening) pranks and mind-fudges.
"Net Profit" stands out for its particularly venomous portrait of wealth gone wrong. Unlike Little Lulu's rich kid, Wilbur, Nancy's Rollo Haveall is an unredeemable cad. With its blend of space-age sitcom gags and horrific images, "Net Profit" is a sharp slice of Stanley's screw-the-rich sentiment.
Art in Time, Abrams Books)
A longer (and nuttier) horror story, "Two For The Price Of One" holds its tongue in cheek as it blends an EC Comics-type "crime suspenstory" with bone-dry lunacy.
As with "Crazy Quilt," this story is a complete mess as a traditional horror story. For its outburst of screwy themes, escalating narrative, and its utterly baffling shock-type ending, which leaves the reader somewhere between stunned silence and the urge to laugh uncontrollably, "Two For The Price of One" shows its creator struggling in an unfamiliar genre, and accidentally generating one of the oddest narratives even seen in comics form.
6) "Great Day" (originally published in Marge's Little Lulu #23, 1950; reprinted in Little Lulu Vol. 7: Lulu's Umbrella Service, Dark Horse Comics)
Alas, you won't see this story in color in Dark Horse's reprint. The brilliance of Stanley's writing survives the pallor of black-and-white reproduction.
Tubby Tompkins is the ultimate realization of John Stanley's favorite character type: the self-absorbed, tunnel-visioned Quixote who blunders through the world, never parted from the belief that his wisdom is supreme, and that everyone else is wrong.
Tubby is in rare form in "Great Day," in which he takes a special, ritualistic trip to the Sunset Diner and is coaxed into hallucinatory gluttony by his idols--blue-collar truck drivers.
Were this available in a color reprint, it would have a higher berth on this Top Ten list. "Great Day" is certainly among John Stanley's finest achievements as a writer. His grasp of the characters here--even incidental figures--brims over with life and wit.
5) "The Outcast" (originally published in Thirteen Going on Eighteen #6, 1963; reprinted in Thirteen Going on Eighteen: The John Stanley Library, Drawn + Quarterly)
You'll read this story in a far, far better color scan than this poor sample in the first volume of Drawn + Quarterly's on-going series--an essential purchase for admirers of John Stanley's work.
The contents of Stanley's Thirteen Going on Eighteen have a loose but pervasive continuity (vaguely like Frank King's Gasoline Alley). Thus, it's tough to excise one story as an overall example of the series.
Thirteen's stories have a cumulative effect. The more you read, the more you get to know Stanley's characters, and the more you encounter their naked failures, their human failings and their heart-breaking self-delusions. Thirteen is the heaviest teen humor comic yet created. If Philip Roth wrote Archie, it might be something like this.
"The Outcast" serves as a vivid entree to the exasperating but sympathetic world of Val. She's not a female Tubby, but she subscribes to Tub's unerring self-belief, regardless of how it impacts others.
In "The Outcast," Stanley gives Val an unforgettable and utterly believable moment of complete social embarrassment, in which she reduces her older sister to tears with one reflexive, free-associative comment.
Though its impact is more complete when read in sequence, "The Outcast" shows John Stanley as a fearless interpreter of human folly. His cartooning is also incisive and highly expressive.
The Toon Treasury of Classic Children's Comics, Abrams Books)
A short story about the hilarity of language and communication, "Two Foots is Feet" also exquisitely depicts the chasm between the world of kids and the world of adults.
As well, it's one of John Stanley's funniest stories.
Perhaps my citing stories from this book is conflict of interest (I was on the editorial board, and picked this and some other Stanley pieces therein). Nonetheless, this remarkable little piece is crammed with dialogue, stakes and the sense that adults are, ultimately, bewildered by their children.
The Toon Treasury and Golden Collection of Krazy Kool Klassic Kids' Komics, I&DW Books)
Jigger (later re-titled Jigg and Mooch) was John Stanley's first original creation for comic books. Its run was cut short with the demise of Animal Comics (also the birthplace of Walt Kelly's "Pogo"). Much more so than "Peterkin Pottle," "Jigg" had great potential, and deserved a longer run.
Existential street stories of two dogs on the make for food, shelter and kindness, "Jigg" blends thickets of black comedy and absurdity into its low-key, naturalistic narratives.
