Who Is William Moulton Marston?
Who Is William Moulton Marston?
William Moulton Marston
Some associate William Moulton Marston's name with his 1928 book, The Emotions of Normal People, a seminal work that inspired the DiSC Personal Profile System (used by more than 44 million people worldwide). His many endeavors include the Wonder Woman Comic Book Series; the Lie Detector Test; an influential book on directing film actors; and more. William Moulton Marston was a giant who left large footprints and a rich legacy that continues to effect people now and in the future.
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is collected from the web and reproduced unedited below and links are provided for each article at the bottom of this page.

Dr. William Moulton Marston (May 9, 1893–May 2, 1947) was a psychologist, feminist theorist, creator of the "Wonder Woman" character and comic book writer. Born in Cliftondale, Massachusetts, he obtained a law degree in 1918 and graduated from Harvard with a Ph.D. in Psychology in 1921. After teaching at American University in Washington D.C. Marston traveled to Universal Studios in California in 1929, where he spent a year as Director of Public Services.
Credited with inventing an early form of the "lie detector" (specifically the notion of testing systolic blood pressure to detect deception, which became one component of the polygraph), Marston was also a writer of essays in popular psychology. His best known theory was that there is a male notion of freedom that is inherently anarchic and violent, and an opposing female notion based on "Love Allure" which leads to an ideal state of submission to loving authority. His concerns about the effects of gender stereotyping in popular culture were expressed in a 1943 article:
Not even girls want to be girls so long as our feminine archetype lacks force, strength, and power... The obvious remedy is to create a feminine character with all the strength of Superman plus all the allure of a good and beautiful woman.
He was married to Elizabeth Holloway, but lived in a polygamous/polyamorous relationship with a former student of his at Tufts College, Olive Byrne [used pseudonym Olive Richard]. Marston had two children with each woman, and the four children and three parents lived together happily. In fact, he and Elizabeth adopted his two sons by Olive.
In an October 25, 1940 interview conducted by Olive and published in Family Circle, titled "Don't Laugh at the Comics", Marston described what he saw as the great educational potential of comic books. This article caught the attention of comics publisher Max Gaines, who hired Marston as an educational consultant for Detective Comics (now DC Comics). Gaines encouraged Marston to create a female comic book hero. Marston came back with a synopsis for a character called "Suprema, the Wonder Woman."
Marston's intentions for the character were plain: he planned to introduce a character who would be "tender, submissive, peaceloving as good women are," combining "all the strength of a Superman plus all the allure of a good and beautiful woman." His character was a native of an all-female utopia who became a crime-fighting U.S. government agent, using her superhuman strength and agility, and her ability to force villains to tell the truth by binding them with her magic lasso. Her appearance, including her heavy silver bracelets (which she used to deflect bullets), was based somewhat on Olive Richard.
Comics editor Sheldon Mayer cut the name "Suprema", sticking with "Wonder Woman" as the name of the feature and title character instead. In December 1941, Wonder Woman made her debut in All Star Comics #8. The character's next appearance was in Sensation Comics #1 (January 1942), and six months later the character's eponymous comic book began publication. Wonder Woman has been in print ever since. The stories were initially written by Marston (under the pseudonym Charles Moulton) and illustrated by newspaper artist Harry Peter. During his life Marston had written many articles and books on psychological topics, but his last six years of writing were devoted to his comics creation.
Marston's Wonder Woman is often cited as an early example of bondage themes entering popular culture: physical submission appears again and again throughout Marston's comics work, with Wonder Woman and her criminal opponents frequently being tied up or otherwise restrained, and her Amazonian friends engaging in frequent wrestling and bondage play (possibly based on Marston's earlier research studies on sorority initiations). These elements were softened by later writers of the series. Though Marston had described female nature as submissive, in his other writings and interviews he referred to submission to women as a noble and potentially world-saving practice, leading ideally to the establishment of a matriarchy, and did not shy away from the sexual implications of this:
The only hope for peace is to teach people who are full of pep and unbound force to enjoy being bound ... Only when the control of self by others is more pleasant than the unbound assertion of self in human relationships can we hope for a stable, peaceful human society. ... Giving to others, being controlled by them, submitting to other people cannot possibly be enjoyable without a strong erotic element.
About male readers, he later wrote: "Give them an alluring woman stronger than themselves to submit to, and they'll be proud to become her willing slaves!"
William Moulton Marston died of cancer on May 2, 1947 in Rye, New York. After his death, Elizabeth and Olive continued to live together until Olive's death in the late 1980s; Elizabeth died in 1993, aged 100.
