Sherlock Holmes The Strange Case of the Queen's Pupils

'Sherlock Holmes: The Strange Case of the Queen's Pupils'

from National Lampoon, July 1971

The issues released in the early years of National Lampoon could be hit-or-miss, but the July 1971 'Pornography' issue has some genuinely funny, and explicitly sleazy, material in its pages. There is a sharper note to the snideness, that comes through in many of the articles.

Among the more amusing entrants is a black-and-white comic, written by Charles O'Hegarty and Michael Choquette, ably illustrated by comics veteran Frank Springer. 'Sherlock Holmes: The Strange Case of the Queen's Pupils' is laugh-out-loud funny, and an effective satire of the British boys' boarding school motif.

Thorgal: The 'Qa' series

Thorgal: The 'Qa' Series

One of the most memorable episodes in the 29 installments of the 'Thorgal' comic book series (albums de bandes dessinees) was the so-called 'Qa' series. 

It was a four-part series, originally issued by the Belgian publisher Lombard, and consisted of the titles Le Pays Qâ (1986), Les Yeux de Tanatloc (1986), La Cité du Dieu Perdu (1987), and Entre Terre et Lumière (1987).

In 2008 - 2009, Cinebook published an English translation of the four titles, partitioned into two graphic novels: The Land of Qa, and City of the Lost God.

There is a note in The Land of Qa that some of the contents in the original album are deleted in the English translation, so as not to give offence; I suspect this has to do with the depiction of the Aztecs' human sacrifices, mention of which is increasingly politically incorrect nowadays.

Both Grzegorz Rosinski and Jean Van Hamme were in top form with the 'Qa' series. Van Hamme's plot stays coherent for almost all of its length and keeps the story beats to a manageable number. He also throws just about every sci-fi or fantasy trope into this series: ancient astronauts, levitating sailing ships, telepathy, telekinesis, and alien artifacts. 

The series kicks off with Kriss of Valnor, the franchise's central villain, coercing Thorgal, his wife Aaricia, and friend Tjall, into journeying with her to the land of Qa (comprising Mexico and part of South America), and completing a mission that is short on details, but long on danger.

Interspersed with moments of violence and mayhem is some lighter fare, often revolving around the avuncular 'Tree Foot', the elderly guardian for Thorgal's son Jolan.

The artwork is impressive, as always, with Rosinski successfully rendering a variety of peoples and exotic landscapes. The 'Qa' series leaves no doubt that Rosinski was one of the top-tier graphic artists of the 1980s and 1990s.

Who will want a copy of The Land of Qa and City of the Lost God ? If you are a Thorgal fan, then these books are well worth getting. But if you are less well-acquainted with the franchise, but appreciate skilled art and story in a European style, then the books are a good investment. It's possible to get each book for under $20 from your usual online vendors.

Book Review: The City: 2000 A.D.

Book Review: 'The City: 2000 A.D.' 

edited by Ralph Clem, Martin Harry Greenberg, and Joseph Olander

 3 / 5 Stars

'The City: 2000 A.D. Urban Life Through Science Fiction' (304 pp.) was published by Fawcett Crest in July, 1976. The cover art is attributed to Larry Kresek.

This was the first of two sci-fi anthologies co-edited by Ralph Clem and the indefatigable Martin Greenberg, the other being 'No Room for Man' (1979). These anthologies, as well as others published by Olander and Greenberg in the 1970s, were of educative intent, designed to be textbooks for high school and college courses. 

As such, the Clem / Olander / Greenberg productions were among the more accessible sci-fi anthologies of the New Wave era, as they necessarily relied upon short fiction that was devoid of the unconventional, avant-garde mannerisms that marked much of the New Wave's output of that era.

'The City' contains stories first published during the interval from 1911 to 1975. Some of the stories previously appeared in Roger Elwood's 'Future City' anthology from 1973. And some of the entries here in 'The City: 2000 A.D.' are present in 'No Room for Man'.

Each of the entries in 'The City: 2000 A.D.' has an introduction from the editors; these introductions are pedantic, admonitory, and tinged with a progressive, liberal political ideology. It's clear that the editors view the city as a malevolent construct, and the selections in this anthology are designed to reflect this view.

My capsule summaries of the contents:

 New York A.D. 2660 (1911), Hugo Gernsback: an excerpt from Gernsback's novel. It's mainly of interest as one of sci-fi's first treatments of the modern city as a technological wonderland, the apogee of American resourcefulness.