Stanley's sharp, elegant cartooning further distinguishes this series. He chose to sign this series as "Biff," for reasons unknown and, perhaps, unknowable.
Flashes of Stanley's 1960s writing and themes appear in these stories, and show that his comedic sense was well-honed in the 1940s.
2) "Five Little Babies" (originally published in Marge's Little Lulu #38, 1951; most recently re-reprinted in The Toon Treasury, Abrams Books)
If you haven't read Stanley's Little Lulu yet, and want to know what all the fuss is about, look no further than "Five Little Babies."
Though this is the story's third re-printing, it's the finest of them all, lovingly scanned from its original 1951 edition in large, crisp color images (1672% better than this digital scan).
Stanley's "Lulu" had many story formulas. Among them was a pre-pubescent battle of the sexes--a war of ideas, always won by the girls, often against huge odds.
"Babies" brings Wilbur van Snobbe, Stanley's original nasty little rich kid into the mix. His genuinely cruel scheme to publicly humiliate Lulu inspires the girls to a grand-scale social embarrassment scenario for the boys.
Though Stanley wrote this story-type repeatedly in his 15 years of Little Lulu, he never did it better than with "Five Little Babies." While it's not my favorite "Lulu" story, it is the one I would point a new reader to, above anything else.
1) "The Guest in the Ghost Hotel" (originally published in Marge's Tubby #7, 1954; reprinted in The Toon Treasury, Abrams Books)
The first story featured on this blog, over two years ago, "The Guest in the Ghost Hotel" is my personal favorite of all the John Stanley material currently in print.
Stanley's expressive cartooning garnishes this brilliant narrative, in which fantasy and reality seamlessly collide.
Garnished with nightmare imagery (quicksand, drowning, death, ghosts), "Guest" brings out the best in John Stanley's dark imagination. It's a story worthy of Roald Dahl.
Again, the Abrams book's beautiful full-size reproduction serves this story very well.
"The Guest in the Ghost Hotel" is a sort of bouillon cube of John Stanley's themes. If you like this story, you're apt to like the rest of Stanley's work.
I hope this post is of some interest, and that it might help a newcomer to Stanley's comics to find an entry-point to a remarkable (and large) body of work.
POST-SCRIPT: As I get suggestions from readers for other "top ten" candidates, I'll add them here.
Little Lulu Volume 10: All Dressed Up, Dark Horse Comics)
This is, indeed, one of the best of Stanley's fractured fairy-tales. It is arguably as good an example of Stanley's Evil Rich as "Net Profit;" it's also among Stanley's stronger narratives of the 1950s.
Alas, you won't read it in color in Dark Horse's book. Its razor-sharp humor and fascinating psychology still come through loud and clear in this book's crisp black and white.
Stanley took chances in these monthly fairy-tales, and here some of his most brilliant and innovative writing occurs.
Especially in the early 1950s, Stanley could let himself get a bit unhinged in these stories, while not mussing a hair or raising an eyebrow. There is such intense control exercised in these fairy-tale segments. Wild ideas accumulate in a creative snowdrift; time and again, Stanley selects the pieces that accelerate the story, raise the stakes, and produce moments of fear, humor and even pathos.
Here is one of my favorite sequences from "The Little Rich Boy." I don't think it will ruin the story, if you haven't read it:
Orgasmic relief in a carload of yo-yos: that's the American dream!
Little Lulu is Taken For A Ride" (originally published in "Four Color" one-shot #131, 1947; reprinted in Giant-Size Little Lulu V.1, Dark Horse Comics)
Among the longest of Stanley's Little Lulu stories, this adept comics noir can be read in full color (and read about) by clicking on the link above.
The Gourmet" (originally published in Marge's Little Lulu #5, 1948; reprinted in Giant-Size Little Lulu V.1, Dark Horse Comics)
How on earth could I have forgotten this story? This is John Stanley's finest short story. It achieves sublime and transcendent comedy in its six pages. As well, it was a giant step forward in the development of Stanley's most fully realized character, Tubby Tompkins. Read and enjoy at the link above!
Got a Stanley favorite (in-print) that I didn't mention here? Interact!