Last Sunday I was watching Stanley Kubrick and Arthur C. Clarke’s 2001: A Space Odyssey on Turner Classic Movies, and recalled that Jack Kirby did a comics adaptation of this movie, and an ongoing series based on it, during the same period that he was writing and drawing The Eternals at Marvel. And both 2001 and The Eternals deal with mysterious godlike aliens who intervene in the course of human evolution.

Over the last several weeks I have been undertaking a close analysis of Neil Gaiman’s recent revival of Eternals. I pick up the story at the party that Sersi organized at the Vorozheikan consulate (not embassy), as Thena, in her human identity as Dr. Thena Eliot, arrives with her husband Thomas, who edits “famous authors” (Gaiman Eternals issue 2 p. 13). Since Thena is based on Athena, the Greek goddess of wisdom, it is appropriate that she should marry someone who works with literature. (This relationship also reminds me of the seemingly unlikely but decidedly charming liaison between Sersi and the academic Dr. Samuel Holden in the first two Eternals series.)

So Thena’s husband is Thomas Eliot, who works in publishing. Would his middle name be Stearns, like that of T. S. Eliot, the great poet who worked at the British publishing firm Faber & Faber?

Just as Sersi characteristically dresses in green in Gaiman’s series, as if remembering her Kirby costume, Thena arrives at the party in a gold-colored gown, evoking the colors of her costume from the original Eternals series.

Druig, the Vorozheikan Deputy Prime Minister, has secretly arranged for terrorists to invade the party and take hostages. The terrorists shoot Thena’s husband dead when he stumbles upon them. Then the terrorists confront the rest of the party guests.

Some of the contestants from the reality show America’s Next Super Hero are present, but one of them, Tantrum, says “we’re not allowed” to intervene: “We signed these legal waivers. If we use our powers without authorization, we’re out of the show” (Gaiman issue 2 p. 18). This may be another of the series’ comments on the current state of the superhero genre. A superhero traditionally follows the dictates of his conscience, and acts as an individual, or as a member of a relatively small team. But for Tantrum and company, their superhero careers are inextricably linked with show business. Tantrum won’t stop the terrorists and potentially save lives because he doesn’t want to be dropped from the TV show. The fact that the contestants are obliged by “legal waivers” not to use their powers “without authorization” (By whom? The government? The TV network?) also suggests the downside of putting superheroes under government control, as happened at the end of Marvel’s Civil War series.

Meanwhile, two Deviants, Morjak and Gelt, who are holding Ikaris naked and captive, in what resembles a crucifixion pose (Gaiman issue 2 p. 19), finally succeed in finding a way to destroy him, through what looks like disintegration.

With Ikaris’s demise this first phase of the series reaches a critical point: Sersi, Mark Curry and Thena are also in danger of being killed. These four Eternals have sunk to a low point, indeed.

It is then that the sheer stress of facing death finally forces the reluctant Mark Curry over the Campbellian threshold, in more ways than one. First, his Eternal telepathic abilities activate, and his eyes go blank, as if they were glowing, as an outward sign (Gaiman issue 2 p. 21, panel 3). Curry hesitatingly takes a major step in his budding relationship with Sersi by telepathically telling her, “I think I–I think I may possibly love you” (Gaiman issue 2, p. 22). Finally, at the point of his coming face to face with death, as the terrorists shoot at Curry and the woman he loves, Makkari’s principal Eternal superpower–super-speed–kicks in. As he reacts at superhuman speed, the bullets appear to slow down and stop.

Once again Gaiman reminds us of one of his characteristic themes by having Mark liken his situation to “some kind of dream” (Gaiman issue 2 p. 22), but the pain he feels when he touches the bullet provides evidence that it is real.

Then he realizes that “I’m not dressed for this” (Gaiman issue 2 p. 23). Perhaps he means that ordinary clothing cannot withstand the stresses of moving at super-speed. (Were this a Silver Age Flash comic, an editor’s note would inform us that the heat of friction at such speed would burn ordinary clothing off.)

Perhaps there is a second meaning to “not” being “dressed for this.” Maybe Curry is coming close to realizing that he should be operating in his Makkari costume and identity. Indeed, as he thinks about the kind of costume he should be wearing, we see it materialize about him. Is he imagining this? Or are his Eternal powers somehow bringing the costume partly into being?