Jesting Pilot (1947), by Henry Kuttner: the Future City is bounded by an impenetrable wall; a malcontent persists in wondering about what lies outside the wall. I've never been much of a fan of Henry Kuttner, and this story, with its stilted prose and inane plotting, reminds me why. It's the worst entrant in the anthology.

Chicago (1973) • short story by Thomas F. Monteleone: the future metropolis is completely automated; a robot questions why. 

Street of Dreams, Feet of Clay (1967), by Robert Sheckley: fed up with the rat race of life in an overcrowded, polluted New York City, Edward Carmody decides to visit the 'smart city' of Bellwether, New Jersey. An underwhelming social satire from Sheckley.

The Vanishing American (1955), by Charles Beaumont: the impersonalized nature of life in the Future City drives Mr. Michell into a profound state of alienation. 

Billennium (1961), by J. G. Ballard: despite the passage of the decades, this tale of the street-level reality of overpopulation remains one of the most powerful treatments of the topic.

Total Environment (1968), by Brian W. Aldiss: 500 young Indian couples are sequestered in an arcology and left to their own devices; it is an experiment designed to see how humans cope with severe overcrowding. Aldiss clearly intended this story to explore the implications of the iconic 'behavioral sink' rodent experiments conducted in the late 1960s at NIH by zoologist John B. Calhoun. In this regard, 'Total Environment' is an exemplar of the sci-fi of the Population Bomb era, and one of Aldiss's better novelettes.

Black Is Beautiful (1970), by Robert Silverberg: this story first appeared in Harry Harrison's 1970 anthology 'The Year 2000'. In Silverberg's story, White Flight has led to Manhattan being covered with a transparent dome, and black people constituting the overwhelming majority of the population. A youngblood named James Shabazz is out to make sure Whitey understands his place in the new social order, you dig, baby ? A cool tale from Silverberg.

In Dark Places (1973), by Joe L. Hensley: gritty, grim tale of racial warfare in a decrepit near-future cityscape. Its offbeat, proto-Cyberpunk sensibility makes it another of the standout stories in the anthology.

East Wind, West Wind (1972), by Frank M. Robinson: in a devastatingly polluted Future City, the protagonist investigates a report of someone operating banned machinery: a gasoline-driven car. An effective Eco-Catastrophe tale from the genre's heyday in the early 70s.

Disposal (1970), by Ron Goulart: when Lon's futuristic garbage disposal breaks, it means disaster for the entire family.

The Undercity (1973), by Dean R. Koontz: in the Future City, liberal reformers have made permissible offenses that, in the past, were felonies. But that doesn't stop enterprising criminals from making a living from breaking the law, often in ingenious ways. 

Gas Mask (1964), by James D. Houston: brilliant little tale about the Traffic Jam from Hell.

Traffic Problem (1970), by William Earls: dark satire of a future New York city where traffic is so bad the World Trade Center is encircled by highways, and Central Park has been converted to a parking lot.

Gantlet (1972), by Richard E. Peck: this story first appeared in 'Orbit 10' (1972) and it's among the few stories in that series, that I read back in the early 70s, that I found engaging enough to stay with me over the ensuing decades.

'Gantlet' is about a commute out of the Future City and into the suburbs. A commute that involves a passenger train with metal shields fitted over the windows, and machine guns and lasers mounted on the engine car. Needless to say, the train will be going through some very tough neighborhoods en route to its destination.........!  There is a proto-cyberpunk atmosphere to this story. 

City's End (1973), by Mack Reynolds: New York City circa 2000 AD is a depopulated wasteland, a refuge to outcasts and criminals. Teenager Bobby tries to survive, aided by his .22 rifle. The opening segments of this story have an impactful, dystopian quality, but, as the story progresses, Reynolds inevitably introduces discourses on political theory; these drain momentum from the narrative.

The Slime Dwellers (1975), by Scott Edelstein: to reduce urban blight, a space-age suburb is constructed in 'Basin City'. But.........what if no one wants to buy a house in Basin City ?!

A Happy Day in 2381 (1970), by Robert Silverberg: in the Future City, Earth's population of 75 billion live in arcologies three kilometers high. Mattern, an inhabitant of one such arcology, hosts a visitor whose remarks leave Mattern wondering about the wisdom of Unchecked Fecundity. Silverberg later would bundle this story into his 1971 fixup The World Inside.