The war news had me down. I had just been to see a friend whos husband, a naval officer, was killed at Pearl Harbor. Going home, I bought a newspaper with a "Wake Up, America!" editorial spread all over the front page. The general drift of it seemed to be that the country is on the brink of ruin and that we'd better wake up or else. Well, I was awake to the danger, all right, but I couldn't think of anything more to do about it. I'd paid my income taxes, bought war stamps and bonds, volunteered up to my neck for every defense project, cut out sugar and all pleasure trips with the car, and made the decision that I would look awful but patriotic in my old clothes.
Then to cap it all I turned on the radio and out blared the voice of an expert war-news commentator telling us in 15 minutes of dismal prediction that we should prepare ourselves for much worse disasters than anything we had yet suffered. Women must do this and women must do that and women must be charming through it all. Usually some everyday incident comes up to stop one going through thought mazes of this kind, and it happened here. On the table where I was about to throw my hat with a Katherine Cornell gesture was a comics book with a brilliant-hand cover bearing the picture of a pretty girl in a scanty costume leaping aboard a racing motorboat.
A memory stirred; this must be the "daughter or the brain of Dr. William Moulton Marston, Family Circle psychologist" that I had seen recently in The Family Circle.
"Well," I thought, "If Marston is whipping up comics stories while Rome burns, there must be a reason." So, I clamped the hat on again and made tracks for Rye, New York.
The Doctor hadn't changed a bit. He was reading a comics magazine, which sport he relinquished with a chuckle and rose gallantly to his feet, a maneuver of major magnitude for this psychological Nero Wolfe. "Hello, hello, my Wonder Woman!" cried the mammoth heartily. "I was just reading about you in this magazine. You're prettier than your prototype in the story strip, and far more intellectual. Sit down and tell me all."
"I came to be told, and what's the idea of calling me Wonder Woman, and I don't feel like listening to any male sarcasm on account of I've heard too much already."
"Your bracelets," said the Doctor, taking up one thing at a time "-they're the original inspiration for Wonder Woman's Amazon chain bands. Wonder Woman's bracelets protect her against bullets in the wicked world of men. Here, see for yourself."
The picture was the same that I had seen at home. In the motorboat were several characters of definitely Teutonic cast shooting rifles and machine guns at the smiling girl. The bullets glanced harmlessly off the fair intruder's twin bracelets, which did closely resemble-astonishing coincidence!-the pair of ancient Arab "protective" bracelets that I have worn for years.
I opened the book to read, "This amazing girl, stronger than Hercules, more beautiful than Aphrodite," and so on, and I remembered that my sons had argued as to whether she could lick the whole Japanese army all at once or whether she'd have to take them a few thousand at a time. The Doctor beamed when I told him this and said, "Tint's right, the kids love her. Wonder Woman's quarterly magazine outsold all others"
"I know, I know. You'll be writing advertising next But I came here to ask you about the war. Women feel so helpless and depressed about it. I wish you'd answer one question for Family Circle readers: Will war ever end in this world; will men ever stop fighting?"
"Oh, yes. But not until women control men," he answered mildly.
"According to the Wonder Woman formula, I suppose?"
"That's it exactly!" The Doctor got up from his chair and began to pace the floor as he e talked a mannerism that betokens extreme interest and enthusiasm. "Wonder Woman-and the trend toward male acceptance of female love power which she represents indicates that the first psychological step has actually been taken. Boys, young and old, satisfy their wish thoughts by reading comics. If they go crazy over Wonder Woman, it means they're longing for a beautiful, exciting girl who's stronger than they are. By their comics tastes ye shall know them! Tell me anybody's preference in story strips and I'll tell you his subconscious desires. These simple, highly imaginative picture stories satisfy longings that ordinary daily life thwarts and denies. Superman and the army of male comics characters who resemble him satisfy the simple desire to be stronger and more powerful than anybody else. Wonder Woman satisfies the subconscious, elaborately disguised desire of males to be mastered by a woman who loves them."
"Hold on" I interrupted. "That's nothing more than the reaction of a little boy to his mother. In this comic strip it must be the same childish feeling-a longing for a mother to protect them-and they'll probably get over it at adolescence."
"Ah, there's where you're wrong." The Doctor continued his pacing. "They don't get over it at any age. Normal men retain their childish longing for a woman to mother them. At adolescence a new desire is added. They want a girl to allure them. When you put these two together, you have the typical male yearning that Wonder Woman satisfies."
"Almost entirely based upon theory," I countered. "What if boys do like Wonder Woman they probably like strong men better. It's just the strength that fulfills their wishes. They like her despite the fact that she's a woman!"
