Having the magic ring is utterly useless. “That’s what I write about in The Fortress of Solitude. “I wrote about the failure of powers,” he says. He’s still intrigued by the notion of superhuman powers-his new novel A Gambler’s Anatomy concerns a backgammon hustler who may or may not be psychic-but he says it’s the idea of disappointing powers that really resonates with him. “I agreed with Alan Moore’s autopsy in Watchmen. “It’s saying, ‘These figures are unbearably contradictory, and they’re not sustainable,'” Lethem says. “It seems to me there’s a disconnect at a fundamental formal level between what a comic book does when you encounter it and what a CGI superhero movie does when you encounter it,” he says.Īnd while Lethem’s childhood love of superheroes has left an indelible mark on his fiction, he says that he largely stopped reading superhero comics in his early twenties, around the time of Alan Moore’s Watchmen, which furnished what Lethem sees as the definitive deconstruction of the superhero trope. Lethem, who initially set out to become a visual artist, says that comic books are a unique storytelling medium with pleasures that don’t necessarily translate well to live action.
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