The verdict ? There are enough good stories to give 'The City: 2000 A.D.' a solid 3-Star review. This is an anthology that displays sci-fi's 1970s pessimism to good effect, particularly the entries by Aldiss, Silverberg, Hensley, Houston, Earls, and Peck. If you like stories that fall into the same bin with pop culture classics like The Omega Man, Soylent Green, and Escape from New York, then this is worth picking up.

'Meatballs' advertisement, 1979

Meatballs advertisement
from the August, 1979 issue of National Lampoon

The story goes that Murray considered his role in the movie as something of a commitment he rather would not have made, and he showed up on the third day of filming and did little, if any, rehearsing. But the film was a success and paved the way for his role in 1980's Caddyshack, after which Murray became a box office superstar.

At McKay Books, Knoxville

At McKay Books, Knoxville

Earlier this week I made a road trip down south to the Knoxville area. I had a number of goals in mind, including a visit to the newly opened Bucc-ees in Sevierville. But I also took time to visit the McKay Books franchise in Knoxville.

I am familiar with the McKay franchise through my regular visits to the one in Manassas, Virginia, but the Knoxville McKay is a little different, For one thing, it's a pain to get to; while it's right off the I-40 exit, it's located on a very narrow frontage road at 230 Papermill Place Way. You will likely need to wait some time for traffic to clear in order to make a left turn into the plaza where the store is located. If you're driving a big pickup or SUV, care will be needed in turning.

This McKay Books is housed in an unusual building. There is a second floor, consisting of a gallery, that overlooks the main floor below. The second floor has the racks for audio-visual equipment, vinyl records, CDs, and graphic novels.

Down on the main floor you'll find hardback and paperback books in all categories, along with a large selection of used board games, action figures, DVDs, video games, etc.

The shelf spaces for hardback and softback sci-fi and fantasy were pretty extensive, although I must say that I didn't see the quantities of vintage (i.e., 60s, 70s, 80s) titles that I usually come across in the Manassas McKay. Prices at this branch were pretty much in line with those I see at Manassas.

I went on a Thursday afternoon and the place was pretty crowded. I didn't spend a whole lot of time in the store, mainly because it was 91 degrees outside, and so humid it was like a 'wet blanket'. Inside the store I soon began sweating, and I was just too uncomfortable to keep squatting and bending in the aisle in order to make out exactly what DAW Books title that was, that was on the bottom-most shelf in front of me. Needless to say, at least one woman in the store was wearing a hoodie............?!

Summing up, if you are a fan of McKay Books and find yourself in the Knoxville area, then you will want to plan a trip to this branch of the franchise. As always, they do provide cash or store credit for trade-ins.

As for Bucc-ees, well, it was everything you expect from the world's largest convenience store (74,000 square feet). It is one of those places you must see, to believe............

Book Review: The Quality of Mercy

Book Review: 'The Quality of Mercy' by D. G. Compton

3 / 5 Stars

'The Quality of Mercy' first was published in the U.K. in 1965. This Ace Books edition (191 pp.) was published in the U.S. in 1970 (the cover artist is uncredited).

The only other novel by Compton that I have read is 'The Silent Multitude', to which I gave a 1 Star score because of its thin plotting and overwritten prose. I was hoping for better things from 'Quality'.

'Quality' is set in 1979, at which time the Cold War still is being waged. Tensions are amplified by a crisis of overpopulation, which sees the UK housing large numbers of Third-World migrants. Making things worse is the advent of a strange new epidemic, 'Van der Plank's Disease', or V.P.D., involving a form of acute leukemia. V.P.D. has a sudden onset and no cure, and the residents of the U.K., and indeed every country in the world, have had to adopt a fatalistic attitude in the face of the disease's toll.

The lead character is a young Englishman, Captain Douglas Morrison, who resides with his wife Maria on the well-appointed grounds of an U.S. Air Force Strategic Air Command base near Oxford. Morrison is a navigator on an American PP9 model reconnaissance aircraft, one of many tasked with making clandestine, night-time overflights of the Eastern Bloc. The aircraft's flights are unusual, centered as they are on carefully dispersing radioactive particles over large sectors of the higher atmosphere.

