They Were Just More Blunt Back Then - Secret Romance's "Fat!"

 Notice she is reading Charlton

romances whilst eating those bonbons

Remember last time when I mentioned those bizarre Charlton covers? Well, this definitely counts as one of those, as does the corresponding interior story. Let me tell you -- "Fat!" an Art Cappello penciled tale from Secret Romance #44 (August 1979), does not beat around the bush.

Miriam Cronin has a problem. While at one time she thought she was just a little on the plump/chubby side, it has become apparent to her (via lack of male attention) that she is "just plain... FAT!"

All of Miriam's friends are married (those skags!?), and she comes to the conclusion that if she only had will power, she could get her nice figure back. As we soon discover, Miriam is a driven career girl. When a new regional sales manager named Mr. Williams comes to the company, she is determined to become his secretary.

During her interview for the position, Mr. Williams lets her know that she is "intelligent, loyal, hard working, responsible and accurate." Despite all her fabulous attributes, she is flawed. Miriam is too fat, and Mr. Williams will not tolerate it. He then goes into a long speech, asking her if she rather him not acknowledge it and pretend that there is no hope for her. As is expected, Miriam tells him he is rude and that he can take the job and shove it. Mr. Williams placates Miriam by telling her that he needs her and that he will help her lose the weight -- she is worth it.

Mr. Williams gives Miriam an ultimatum. Go on a diet and exercise plan or lose her job. Miriam agrees because she likes what she does for a living. He then arranges for Miriam to visit a doctor, who prescribes a diet plan for her. Later that day, Miriam is surprised by a delivery of exercise equipment to her home, courtesy of Mr. Williams. She decides to go along with it all.

"If it's possible, Boss...

I'm going to have the last laugh!"

Miriam gets to it and works her butt off. Literally. The weeks pass and the weight melts away. Miriam knows she is on the right path when men start to notice her and she sees a flicker of interest from the boss.

When Mr. Williams goes on a business trip to Europe for ten weeks, Miriam decides to step it up. Hell or high water, she will lose the weight. And she does, getting down to a svelte 116 pounds. 

As can be expected, Mr. Williams is blown away. He declares that he knew Miriam could look like that from the first day he met her. He then proceeds to fire her anyhow! But, for a good reason (in the Charlton universe) -- to make her his wife.

Obviously a problematic story from our viewpoint in a day and age when we are smart enough to know that weight loss is for more than just vanity's sake. I am not too sure what to say about this one, other than it is definitely a product of its time and just another example of Charlton being Charlton! Discuss!

Friday Favorites - The Late Romance Covers of Charlton

For all the truly bizarre romance covers Charlton published over the years, there are some equally stunning ones. In the years just prior to the demise of the genre, exquisite covers such as these were created -- many by the hands of the talented cadre of Hispanic artists that Charlton employed. In my opinion, the following five are some of the most beautiful covers in the entirety of romance comics.

 I Love You #130

(May 1980)

Just Married #111

(June 1976)

Secret Romance #35

(November 1975)

Teen Confessions #76

(October 1972)

Time for Love #47

(May 1976)

Credits: 1.) I Love You #130 (May 1980), originally from My Only Love #3 (November 1975) 2.) Just Married #111 (June 1976) Illustrated by: Jorge Badia Romero 3.) Secret Romance #35 (November 1975) Illustrated by: Gustave Pujalte 4.) Teen Confessions #76 (October 1972) Illustrated by: Tony Tallarico 5.) Time for Love #47 (May 1976) Illustrated by Jorge Badia Romero

The Gemini Woman

"The Gemini Woman"

Secret Hearts #145

(July 1970) 

All you Gemini ladies, this one's for you! The Grand Comics Database lists the credits for this horoscope page as having been scripted by Raymond Marais and illustrated by John Celardo (of Tarzan comic strip fame), as per Dick Giordano's records. Though I love the likes of Jay Scott Pike and Tony Abruzzo, it's refreshing to see some filler material by lesser represented artists!

DC Serial Romance Story - Alex Toth's "20 Miles to Heartbreak" Part Four

I really kept you hangin' on this one, didn't I? The last time we saw sisters Melanie and Monica Winters in an episode of "20 Miles to Heartbreak," was way back in November! Sorry for keeping you so long from the searing conclusion! In case you didn't read the three other installments, get caught up on them here: part one, part two, and part three. This episode originally appeared in Young Love #79 (March/April 1970).* You can definitely tell from its overtones of equality and social justice, that this Barbara Friedlander penned story is a product of the early 1970s. No doubt with the gorgeous art by Alex Toth and Vince Colletta, it held up well into the late '70s when it was reprinted, and continues to stand the test of time.