Lately I’ve been wondering about the degree to which Kirby’s Eternals fit Dr. Peter Coogan’s definition of the superhero (see “Comics in Context” #162). Dr. Coogan contended that a superhero typically possesses powers, identity (ordinarily meaning a costumed identity that is separate from his everyday self), and mission (meaning an ongoing mission, usually to fight injustice and protect the innocent, not simply resolving a temporary problem). In the original Kirby series, the Eternals certainly had super-powers, but they did not have dual identities, except for Ikaris’s short-lived guise of “Ike Harris.” Moreover, although they responded when Deviants made trouble, the Eternals otherwise seemed to lack a sense of mission, except for Ajak, though his service to the Celestials doesn’t qualify as combating evil. In the Kirby stories, Sersi’s “mission,” if you could call it that, was having a good time, and she considered fighting Deviants necessary interruptions in her chosen life of hedonism.

The Gaiman series more clearly presents the principal Eternals as superheroes. Gaiman gives them human identities and roles in human society, so that their identities as Eternals more closely resemble the costumed identities of conventional superheroes. “Mark Curry” is a much more fully realized human identity for Makkari than “Ike Harris” was for Ikaris in the Kirby series.

Furthermore, Gaiman later explicitly states that the Eternals have a mission: their leader Zuras says that “We preserve life, We defend humanity. We will protect the Earth, until the Celestials decide that the Earth is done” (Gaiman issue 7 p. 10). Indeed, one of Sprite’s major sins is to forsake this mission for which the Celestials seemingly intended the Eternals.

So Mark Curry briefly perceives his own costumed identity. Initially he resorts to his default setting, the state of denial: “I’m hallucinating.” But he immediately corrects himself and crosses the threshold, accepting the truth about himself: “I’m not hallucinating. It’s happening. I’m moving at hyperspeed. . . “ (Gaiman issue 2, p. 24).

It’s rather surprising that Jack Kirby, creator or co-creator of a number of super-speedsters (including Quicksilver and the New Gods’ Fastbak) was rather uninventive in the uses to which Makkari put his super-speed in the original Eternals series. Kirby obviously wasn’t a reader of Silver Age Flash comics.

So it’s very rewarding to see how thoroughly Neil Gaiman has thought out what it would be like to move at super-speed, as he demonstrates in the opening pages of his third Eternals issue. I can’t recall ever previously reading a superspeedster story that makes use of the “red shift” and “blue shift” in the electromagnetic spectrum to indicate movement (Gaiman issue 3 p. 3, panel 1).

In the course of his super-fast battle with the terrorists, Mark explains that he “must have crashed into the gunmen at the speed of a racing car. . . .It was a miracle that no bones were broken, Mine, I mean. They weren’t so lucky” (Gaiman issue 3 p. 4). This makes me wonder about all those Silver Age tales with a racing Flash socking Captain Cold or the Mirror Master: The Flash would have had to slow down just before hitting them or he would have shattered his hand–and their jaws.

Two of the superhero reality show contestants watch the melee. One of them, Grace, wants to intervene, despite the legal waivers that bind them. Another contestant refuses, making his priority clear: “I’m going to be a star.” (Notice: his choice mirrors that of Sprite.) To her credit, Grace declares, “The show be damned” and goes into action against the terrorists (Gaiman issue 3 p. 4). Readers should recall at this point that Gaiman has established that although Grace is physically only seventeen, she was born in the 1820s (Gaiman issue 2 p. 10). Hence she is not as much a part of 21st century American culture as her fellow contestants are.

Narrating the battle and its aftermath, Mark says that “if I have super-speed, then I have to become a registered super hero, and I don’t really want to be a hero, registered or otherwise” (Gaiman, issue 3, p. 5). So Mark still hasn’t crossed his final threshold: emerging from his rut of an existence to become a superhero. Moreover, he still clearly does not understand or accept that being an Eternal means more than being a conventional superhero.

But notice that he immediately thinks that he has to become a “registered superhero.” Civil War has so redefined the status of superheroes in Marvel’s America that Mark doesn’t think superheroes–who should be symbols of individual liberty and conscience– have any other option than to report to the government.