Dr. Marston gave one of his rumbling whoops of laughter. "Theoretically you might be right. But factually you're quite wrong. A popularity survey was conducted recently among comics readers of all ages by the publisher who brings out Wonder Woman, Superman, and several other superpowerful story characters. Wonder Woman was the only female on the list, yet she corralled 80% of the votes. Even the publisher was surprised. But to a psychologist it's the ABC of subconscious wish fulfillment. The fact that both sexes are beginning to recognize the desire for the supremacy of strong and loving women is by far the most hopeful sign of the times."
"Suppose you're right," I said. "Suppose men do long for superwomen to take them over. And assume for the moment that these strong-arm babes are willing to undertake the job. What makes you think they can do it? Do you imagine that we females can develop muscles that big overnight?"
The big man ignores sarcasm when he has something to say that he considers important. "The one outstanding benefit to humanity from the-first World War was the great increase in; the strength of women-physical, economic, mental," he stated with conviction. "Women definitely emerged from a false, haremlike protection and began taking over men's work. Greatly to their own surprise they discovered that they were potentially as strong as men-in some ways stronger. Women have more emotional power than men, they have greater endurance and more resistance to disease they live longer, and they can endure pain far better. The moment women began doing things to develop their strength, it increased enormously.
With enthusiasm the psychologist expanded his thesis: "Women now fly heavy planes successfully, they help build planes, do mechanics' work. In England they've taken over a large share of all manual labor in fields and factories; they've taken over police and home defense duties. In China a corps of 200,000 women under the supreme command of Madame Chiang Kai-shek perform the dangerous function of saving lives and repairing damage after Japanese air raids. This huge female strong- arm squad is officered efficiently by 3,000 women. Here in this country we've started a Women's Auxiliary Army and Navy Corps that will do everything men soldiers and sailors do except the actual fighting. Prior to the first World War nobody believed that women could perform these feats of physical strength. But they're performing them now and thinking nothing of it. In this far worse: war, women will develop still greater female power; by the end of the war that traditional description 'the weaker sex' will be a joke-it will cease to have any meaning."
"Your enthusiasm is a great build-up," I admitted. "I feel like Wonder Woman already. But when I leave your hypnotic presence I'll lose confidence in myself as most women do when they have to generate their own steam. They're used to regarding men as their superiors, and even if a gal is physically strong and able to earn her own living, she can't cave-woman the man she wants to control or buy him. Now, Wonder Woman has magic powers. You wouldn't claim, I suppose, that we ordinary mortals have any such fantastic weapons as bracelets that repel bullets or her magic lasso that compels whomever it binds to obey her commands?"
Seriously the Doctor responded, "Of course all women have those two powers. Wonder Woman is actually a dramatized symbol of her sex. She's true to life-true to the universal characteristics of women everywhere. Her magic lasso is merely a symbol of feminine charm, allure, oomph, attraction every woman man uses that power on people of both sexes whom she wants to, influence or control in any way. Instead of tossing a rope, the average woman tosses words, glances, gestures, laughter, and vivacious behavior. If her aim is accurate, she snares the attention of her would-be victim, man or woman, and proceeds to bind him or her with her charm."
"But the trouble is," I objected "that ordinary feminine charm is a bond that is easily broken."
The Doctor nodded. "You've a point there," he admitted. "But not a very sound - one. Woman's charm is the one bond that can be made strong enough to hold a man against all logic, common sense, or counterattack. The fact that many women fail to make strong enough lassos for themselves doesn't deprive the lasso material of its native magic. The only thing is, you have to use enough charm to overcome your captive's resistance."
"The chains that the Nazis forge on conquered people," I muttered, "seem a whole lot stronger than the bonds of personal charm!"
"Ah, they only seem that way," the oracle replied And he continued with an exposition of the upside-downness of popular thought. Chains of force are always broken sooner or later. No human being can put another's soul or spirit in bondage, only his body. And in the end the inner self triumphs over the outer; mind and personality win back their control over flesh. Nazi chains already are beginning to snap in "conquered" France, Holland, Belgium, Norway, Czechoslovakia, sabotage and killing of oppressors goes on increasingly. But the real turn of the tide will come when Hitler loses his persuasive charm control over the German people.