After cleared in charges of abducting Melanie, Juan Ricco is set free. Melanie's mother and stepfather (Roger) attempt to convince her that they are on her side.

In reality, they just want Melanie to marry "respectable" Bill. When Melanie declares she will be marrying Juan instead, she is greeted with a swift slap to the face by mommy dearest. Juan whisks Melanie away from the scene, and Melanie's mother declares to her husband that her youngest daughter is dead to her.

Meanwhile, older sister Monica gets her mack on with Roger's brother (and Melanie's attorney), John. Despite the events of years ago and the (albeit wrongful) reputation Monica garnered at the hands of her mother, John never stopped loving her. 

When mother and Roger burst into John's office and find Monica in John's arms, the girls' mother can't help but take a jab at Monica with a backhanded compliment about changing her ways. A great fury inside Monica is released, and the two get into an intense argument.

Later, Melanie and Juan discuss their future plans. They talk about heading to New York, but Melanie changes her mind and tells Juan they should stay put in her small town and make everyone pay for how they treated them during the trial and the events leading up to it.

Mature and peace-loving Juan knows what's up. He explains to Melanie that she doesn't really love him, but is using him as a source of revenge against her mother. Juan assures Melanie he is there for her, but as a friend. That Juan -- pretty classy guy, if you ask me.

And so, the four episode story arc concludes in a bittersweet fashion with Melanie and Monica packing their things into John's car. The three are headed to New York to begin their new lives. Before they take off, Melanie attempts to say goodbye to their mother. Unflinchingly, mother ignores her own flesh and blood and is left to dwell in her own misery.

The ending is certainly tragic, but we can be glad that Melanie was spared the same fate of bitterness as her mother -- all thanks to Juan, and her own resolve to stay strong in the face of hate. Pretty heavy stuff for romance comics! "20 Miles to Heartbreak" is not only beautifully rendered, is also a rather interesting recurring set of stories. Though romance is an undercurrent, it is more a tale of parental relations and self-discovery. In its subtlety, the moral of the story is both effective and moving.

*Scans for this installment are from the reprint issue, Young Love #125 (May 1977)

How Can I Love a Member of the Establishment?

"How Can I Love a Member of the Establishment?"

Story: Stan Lee, Pencils: Don Heck, Inks: John Verpoorten

My Love #5 (May 1970)

Girl, I honestly don't know. How can one love a member of the establishment?  In the second counterculture-themed story from My Love #5 (May 1970) that I told you about last week, college student Lorna falls for "the grooviest male on campus." But groovy he certainly is not! According to Lorna's hip friends,  "He's an organization man!" They warn Lorna not to go there, but all she can think about is instructor Walter Price's dreamy ways.

Lorna is surprised and delighted when Walter takes a mutual interest in her. The two start dating, and Lorna's evenings are suddenly filled with sophisticated trips to art galleries and the theatre.

Once Lorna's friends and acquaintances find out about the pairing, all hell breaks loose. Lorna is now a traitor to the student power movement.

Despite being head over heels for Walter, Lorna does feel some dissonance. She knows that by dating Walter and skipping the protest she herself helped organized, she is sacrificing her own principles. Things get even worse later that evening when Lorna comes home to a note from Aggie that the student committee has planned another protest and she has been selected as one of the leaders. Lorna knows that if she refuses to lead the demonstration as asked, she will be turning her back on her peers. At the same time, participating in it could cause her to lose Walter. That night, Lorna thinks long and hard about her difficult decision. Will she chose love or the movement?

In what may surprise some readers (especially those familiar with the Charlton career stories), Lorna chooses the movement.

"It had to be this way!

I couldn't betray my beliefs --

just for a boy!"

As the protest rages on, Lorna is convinced she sees Walter through the crowd. It turns out it is him, and Lorna moves in his direction without hesitation. She is confused over his presence at a students' rights rally (surely something he would have no interest in as a member of the establishment). But Walter sets Lorna straight. He is for justice for all. Even if he is "one of them." And so, the story wraps up nicely, with Lorna having learned an important lesson: 

"...A girl can be true to her convictions --

without losing what she wants the most!" 

Definitely a different ending for this Marvel story than many other romance stories from the genre's history. By questioning her principles and her desires instead of just blindly going with her heart, this is a memorable and uniquely 1970s story. In my opinion, this internal struggle is part of what makes the romance comic book characters so appealing, and ultimately, relatable.

Have a Great Weekend!