“So I didn’t know what to say,” Mark continues, “But then there’s an amplified metal voice, and it says. . . .” (Gaiman issue 3 p. 5). Right on cue, it is Iron Man, the foremost advocate of superhero registration in the Civil War series and its tie-ins, and Gaiman seems to be suggesting that if Mark doesn’t know what to “say” about superhero registration, Iron Man will tell him.

When I started reading Iron Man stories back in the Silver Age, Iron Man–as Tony Stark–was the innocent target of government investigations. I recall how in the 1970s, in the wake of the Vietnam War, Stark gave up making munitions, and how during the “Armor Wars” storytline of the 1980s Iron Man even defied the law in order to destroy what one might call battlesuits of mass destruction that had fallen into dangerous hands. So I find it hard to accept the Iron Man/Tony Stark of Civil War, who has become the spokesman for a federal government seeking to maximize its control over the nation’s superheroes.

Significantly, Iron Man smashes in through a window and then, not bothering to go back the way he came, exits by smashing a hole in the ceiling. He is government authority acting like the proverbial bull in the china shop. You may also notice that he doesn’t bother to inquire (unless it was between panels) if anyone is hurt. No, it’s not like the Iron Man who was once my favorite Marvel hero.

It appears that the crisis situation likewise forced Sersi over the threshold: Mark recalls that “I saw a knife turn into a flower” (Gaiman issue 3 p. 5), indicating that Sersi, perhaps unconsciously, used her psionic power to rearrange the atomic structure of matter.

Gaiman then reveals that so far in issue 3, Mark has been narrating his story to Sprite. Since Ikaris had told him that Sprite was also an Eternal, Curry sought him out. Mark tells Sprite that now that the crisis is over, he can no longer move at super-speed. Curry says that when he was at the “embassy” (Consulate!), he felt “as if I became part of some huge greater mind” (Gaiman issue 3 p. 7). This indicates that, in the face of extreme danger, Makkari, Sersi, Thena, and, as we learn later, Druig, had subconsciously linked together telepathically into a mini-version of the Eternals’ collective consciousness, the Uni-Mind. But perhaps another reason that Curry can’t use super-speed is that he still doesn’t want to be a “hero” or Eternal, and has therefore subconsciously blocked his super-powers. He has crossed an early Campbellian threshold by deciding to actively investigate his possible Eternal background, and even traveled to a sort of enchanted realm–California–but metaphorically Curry sttill has a long way to go.

As I mentioned a few weeks ago, one of the subjects of Gaiman’s Eternals is religion, at least as a metaphor. In the next scene, in which Morjak and Gelt drop their human disguises and assume their true Deviant forms, Gaiman points to the dark side of religious faith: religious fanaticism, which is all too relevant a theme in the early 21st century. The warping of religion into something destructive was a theme of the Kirby Eternals series, through “Purity Time,” and in Peter B. Gillis’s Eternals Vol. 2, in which the principal villain was the Deviant priestlord Ghaur.

Morjak and Gelt worship the Dreaming Celestial, who has also been called the Black Celestial, the Great Renegade, and Tiamut in past stories.

The Deviants credit the Dreaming Celestial with creating their race. Actually, in What If Vol. 1 #23 (October 1980) a backup story (which was canonical, not a “what if”) established that the Celestial known as Ziran the Tester created Earth’s Deviants. So perhaps the Deviants are wrong. But it makes sense that they–or their ancestors–decided that the Dreaming Celestial created them, because the Deviants look upon themselves as outsiders and rebels, just as the Dreaming Celestial was with regard to the Celestials’ Second Host.

Morjak and Gelt’s error about who created the Deviants should remind us that we should not accept anything that they say about the Dreaming Celestial’s past as absolute truth. What they and the other Deviants say about the Dreaming Celestial is what they want to believe about him. For example, Morjak and Gelt state that the Dreaming Celestial was “the greatest of all the Celestials.” But this seems unlikely: Jack Kirby seems to have intended the “One above All,” who remained in a starship orbiting the Earth, to have been superior to any of the Celestials who descended to the planet. The Celestial known as Exitar the Exterminator, whose size dwarfs Arishem’s, and who was introduced in Thor #387 (January 1988), also appears to be “greater” than the Dreaming Celestial.

Though the Deviants believe that the Second Host punished the Dreaming Celestial for creating their race, this is unlikely. It is standard operating procedure for the Celestials to create Deviant races in their genetic experiments on various planets: for example, the shapeshifting Skrulls are an extraterrestrial race of Deviants (see The Official Handbook of the Marvel Universe entry).

