A fairy and a tiara: what could be more compelling?

When I first picked up Superman #349 (July, 1980), it didn't occur to me to consider the figures on the cover homocentric. In fact, the bold costuming was exciting to behold and probably the reason I picked up the comic book (At the time, finances were an issue, and I wasn't indiscriminately picking up virtually every new book that hit the stands, as I do today). Three unfamiliar characters in familiar costumes circumscribe the Man of Steel and bring portent of madness.

"The Turnabout Trap" is a late Silver Age tale written by Martin Pasko, beautifully illustrated by Curt Swan and Frank Chiaramonte, and edited by Julius "BO" Schwartz.

Superman returns from an interstellar mission and discovers that he has stumbled into a parallel Earth where all male and female "roles" have been reversed. As Clark Kent, he surreptitiously acquaints himself with his new supporting cast: a matronly Penny White, a plump, Etta Candy-ish Jenny Olsen and the bland, but clearly male, Louis Lane. Even Clara Kent makes an appearance (picture Clark Kent in drag - or Diana Prince as Curt Swan drew her). Minutes later, Superman witnesses a spectacular rescue by Superwoman and realizes how widespread the phenomenon truly is. Super-vision reveals the existence of Batwoman, Wonder Warrior, Black Condor and a female Flash (what, were you expecting "Flashette"?) who are all convened in the Justice League satellite. Superman is soon identified as a rogue and captured by Superwoman and Superboy. Some abnormalities in the gender reversal soon point the Man of Steel to the true nature of this parallel Earth: the magic of the 5th Dimensional imp Mr. Mxyzptlk.

"The Turnabout Trap" is a fairy tale, and in more than one sense. Mxyzptlk's role as "fairy" is etched into the Superman mythos. Mxyzptlk enters the picture periodically and throws the normal world into chaos by lifting the veil of "Faerie", that place or more accurately, that state of consciousness that J.R.R. Tolkein defines as: "the realm or state in which fairies have their being. Faerie contains many things besides elves and fays, and besides dwarfs, witches, trolls, giants, or dragons: it holds the seas, the sun, the moon, the sky; and the earth, and all things that are in it: tree and bird, water and stone, wine and bread, and ourselves, mortal men, when we are enchanted." (Tolkien, J. R. R. "On Fairy Stories." Tree and Leaf. Boston: Houghton Mifflin, 1965)

And in that state of enchantment created by Mr. Mxyzptlk, the gender flip-flop is not truly complete and seamless: in this instance of Faerie the women look womanly and the men look simply girly. Most notable is Wonder Warrior's tiara, which complements the rest of the outfit - a literal translation of the original which is bound together with white form-fitting fabric. Even the bust-defining eagle breastplate succeeds in countering the character's pectoral contours. Black Condor doesn't wear the fishnets of his original female counterpart, Black Canary; perhaps Curt Swan thought that looked too feminine, although the tight shorts and boots make that a moot point. Superboy wears the costume that Supergirl sported in the late Silver Age, complete with taut shorts and loose-fitting blouse.

But these are merely staffage figures in a story where Superman—the pre-John Byrne Superman with the Super-mind—approaches the situation analytically, logically and humorlessly. They amuse us with the West Hollywood carnival-esque qualities, but to Superman they're only pieces of a puzzle. They are visual cues in Superman's predicament, but have no discernable personalities. In fact, there is a vulture in this story that has more stage presence than any of the human characters.

Mxyzptlk's transformation does more than throw Superman's sense of the familiar material world into chaos; it also uproots his rigid sense of logic and order. And since Superman is vulnerable to the magic which renders this transformation, he has only his mind to unravel the mystery, for brute strength is virtually useless. His aim is only to undo the Faerie state and send Mr. Mxyzptlk back home. We sense neither curiosity nor fascination in Superman for this gender-mirror world, only the need to undo it and restore normalcy. "Need" is the operative word here: Mxyzptlk fulfills the need in Superman's life, as well as in the character's mythos, for Superman to negotiate the Other or the numinous, in order to reaffirm his humanity and mortality. Magic reminds Superman that he is not God. This is not an absurd notion, since pre-Crisis Superman often forgot his limits. In DC Comics Presents #29 (January 1981), for example, Superman attempted to break into Heaven to rescue Supergirl from death.

Does the Other here include the mysteries of gender and sexuality? It almost certainly does. But this Superman is too cold to warm to his feminine side and takes himself far too seriously. There is no twisted narcissism evident in his encounter with Superwoman - no instance of Superman thinking to himself, "Damn, I'm a hot babe!." Instead there is only one hero squaring off against another. Curiously, Mxyzptlk fails to reverse his own gender: perhaps he, too, takes himself too seriously.

I think all Julius Schwartz wanted was a good story that satisfied his mantra: "Be Original." And so it was. But the story also adds an extra layer of texture and complexity to the Superman story. It's at once both silly and profound and important in defining our hero.

While, as a gay adult male, I can point to something created by someone else and call it gay—that is—point out characteristics which are homocentric, I cannot willfully impose my ideology and identity without changing it or creating something new. Is there a Jungian underpinning here that forces "homocentricity" to declare and negotiate itself into social discourse regardless what Schwartz, Pasko and Swan had in mind? I think it can be argued to be the case, but I'm not putting words in anyone's mouth. Artistic intention is a dubious pursuit, easily bastardized by the desire to shape (or reshape) history. I can only write what I feel—emotionally and intellectually. Superman #349 makes me think of a superhero drag show. At 14, I just thought the costumes were cool. And I wished those temporary heroes were actually part of the DC universe. Wonder Warrior reappears slightly altered and just a tad more butch in Wonder Woman #289 (March 1982) as Captain Wonder, a transformed Steve Trevor - without tiara. But the rest of those heroes disappeared behind the veil of Faerie, waiting, no doubt, for an Elseworlds story.

Peter Di Maso was born and raised in Montreal, where he trained in design and art history. After a five-year stint at the National Gallery of Canada in the early 90s, Peter landed in Los Angeles, where he now works as New Media Director for a gay porn publisher. Peter is working on a self-published anthology of "counter-autobiographical" comics called "The Elegant Firefighter."

Review copyright 2004 Peter Di Maso. Characters and artwork copyright DC Comics.

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