Morrison is an earnest man, dedicated to his mission and dismissive of the peace movement burgeoning in the U.K. Morrison also isn't very bright, and resists efforts by his friend and colleague, the Squadron Leader, to question the wisdom of the actions of  the Air Command. But as events unfold, and the truth about the Command's mission emerges, Morrison will find that supporting the military means accepting a disturbing new reality for the human race. 

I found 'Quality' to be a better novel than 'The Silent Multitude'. Like many British sci-fi novels it has a subdued quality. Major incidents are not directly related to the reader, but are alluded to in the many conversational exchanges that occupy the narrative. There are quasi-lyrical passages describing the placidity of the English countryside on Summer evenings. Much of the narrative is occupied with documenting the interactions of Donald Morrison and his wife, both as a couple, and as part of the social order of the base (at one point, a shopping trip to the Post Exchange takes up nearly five pages of text). 'Quality' is at heart a domestic melodrama, with a thin science fiction coating. 

It is understood that by focusing his attention on the quotidian and the banal, author Compton is messaging about the ability of people to disregard the most menacing of catastrophes if it can be kept at arm's length. Compton also messages that the perpetrators of said catastrophe are not monsters, but 'ordinary' people who are willing to abandon their moral qualms to accommodate the demands of the Organization Man.

The denouement, which doesn't arrive until page 170, is more than a little contrived. I won't disclose any spoilers, but I finished the book with the feeling that Compton had equipped his novel with a provocative premise, but had failed to exploit this premise in as impactful a fashion as said premise would seem to command. 

Summing up, 'The Quality of Mercy' is a readable novel in the reserved tradition of British sci-fi. If you find such a style engaging, then you will want a copy in your book collection.

Views by Roger Dean

 Views by Roger Dean

'Views' was published in 1975 by Dragon's Dream. It's a well-made trade paperback book, measuring 12 x 12 inches (i.e., the size of a vinyl LP record cover), 155 pages, printed on glossy stock.

I remember 'Views' as one of the touchstone 'stoner art' books of the 1970s, in company with 'Eschatus', by Bruce Pennington, 'Beauty and the Beast' by Chris Achilleos, and 'Mythopoeikon' by Patrick Woodroffe.

Views advertisement from the April 8, 1976 issue of Rolling Stone magazine

Roger Dean was born on August 31, 1944 in Ashford, Kent. He lived for a time in Hong Kong, where his father, a serviceman in the UK army, was stationed. In 1961 he enrolled in Canterbury School of Art, and in 1965 he attended the Royal College of Art. He graduated in 1968 and created his first cover art for an album. 

Although Dean's primary focus was on architecture and design, he became known during the 1970s as an album cover artist, based on his compositions for the group 'Yes'. On the eve of his 79th birthday, Dean remains active in design and studio art.

Aware of the attention his art was receiving, Dean partnered with his brother Martin, and Hubert Schaafsma, to found the Dragon's Dream publishing company, in order to issue a book on Roger's art. Both trade paperback and hardcover editions of 'Views' were released. A followup volume, 'Magnetic Storm',  was issued by Dragon's Dream in 1984.

'Views' presents Dean's artwork from the 1960s on into the early 70s. The explanatory text is provided by Dominy Hamilton and Carla Capalbo. A large part of the book is devoted to his work in design, particularly in furniture and home decor. These are not major interests for me, so I am focusing my overview ono the sections of the book dealing with Dean's graphic art.

As for Roger Dean's art, well, it is much more 'artistic' than what was produced in the 1970s by Dean's fellow sci-fi and fantasy artists, such as Tim White, Angus McKie, Chris Foss, and Chris Moore. In his use of marbling he is perhaps more allied with Patrick Woodroffe, among that cohort. 

Most of Dean's work for commercial purposes features sci-fi and fantasy figures superimposed on strange landscapes where the rocks, trees. cloud formations, and terrain are depicted in a stylized manner. 

The book devotes attention to Dean's artwork for the album covers for the group Yes, which is logical, since he gained greatest attention for that work (beginning in 1971 with the art for the album Fragile). 

More so than many album cover artists, Dean was quite involved with the band when it came to cover design, and he designed the stage sets for the band's tours in the 1970s.

A 2020 article about Dean's role with the band is available here.

Who will want a copy of 'Views' ? Not being a huge Roger Dean fan, I can't say 'Views' is a must-have, but if you are a hardcore Yes fan, then you will want a copy. Seventies stoners looking for nostalgia also will be interested. But, with each passing year, those copies available for sale are getting pricier (around $30 on up), so the book soon will be out of reach of the casual collector..........!