Rereading the Kirby Eternals in its new hardcover collected edition, I was surprised to realize how little he tells us about the Dreaming Celestial in it; Kirby never even calls him the Dreaming Celestial or gives him any other name. In the original Eternals series the Dreaming Celestial only appears on two pages (Kirby Eternals hardcover, pgs. 344-345). We see that the Dreaming Celestial wore golden armor, suggesting that he once shone like Lucifer. Kirby tells the readers that this golden Celestial was a member of the Second Host that visited Earth when he committed some mysterious, unknown act. The rest of the Second Host responded by utilizing a mighty weapon to destroy him. Kirby’s seems to use this outcast Celestial merely as a set-up for his storyline in which Druig attempts to locate this Celestial weapon. As far as the original Eternals series is concerned, the golden Celestial was dead.

It was the second Eternals series, from 1985-1986, and Walter Simonson, who wrote its concluding issues, that revealed that Kirby’s outcast Celestial was still alive, named him the Dreaming Celestial, and established that he was imprisoned, sleeping, beneath a mountain range in California. Should the Dreaming Celestial be awakened, catastrophe would ensue; either the Dreaming Celestial would perpetrate havoc of some kind, or the other Celestials would return to Earth to wage a battle against him that could cause incredible devastation.

In the original series Kirby had the Deviant warlord Kro pose as the devil by using his shapechanging powers to grow horns on his head. But, as reconceived in the second Eternals series, it is the Dreaming Celestial who is the true counterpart to Satan in the Eternals mythos. Like Lucifer, he once shone with light, but he rebelled against the “space gods” and was cast deep underground, the traditional location of hell: his shining golden armor turned black. Sleeping in a deathlike coma beneath the mountains, the Dreaming Celestial is like a combination of Dante’s brobdingnagian Satan, imprisoned, nearly immobile, at the bottom of the pit of hell, and Cthulhu or another of H. P. Lovecraft’s fictional monstrous deities, now imprisoned but awaiting a time when they will break free and reconquer the Earth.

In Lovecraft’s story “The Call of Cthulhu” (1928), a cult chants the line “In his house at R’lyeh dead Cthulhu waits dreaming.” Gaiman’s Morjak and Gelt refer to “our dead lord dreaming” (Gaiman issue 3 p. 10).

Considering Gaiman’s interest in Lovecraft’s work, as demonstrated by short stories in his collections Smoke and Mirrors and Fragile Things, it should be no surprise that he chose to use the Dreaming Celestial in his Eternals series.

Iron Man remembers Sersi from her stint as a member of the Avengers. Since the Avengers is such a high profile superhero team on Marvel-Earth, one might think that Sersi would have been recognized as a former Avenger by somebody–any member of the general public–long before this. Did Sprite wipe out everybody else’s memory of Sersi’s Avengers membership but somehow overlook Iron Man?

Mind you, it’s also odd that Sersi, who prefers to pursue a life of pleasure, would ever have chosen to become a full-time Avenger in the first place. But if I have to rationalize this, since Eternals lead such long lives, I suppose she might have decided to try being a full-time superhero for a while as a change of pace.

Iron Man is supposedly Sersi’s friend and colleague. In fact, it’s likely that as Tony Stark he would have known Sersi as the reigning hostess of Manhattan parties long before she went public as an Eternal. But rather than express any delight in seeing her again, Iron Man immediately tells her “to get registered” as a superhero or “face any potential consequences,” a not particularly veiled threat (Gaiman issue 3 p. 13). Suffering from Sprite-induced amnesia, Sersi denies having super-powers or ever being in the Avengers. You might think that it would occur to Iron Man that she has lost her memory and to show concern for her, but no, he decides that she’s just putting on an act to avoid registration.

I really liked Iron Man for decades, and as recently as when Kurt Busiek was writing his series. But that was before Civil War.

The formation of the Uni-Mind awakened Druig’s psychic ability to manipulate minds. Mark Curry can no longer access his briefly reawakened super-speed, perhaps because he is not yet willing to accept his super-powers and Eternal identity. In contrast, Druig wants power and embraces it: he retains his reactivated mental powers and uses them to kill his treacherous associate Prykrish. Notice how Druig’s eyes glow when he uses his powers. In the original series Jack Kirby established that the Eternals’ powers manifested themselves through their eyes.