Dr. Marston reminded me that Hitler gained his initial power by stirring oratory and personal magnetism-the magic-lasso method-not by force. When he resorted to force in the famous beer cellar Putsch he failed miserably and spent a year in prison. Mussolini similarly achieved his dictatorship by the magic of his persuasive tongue, and now, when force and military ability are needed in place of persuasiveness and drama, Il Duce is on the skids. Churchill never won a military campaign in his life, prior to the present war, but his political oratory has always been outstanding and the power of his keen mind and prolific pen has been equaled by few modern writers. President Roosevelt has one of the most charming personalities in the world and be casts this magic lasso over the radio with unerring aim. Three times he has caught and bound with his charm a large majority of American voters. And the Doctor asks, "Can you doubt that Roosevelt's control over America is stronger than Hitler's over occupied France?"
"So men have magic lassos, then, as well as women," I remarked. "And your own verbal lariat seems to be roping me in today."
"But you mustn't let it hold you," he grinned. "Wonder Woman can break any rope or chain with which a mere man tries to bind her. She stays bound only as long as may be necessary to accomplish her good purpose-then tears off her man-made shackles and goes to work on the man!"
At this point I protested. "Women enjoy being bound by men; it's less work and more fun than keeping male captives secure. Girls like to get their man, then surrender to him."
"And what happens next?" prompted the psychologist. "The man loses interest completely. No man wants to be freed by the girl who has caught him and no man has the slightest interest in tying up a girl who holds out her hands to be bound. If he takes her as his property, that's a bad day for both of them. The man begins to use dominance, and that's acutely painful for the woman captive. Wonder Woman and her sister Amazons have to wear heavy bracelets to remind them of what happens to a girl when she lets a man conquer her. The Amazons once surrendered to the charm of some handsome Greeks and what a mess they got themselves into. The Greeks put them in chains of the Hitler type, beat them, and made them work like horses in the fields. Aphrodite, goddess of love, finally freed these unhappy girls. But she laid down the rule that they must never surrender to a man for any reason. I know of no better advice to give modern women than this rule that Aphrodite gave the Amazon girls."
Hastily the psychological giant added, "Of course, she may let the man think she's helpless. My Wonder Woman often lets herself be tied into a bundle with chains as big as your arm. But in the end she easily snaps the chains. Women can do lots of things by letting men think they're fettered when they're not."
"Oh, sure," I agreed. "Women do things like that constantly. Why, just this morning I got myself out of a strait jacket in Sing Sing prison. Then I tore out a section of the prison walls and jogged back to Child's in New York for a refreshing quaff of tea and toast. I often move our house about on the lot to catch the sun at its best, and-"
Dr. Marston's laughter reached apoplectic proportions and I was trying to remember if you give stimulants for red unconsciousness when he said with seeming irrelevance, "I tell you, my inquiring friend, there's great hope for this world. Women will win! Give them a little more time and the added strength they'll develop out of this war and they'll begin to control things in a serious way. When women rule, there won't be any more because the girls won't want to waste time killing men. They'd rather have them alive; it's more fun from a feminine point of view."
"In all seriousness," he continued, "I regard that as the greatest-no, even more-as the only hope for permanent peace. And as a psychologist I'm convinced that the ever-increasing counterparts of Wonder Woman in real life will lead the way. More power to them! Let them keep their Amazon chain bands polished. And their magic lassos limbered up! Women are nature-endowed soldiers of Aphrodite, goddess of love and beauty, and theirs is the only conquering army to which men will permanently submit-not only without resentment or resistance or secret desires for revenge, but also with positive willingness and joy!"
At which moment I took wing and flew over the housetops to my little nest to spread joy among all the lucky males I could rope in with my magic-lariat charm.
William Marston
As the inventor of the lie detector, William Marston wielded massive influence over the development of American society, but that was nothing compared to the impact he made when he created the comic book character of Wonder Woman.
If he was writing comic books today, Marston would be eaten alive by the morality police. A college professor, Marston was fascinated by sexual bondage and lived openly in a menage-a-trois with his wife and a young student.
As a graduate student at Harvard around the turn of the 20th century, Marston helped develop the principles which would eventually form the basis for the polygraph machine. Marston found correspondences between lying and blood pressure. In 1915, he built a device to measure changes in blood pressure and equate them to truthfulness, with the assistance of sophisticated questioning techniques.
Marston's research quickly caught the eye of the federal government, including the FBI and the Department of War, which wanted to use his techniques to question prisoners during World War I. Marston was called in to consult on the Lindbergh Baby kidnapping case, but his contribution was rejected by the judge.
Although his invention was quickly surpassed by more sophisticated devices, Marston remained a fervent advocate of the technology. He settled into a career as a psychologist and teacher. Marston married in 1915, then in 1920, he met an attractive young student, who moved in with the couple as husband and wife and wife (but without a formal marriage contract).