Book Review: Deathworld 2

Book Review: 'Deathworld 2' by Harry Harrison

4 / 5 Stars

'Deathworld 2' (151 pp.) was published by Bantam Books in September, 1964, and features cover art by James Avati.

(My review of the first volume in the series is available here.) 

This is the second volume in the 'Deathworld' trilogy, one of Harrison's most enduring and successful franchises. The first volume of the trilogy began as a serialized novel premiering in Astounding Science Fiction in January 1960, and saw paperback publication later that year. 'Deathworld 3' was issued in paperback in 1968. There are softcover and hardcover omnibus editions of the 'Deathworld' trilogy available from publishers such as Orbit and Gollancz.

In the opening pages of 'Deathworld 2' our protagonist, the gambler and soldier of fortune Jason dinAlt, is abducted from the planet Pyrrus by one Mikah Samon, a self-righteous bounty hunter. Samon intends to return dinAlt to the planet Cassylia, where dinAlt is sure to receive a most unpleasant reception.

En route to Cassylia, dinAlt, ever phlegmatic, endures Mikah's pieties and sermonizings and waits for an opportune moment. When this comes, using a well-timed subterfuge, dinAlt cripples the bounty hunter's spaceship. A forced landing on the nearest habitable planet is required. But this leaves the two men stranded in the bleak and foreboding desert of an uncharted world, devoid of much in the way of advanced civilization.

Making things worse, dinAlt and Samon soon are enslaved by the brutish overlord Ch'aka, whose only ambition in life is to send his charges - spurred by blows and kicks - scouring the desert in search of krenoj roots, and the occasional edible piece of carrion. 

Jason, of course, has no intention of remaining Ch'aka's slave. After surviving the remarkably dangerous life forms of Pyrrus, what awaits for him on this primitive planet can't present much of a challenge. 

But Jason dinAlt hasn't planned for the betrayals that are going to sabotage his plans for the future........... 

Well before finishing 'Deathworld 2', I was aware of the writerly things that make Harry Harrison one of the more accomplished sci-fi authors of the postwar era. His prose is direct, unadorned, and deceptively simple. Dialogue is straightforward, and characterization restrained but quite adequate. The fact that the novel is only 151 pages in length means that the narrative moves quickly, with plot turns and twists inserted with just the right frequency to keep the storyline from becoming too static, or alternatively, too complicated.

Unlike 'Deathworld', which was very much an intense adventure novel, the sequel is more focused on Jason dinAlt's gift for sardonic humor under the most trying of circumstances. The only reason I couldn't give 'Deathworld 2' a five-star Rating was the presence of a few too many segments in which dinAlt and his unwelcome companion Mikah Samon engage in philosophical debates. Harrison intends these to represent a rebuke of those burdened with holier-than-thou complexes, but I found that these debates distract, rather than enhance, the narrative.

The verdict ? Like the other volumes in the trilogy, 'Deathworld 2' is an exemplar of the sci-fi action genre as it stood in the 1960s. The novel has aged quite well in the ensuing 58 years, and well is worth searching out. 

Photography Studio LED Lightstand

Photography Studio LED Lightstand
from GSKAIWEN (Shaoxing jingshen Photographic Equipment Co., Ltd.)

I regularly photograph collections of paperbacks, magazines, LP record covers, comic books, and other print media for my posts to this blog. I also post stuff to Facebook. I photograph these items on my dining room table. For a while now I've been wanting to get some affordable, high intensity lighting stands to illuminate my setups, as the overhead ceiling light in my dining room really is inadequate.

I recently purchased the 'GSKAIWEN 180 LED Lighting Stands, available from amazon for $90 (consists of two stands).

These got pretty good reviews at amazon, and I have to say I'm pleased with them. The stands are easy to assemble, and extendable to nearly 80 inches in height, so you can direct the light downwards onto higher tables, and other display furniture. Or you can reduce the height of the stand if that is your preference.

The angle of the LED light panels can be adjusted via a thumbscrew.

Power and intensity for the LED lights is handled by small rheostats.

Below is a collection of paperbacks I photographed on my table using the overhead ceiling light fixture:

And here's the same setup photographed with the same camera and settings, using the LED lightstands:

The only difficulty I've encountered so far with the LED lights is that the stands are plastic, not metal, and thus very light and easily knocked down. Needless to say, you're going to need to step carefully around them when in operation.