Held captive by the terrorists, anguished over the murder of her husband, and concerned for her missing son, Thena is still undergoing the stress that played a role in activating her fellow Eternals’ powers at the party. Again, Thena was inspired by Athena, the goddess of wisdom. Gaiman here establishes that Thena, as an Eternal, possesses superhuman intelligence as her distinctive super-power. I like the way he does this: as this power reasserts itself, the narrator tells us that Thena “is used to being smart. But her head is changing–strategies and tactics present themselves, are rejected or accepted faster than she can cope with on a conscious level” (Gaiman issue 3, p. 16). Compared with a normal human mind, Thena’s is becoming more like a computer: she has the “computer-like mind” that Legion of Super Heroes stories have long told us was Brainiac 5’s super-power.

Athena was also the Greek goddess of war. So that’s why, as Thena’s Eternal abilities resurface, she discovers that “she is a weapon” (Gaiman issue 3, p. 17). She hurls a plate at one of her captors as if it were a discus, an object that originated in ancient Greece.

Thena calls Iron Man for help, and when he arrives, he says “I don’t know what to say” about the death of his employee’s husband. When Thena asks him if he knows “who’s looking after my son,” Iron Man replies, “I don’t. I should have checked.” This armored Avenger seems to have let his capacity for human empathy grow rusty. Quietly angry, Thena observes that “The rules don’t apply to you,” which is a more ironic comment than perhaps she realizes, since Iron Man has been busily enforcing the superhero registration rule. Iron Man replies, “Thena. . .I said I was sorry” (Gaiman issue 3, p. 21). Actually, he hadn’t, but he’s saying it now, and that’s a good first step.

Then on the final page of the third issue, the scene shifts to Antarctica, where we find Ikaris’s body intact, and a voice, presumably that of a computer, states, “Ikaris complete. Prepare to reactivate” (Gaiman issue 3, p. 22). In the opening pages of the next issue Ikaris is indeed returned to life, and he finds himself in the Eternals’ city of Olympia. Having been “crucified” and killed, Ikaris has now undergone resurrection and finds himself in a science fiction equivalent of heaven, the home of the Eternals.

Jack Kirby set Olympia atop or near Mount Olympus, in Greece, which, according to Greek myths, was the home of the gods. I can see why Gaiman decided to move it: in an age of air travel and spy satellites, it would be impossible to keep a city atop a mountain in Greece secret. I assume that mountain climbers have been scaling Mount Olympus for centuries.

So Gaiman has moved Olympia to Antarctica, where human visitors are far less likely to intrude. Since Gaiman establishes that Olympia is apparently run by a computer system, perhaps this artificial intelligence has the ability to move the entire city from place to place. Or maybe Sprite, using the Dreaming Celestial’s power, moved it there to put the city out of the way. So, if Ikaris and Druig are Polar Eternals, I suppose that the Olympian Eternals are now South Polar Eternals.

Olympia’s new polar location is inevitably reminiscent of Superman’s Fortress of Solitude. Even Ikaris’s resurrection in an Antarctic chamber reminds me of Superman’s return to life within a “regeneration matrix” in his Fortress in the course of the 1990s “Death of Superman” storyline.

So now we have an all-purpose explanation for the resurrection of Eternals, like Zuras and Ajak, who were believed to be dead. Even if an Eternal dies far away from Antarctica, Eternal technology can retrieve his remains and reconstruct and reanimate them. So presumably the Forgotten One, a. k. a. Gilgamesh, who was supposedly killed in the “Avengers: The Crossing” storyline, is still alive somewhere out there.

A few pages after this Olympia sequence, Druig states that he has “a country to take over” (Gaiman issue 4 p. 5). It used to be that supervillains tried to take over countries, or even the world, and failed. But the supervillain actually controlling a nation is an increasingly common phenomenon. Doctor Doom, as monarch of Latveria, was the pioneer, and has been followed by Magneto with Genosha, Lex Luthor becoming President of the United States, and even the Master being elected Prime Minister of Great Britain in this year’s series of Doctor Who.

On the following page (Gaiman issue 4 p. 5) artist John Romita, Jr. draws Sersi wearing a string bikini. Jack Kirby never did this. This is an unquestionable improvement over the original series.