Marston's sexual ethics were based on a theory of gender characteristics that classed men as aggressive and conflict-oriented, and woman as "alluring" and submissive.
Marston claimed that his vision of women's submissiveness was actually empowering. Although many guys who like dominating women are prone to such claims, Marston made an effort to expand and explain his vision through his literary output.
Marston's first effort was the 1932 novel Venus With Us, a sexcapade starring Julius Caesar and many, many women. Marston cranked out a few more popular books (in addition to his prodigious academic output), but nothing clicked.
He had more success as an adviser to the literate and famous, acting as a consultant to Hollywood studios and later to D.C. Comics, home of such American icons as Sargon the Sorcerer, Dr. Occult, Slam Bradley and the Star-Spangled Kid (with Stripesy), as well as a cast of second-stringers that included some guys named Batman and Superman.
During a conversation with an editor at D.C., Marston pitched his idea for a female superhero who would provide a role model for girls, displaying what he believed to be the most powerful feminine qualities -- sexual allure and "domination via submission," in which women made themselves so irresistible to men that men would willingly allow women to rule them. Or that men would sublimate their aggressive impulses by submitting to erotic bondage, which would then empower women. Or that women could be physically strong but still sexy, and that their strength wasn't compromised if they got tied to beds by supervillains on a regular basis.
Or something like that. The overarching point was that bondage was good, and that society would be well-served by inculcating prepubescent boys and girls with images of bondage. As Marston himself attempted to explain it:
Not even girls want to be girls so long as our feminine archetype lacks force, strength, and power. Not wanting to be girls, they don't want to be tender, submissive, peace-loving as good women are. Women's strong qualities have become despised because of their weakness. The obvious remedy is to create a feminine character with the strength of Superman plus all of the allure of a good and beautiful woman.
With these philosophical underpinnings, Wonder Woman debuted in 1941 as a bizarre mix of progressive feminism and hot bondage action. Wonder Woman's superpowers were roughly equivalent to those of Superman, who had debuted a couple years earlier. (In the those days, Superman was somewhat less omnipotent than his later incarnations.)
Her costume consisted of a bustier, a tiny skirt, manacles on her wrists and a pair of red, knee-high boots with spiked heels, all in the colors and patterns of the American flag to boot. Wonder Woman also carried a golden lasso for binding her opponents and making them submit to her loving allure.
Week after week, Marston placed Wonder Woman into peril and bondage, even featuring several bondage scenes within a single story when he got carried away. Wonder Woman frequently found herself tied to beds, or bound by the wrists with her ass in the air, but sometimes she got to play the dominatrix as well, tying up men and women individually or in groups. Marston's editors were vaguely suspicious -- wink wink, nudge nudge -- that there might be a sexual subtext to all this imagery.
If they had bothered to read Marston's academic writings, his editors might have been more suspicious. If they had happened to read his high-profile interviews with national magazines in which he enthusiastically boasted that he was subliminally implanting bondage imagery in the minds of American youth, well, they might have been even more suspicious. But Wonder Woman had become one of D.C.'s best-selling comic books, so the editors were content to let these issues fall by the wayside.
Marston wrote Wonder Woman until his death in 1947, reaping significant profits for himself and his heirs thanks to a savvy contract (unlike those signed by the creators of Batman and Superman, which left said creators virtually destitute while D.C. reaped billions in revenue over the course of decades).
Interestingly, Marston's fetishes didn't become an issue during the virulent anti-comics backlash of the 1950s. Although comics were demonized for corrupting the morals of children, the main complaints leveled against Wonder Woman had more to do with her uppity feminism than her B&D overtones.
Wonder Woman has been a mainstay of DC Comics since her debut, but her popularity waned once she was separated from her B&D roots.
She enjoyed a brief resurgence in the 1970s, first as a feminist icon and subsequently as a bimbo-esque TV action star, but she never regained the power she wielded as a 1940s-era submissive, alluring free-spirit sex kitten.
So was Marston an altruistic genius conducting a radical experiment in social engineering, or just a dirty old man getting his rocks off? History has not yet rendered its judgment, and neither will the Rotten Library. We will simply note that the first generation of Wonder Woman readers entered young adulthood in the 1960s -- a decade Marston would have loved had he lived to see it.
There may be hope yet for the Amazon princess. In 2005, Joss Whedon -- creator of Buffy the Vampire Slayer -- announced he would write and direct a new Wonder Woman movie. Based on his previous work, Whedon probably has a better-than-average chance to recreate Marston's kinky-yet-empowering worldview. And he's less smug than Quentin Tarantino.