If you are a professional or semi-professional photographer I believe you likely will want to invest in a more sturdy set of lights. However, for someone like me the two stands are a good fit.

Book Review: A Stupid and Futile Gesture: How Doug Kenney and National Lampoon Changed Comedy Forever

Book Review: 'A Stupid and Futile Gesture: How Doug Kenney and National Lampoon Changed Comedy Forever'

by Josh Karp

3 / 5 Stars

This trade paperback version (402 pp.) of ‘A Stupid and Futile Gesture’ was published by the Chicago Review Press in 2006. It was the first book published by Josh Karp, a journalist and humorist.

In June, 1969, three young men, all recent graduates of Harvard University, sat down in a room in a Manhattan office building with Matty Simmons, the president of magazine publisher 21st Century Communications. Henry Beard, Doug Kenney, and Rob Hoffman all had worked on the Harvard Lampoon and were excited by the prospect of publishing a monthly magazine derived from the Lampoon’s approach to humor. 

For his part, Simmons, who with co-founder Leonard Mogel had earned success with Weight Watcher’s magazine, was intent on building a portfolio of magazines. For Simmons and Mogel, if any or all such magazines were hipper than Weight Watchers, so much the better. 

From the June meeting emerged the magazine National Lampoon, with Beard, Kenney, and Hoffman serving as editors. Of the three, it would be Kenney who stuck around the longest, from the inaugural issue in April 1970, until late in 1978, at which time the triumph of the movie Animal House launched him into a career as a producer and writer of comedy films.

‘A Stupid and Futile Gesture’ is both a biography of Doug Kenney (1946 - 1980) and a history of the National Lampoon during the abovementioned interval. Along with relating the life and times of Kenney, author Karp provides plentiful anecdotes and observations about the other people who worked at the Lampoon, and the Hollywood players who collaborated with Kenney on the films ‘Animal House’ and ‘Caddyshack’.

‘Stupid’ is a three-star book. I knew before sitting down to read it that it is a hagiography, rather than a biography; the author’s admiration for Kenney is apparent in almost every paragraph. But I was less prepared for the pop psychologizing that Karp too-frequently invokes: 

At twenty-four, he’d [i.e., Kenney] perfected the role that everyone wanted him to play. He was the sensitive child with extrasensory perception for what everyone was feeling at all times, always trying to smooth things over with a laugh. At Harvard he’d shed the nerdy kid persona and become a star. And with that came expectations – the expectation that he’d always be perfect. So as his professional life began to soar and his personal life cam apart, he fell to pieces, not knowing how to be perfect anymore. The failure…..of his marriage must have echoed his inability to fit in as a child, his inability to make his parents understand and love him the way he needed.

These expositions tend to wear after a while. 

Also detracting from the book is the author's insistence that the early years of the Lampoon were its best years. The reality is that in its first several years, the magazine was rarely as funny as it sought to be. There was an over-reliance on lengthy text pieces by Beard and other editors and contributors, that were dull and displayed an abstruse, highbrow approach to humor. This may have been effective in the ivied walls of Harvard and its environs, but were flaccid when compared to the transgressive comedy of the underground comix then sweeping the counterculture.

Looking through my collection of old Lampoons printed from 1970 to 1973, I'm fortunate to find one, rarely two, features per issue that genuinely are funny. And while I agree with Karp that Kenney's pieces are usually among the funnier ones, with a subversive quality that Beard lacked, it's also true that quite a few of Kenney's pieces were duds.............

Where 'Stupid' has value is in its observations about the day-to-day life in the magazine's offices and the perspectives of the staff (which, unsurprisingly, sometimes are at odds with those of Matty Simmons in his 1994 memoir 'If You Don't Buy this Book, We'll Kill this Dog'). 

The book does avoid viewing Kenney's behavior in the last year of his life (when his cocaine use frequently made him unpleasant to be around) through rose-colored glasses. Readers will have to make their own conclusions as to whether, had he lived, Kenney would have progressed in his career, or simply continued on the path of self-destruction that he seemed to embrace at the time of his death in August, 1980.

Summing up, hardcore fans of the National Lampoon likely will find 'A Stupid and Futile Gesture’ to be a rewarding, if at time ponderous, read. But if you are someone who has simply a passing interest in the Lampoon and its unique milieu of 1970s humor, then Matty Simmons's book is the recommended choice.