Sersi, still refusing to believe she has super-powers, playfully tries to turn a cat into a dragon, and to her horror, succeeds. Mind you, in terms of personality, there isn’t that much difference between dragons and many cats that I’ve met.

On a Campbellian hero’s journey, the protagonist often has a mentor or guide. I believe that various stories also feature what we could call the false mentor, who seeks to lead the protagonist astray. Mark Curry has turned to Sprite for guidance in solving the mystery of his true origin. The fact that Sprite, though he has lived for a million years, looks like an eleven-year-old child, rather than like the wise older man who usually fills the role of the hero’s guide, may be a sign that Sprite is a false mentor.

Sprite has always been characterized as a trickster, and tricksters come in many varieties: good (Figaro, Bugs Bunny, Spider-Man), morally ambiguous (like Star Trek’s Q), and downright evil (like the Joker). Neil Gaiman wrote an entire novel about tricksters, Anansi Boys, which this column has analyzed at great length (starting with “Comics in Context” #105). Anansi Boys’ protagonist, Charlie, gains the abilities of a trickster deity while becoming genuinely heroic. Sprite proves to be the primary villain of Gaiman’s Eternals.

Acting as false mentor, Sprite tricks Mark Curry into crossing an ominous threshold: Sprite persuades Curry to touch a black rock that provides them entrance to the underground prison of the Dreaming Celestial (whose armor, remember, is black like the rock). Of course, this is a symbolic descent into the underworld, especially considering that the Dreaming Celestial is the Eternals mythos’s counterpart of Satan.

Then Sprite manipulates Curry into trying to cross another threshold, a literal “barrier” (Gaiman issue 4 p. 7) which is likewise black. Curry hurls himself at this threshold but cannot breach it, and instead causes himself to start to “shut down,” as Sprite puts it. Instead of passing through a threshold and entering a world of new life, Curry, by following the false mentor’s guidance, has instead fallen victim to symbolic death.

Sprite explains that “as an Eternal, you’re hardwired not to be able to attack or harm a Celestial. . . You shut down if you try” (Gaiman issue 4 p. 8). Thena confirms this later in the series (Gaiman issue 6, p. 23). But the Eternals attacked Celestials in Thor #300 (October 1980) and in Eternals Vol. 2 #12 (September 1986).

Well, I suppose that in the case of the latter story, the Celestial in question was actually the Deviant Ghaur in Celestial form, so that might have made the difference. In Thor #300 the Uni-Mind’s unsuccessful attack on the Celestials caused the (temporary) death of Zuras, so perhaps Zuras somehow took the entire “shut down” effect upon himself. So here’s another case in which I can figure out how to reconcile revisionism with past continuity, but I wish the revisionism hadn’t occurred in the first place. So why didn’t the Celestials “hardwire” the Deviants not to attack them?

Meanwhile in Olympia, Ikaris symbolically crosses another threshold by thrusting his hand into what seems to be a waterfall. Water symbolically gives life, and Ikaris regains his full memories and thus his true identity (“I am Ikaris of the Eternals”), his full Eternal powers, and even his mission (“I was created to protect the Earth, and everything that moves upon it.”), thereby satisfying Dr. Coogan’s three requirements for being a superhero (Gaiman issue 4, p. 14). Ikaris’s literal resurrection and symbolic rebirth are now complete.

Dr. Coogan would surely be pleased that Sprite now engages in classic supervillain behavior: what The Incredibles termed “monologuing.”

But wait! Since when did Sprite, treated by Kirby and other writers as merely a juvenile prankster, become an archvillain? That is a question I will explore next week.

ADVERTISEMENTS FOR OTHER PEOPLE

Last month I reviewed the exhibition “Reflecting Culture: The Evolution of American Comic Book Superheroes” at the Montclair Art Museum in Montclair, New Jersey (see “Comics in Context” #193). On Saturday night, October 13, at 7 PM, comics writers Danny Fingeroth, Tom DeFalco and Denny O’Neil, and Michael Uslan, an executive producer of the Batman live action movies and the forthcoming Spirit film, will be holding a panel discussion at the museum, thereby recreating the panel they did at the Smithsonian Institution last year. I recommend that those of you who live in the vicinity go see the exhibit and hear what these veterans of the superhero genre have to say.

–Copyright 2007 Peter Sanderson

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