By Nick Gillespie
From their inception, comic books, like other forms of mass entertainment, have had detractors. None is more famous--or more fondly remembered--than Fredric Wertham, the child psychiatrist and author of Seduction of the Innocent, Who charged that comic books turned their readers into juvenile delinquents and sexual deviants. If Wertham, who died in 1981, hadn't existed, he would have surely been invented by a clever satirist looking for a sex-obsessed, puritanical foil.
A true arch-enemy of the form, Wertham's critique of comics went beyond criminological concerns: Comics didn't just pervert children, you see, but ruined their ability to appreciate fine literature and art later on in life. He argued that tales about Batman--not to mention Tales from the Crypt--were like heavily seasoned food that destroyed young aesthetic palates before they could be trained to appreciate delicate, refined fare. Shakespeare, he fretted, just couldn't follow Superman.
If Wertham was the Lex Luthor of comics, hell-bent on their total annihilation, then William Moulton Marston was their Man of Steel, dedicated to championing their cause Marston was a Harvard-trained psychologist who had a law degree to go along with his Ph.D. In the '20s and '30s, Marston was best known as a tireless advocate of the polygraph--he developed an early lie detector machine--and he lobbied unsuccessfully for its use in the courts.
Never one to slough off publicity, Marston even appeared in a 1938 Gillette razor blade advertisement that used a lie detector test to discover men's "true" feelings about various shaving aids. (The "scientific shaving tests," which measured subjects' subconscious reactions, overwhelmingly found that Gillette blades minimized the subtle "emotional disturbances" caused by competitors' products.)
In 1941, under the pseudonym Charles Moulton, Marston created the first great female comic book hero, Wonder Woman, a displaced Amazon princess who helped the Allies defeat the Axis Powers while seeking romance on the side. (Unsurprisingly, Wertham was appalled by the character, which he denounced for its "lesbian overtones.") Unlike most intellectuals, Marston celebrated the popularity of the comic book form and saw it as an opportunity to get kids to read--and to circulate radical feminist notions. Writing in Phi Beta Kappa's journal, The American Scholar, in the early '40s, he noted: "It's too bad for us 'literary' enthusiasts, but it's the truth nevertheless--pictures tell any story more effectively than words.... If children will read comics... .why isn't it advisable to give them some constructive comics to read?"
For Marston, the most "constructive" comics were those that laid the groundwork for what he insisted was the coming age of "American matriarchy" in which "women would take over the rule of the country, politically and economically."
As Les Daniels recounts in the fully enjoyable and always fascinating new book, Wonder Woman: The Complete History (Chronicle Books): "Marston believed women were less susceptible than men to the negative traits of aggression and acquisitiveness, and could come to control the comparatively unruly male sex by alluring them.... He was convinced that as political and economic equality became a reality women could and would use sexual enslavement to achieve domination over men, who would happily submit to their loving authority."
Such notions, suggests Daniels, help explain some of Wonder Woman s crime-fighting accoutrements, especially her "magic lasso" that--shades of a lie detector!--forces men to tell the truth, the whole truth, and nothing but the truth.
Marston's personal life was every bit as unconventional as his ideas about matriarchy; if nothing else, the details make one wonder about his fixation on liberated women. In 1915, the same year he graduated from Harvard, Marston married a Mt. Holyoke grad named Elizabeth Holloway, who went on to earn an M.A. and law degree, and to assist him in his psychological research. In the late '20s, when teaching at Tufts University, Marston met a student named Olive Richard, who moved in with him and his wife.
Marston had two children by each woman and he and his wife formally adopted his children by Richard. "It was an arrangement where they [all] lived together fairly harmoniously," one of Marston's sons told Daniels. A business associate vouched for Marston's offbeat arrangement, remembering him as "the most remarkable host, with a lovely bunch of kids from different wives...all living together like one big family--everybody very happy and all good, decent people."
Whether Marston's feminist utopia, which Daniels calls "simultaneously daring and touchingly naive," has come to pass, his contribution to popular culture has endured. By the time of his death in 1947, Wonder Woman was already a household name (and a cottage industry), appearing in various comic books and newspaper strips; she remains a vibrant part of popular culture, whether as a feminist icon, the hero of a campy late-'70s action-adventure show, or the subject of Strength of Will, a graphic novel by Alex Ross coming this fall from DC Comics.
Marston made at least one other contribution to popular culture that, while perhaps less eye-catching than his full-figured, superpowered Amazon, is no less significant.
In influential venues as diverse as The American Scholar and Family Circle, he anticipated, in what might charitably be called comic book prose, much that is taken for granted among contemporary scholars of cultural studies. He argued that mass forms such as comics deserve something other than opprobrium and scorn -- and he suggested that like other, more accepted forms of creative expression, comics can sometimes touch "the tender spots of universal human desires and aspirations...[and] speak to the innermost ears of the wishful self."

Psychologist, Feminist theorist, inventor and comic-strip writer, William Moulton Marston was born in Cliftondale, Massachusetts May 9, 1893. He obtained a law degree in 1918 and graduated from Harvard with a Ph.D. in Psychology in 1921. After teaching at American University in Washington, D.C., Marston traveled to Universal Studios in California in 1929, where he spent a year as Director of Public Services.
Inventor of the systolic blood-pressure test (the basis of the polygraph, or 'lie detector'), Marston was also a writer of essays in popular psychology. His best known theory was that there is a male notion of freedom that is inherently anarchic and violent, and an opposing female notion based on 'Love Allure' which leads to an ideal state of submission to loving authority. His concerns about the effects of gender-stereotyping in popular culture were expressed in a 1943 article:
'Not even girls want to be girls so long as our feminine archetype lacks force, strength, and power... The obvious remedy is to create a feminine character with all the strength of Superman plus all the allure of a good and beautiful woman.'
In 1940 Marston had become an educational consultant for Detective Comics (now DC Comics), the publisher of the "Batman", and "Superman" comix series. Max Gaines, then head of Detective Comics, encouraged Marston to create a female comic book hero, which Marston did under the pseudonym 'Charles Moulton'.
In December 1941, "Wonder Woman" made her debut in "All Star Comics" #8. The character's next appearance was in "Sensation Comics" #1 (January 1942), and six months later the character’s eponymous comic book began publication. Wonder Woman has been in print ever since. The stories were initially written by Marston and illustrated by artist Harry Peter.
During his life Marston had written many of articles and books on psychological topics, but his last 6 years of writing were devoted to his comix creation.
William Moulton Marston died of cancer May 2, 1947 in Rye, New York.
written by Andy Etris
Long-ago LAW alumna Elizabeth Marston was the muse who gave us a superheroine
By Marguerite Lamb
She compels honesty from evildoers with her Lasso of Truth. She stops bullets with her impenetrable bracelets and speeding trains with her bare hands. She flies faster than sound in her invisible plane. Diana, Amazon princess — the goddess Aphrodite may have made her a wonder, but it was Boston University alumna Elizabeth Holloway Marston (LAW'18) who made her a woman.
Wonder Woman, America's foremost superheroine, was conceived at the dawn of the Second World War — the worst of times for humanity, but the best of times for comic book heroes. In 1938, two teenagers from Cleveland, Jerry Siegel and Joe Shuster, had introduced the world to a strongman in red cape and blue tights, sparking a pop-culture craze for costumed crusaders. Superman blazed a path for scores of wartime superheroes. First came the general do-gooders: Batman, Hawkman, Green Lantern, The Flash. Then came the superpatriots — Captain America and Captain Flag, Minute Man and the Star Spangled Kid — he-men created specifically to bring the Axis enemies to their knees. By 1941, comic books were selling at a clip of fifteen million monthly; in 1944, they accounted for a quarter of all magazines shipped to U.S. servicemen abroad.
Amidst this comics mania, Elizabeth's husband, William Moulton Marston, a psychologist already famous for inventing the polygraph (forerunner to the magic lasso), struck upon an idea for a new kind of superhero, one who would triumph not with fists or firepower, but with love. "Fine," said Elizabeth. "But make her a woman."
From her lips to his drawing board.
Wonder Woman made her début in December 1941 in All Star Comics, a bimonthly with strips by different artists. Perhaps because comics were widely viewed as juvenile, if not disreputable, William, a Harvard-educated academic, adopted Charles Moulton as his nom de plume. The first episode features Diana rescuing U.S. Army Intelligence officer Steve Trevor, whose plane has crashed on uncharted Paradise Island. Aphrodite and Athena, the ruling goddesses of the Amazons, command that the "strongest and wisest" she-warrior return Steve to America, and there remain to defend the "last citadel of democracy, and of equal rights for women." Diana wins the honor, besting her sisters in an Amazon Olympics, and so begins her close to sixty years and counting of fighting for "liberty and freedom for all womankind."
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William Moulton Marston hoists aloft his bride, Elizabeth Holloway Marston, during a 1916 summer vacation in New Hampshire. Two years later they would earn law degrees on opposite sides of the Charles River. Archival photographs and original Wonder Woman material courtesy of Moulton "Pete" Marston. |
TNT and L.L.B.
When it came time to cast his fearless heroine, William Marston had a ready mold. Elizabeth (who died in 1993 at age 100) was, says daughter Olive Ann LaMotte, "a small package of dynamite."
She compels honesty from evildoers with her Lasso of Truth. She stops bullets with her impenetrable bracelets and speeding trains with her bare hands. She flies faster than sound in her invisible plane. Diana, Amazon princess — the goddess Aphrodite may have made her a wonder, but it was Boston University alumna Elizabeth Holloway Marston (LAW'18) who made her a woman.
Wonder Woman, America's foremost superheroine, was conceived at the dawn of the Second World War — the worst of times for humanity, but the best of times for comic book heroes. In 1938, two teenagers from Cleveland, Jerry Siegel and Joe Shuster, had introduced the world to a strongman in red cape and blue tights, sparking a pop-culture craze for costumed crusaders. Superman blazed a path for scores of wartime superheroes. First came the general do-gooders: Batman, Hawkman, Green Lantern, The Flash. Then came the superpatriots — Captain America and Captain Flag, Minute Man and the Star Spangled Kid — he-men created specifically to bring the Axis enemies to their knees. By 1941, comic books were selling at a clip of fifteen million monthly; in 1944, they accounted for a quarter of all magazines shipped to U.S. servicemen abroad.
Amidst this comics mania, Elizabeth's husband, William Moulton Marston, a psychologist already famous for inventing the polygraph (forerunner to the magic lasso), struck upon an idea for a new kind of superhero, one who would triumph not with fists or firepower, but with love. "Fine," said Elizabeth. "But make her a woman."
From her lips to his drawing board.
Wonder Woman made her début in December 1941 in All Star Comics, a bimonthly with strips by different artists. Perhaps because comics were widely viewed as juvenile, if not disreputable, William, a Harvard-educated academic, adopted Charles Moulton as his nom de plume. The first episode features Diana rescuing U.S. Army Intelligence officer Steve Trevor, whose plane has crashed on uncharted Paradise Island. Aphrodite and Athena, the ruling goddesses of the Amazons, command that the "strongest and wisest" she-warrior return Steve to America, and there remain to defend the "last citadel of democracy, and of equal rights for women." Diana wins the honor, besting her sisters in an Amazon Olympics, and so begins her close to sixty years and counting of fighting for "liberty and freedom for all womankind."
In an era when few women earned higher degrees, Elizabeth received three, starting in 1915 with an A.B. in psychology from Mount Holyoke College. Next came law school. William, then her fiancé, was headed for Harvard Law, but the school excluded women and would until 1950, funneling them instead to its sister school, Radcliffe. Elizabeth rejected the program as "lovely law for ladies" and opted for Boston University. "She approached her father for support," recounts her granddaughter, Susan Grupposo. "He told her: 'Absolutely not. As long as I have money to keep you in aprons, you can stay home with your mother.' "Undeterred, Gram peddled cookbooks to the local ladies' clubs. She needed $100 for her tuition, and by the end of the summer she had it. She married Grandfather that September, but still she paid her own way." Elizabeth earned her L.L.B. degree in 1918, one of three women to graduate from the School of Law that year. "I finished the [Massachusetts Bar] exam in nothing flat and had to go out and sit on the stairs waiting for Bill Marston and another Harvard man . . . to finish," she later wrote.
From a Polymath: the Polygraph
Next, she crossed the Charles River to work in Harvard's psychology department, where her husband had embarked on a doctorate. "My dad developed the theory of a deception test based on systolic blood pressure in the Harvard psychology labs after a suggestion from mom that when she got mad or excited, her blood pressure seemed to climb," according to their son, Moulton "Pete" Marston. "She helped him, and his thesis was on the use of blood pressure measurements to test for deception and other emotional reactions." The couple's investigation of the physiological symptoms of deception led William to the invention of the polygraph and a Ph.D. and Elizabeth to a Radcliffe master's degree, both in 1921.
That year, Elizabeth punched in to work and didn't punch out for thirty-five years — despite social mores in some circles that said the office was fit for neither wife nor mother. (More than half a century before it was common, Elizabeth waited till age thirty-five to have her first baby, then returned to work.) She indexed the documents of the first fourteen Congresses, lectured on law, ethics, and psychology at American and New York Universities, served as an editor for Encyclopaedia Brittanica and McCall's magazine, and cowrote a textbook, Integrative Psychology, with her husband and C. Daly King. She even did a stint as a traveling soap saleswoman. All this at a time when teachers who married were expected to hand in their chalk, and wives needed their husbands' permission to work as operators for Ma Bell.
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| Wonder Woman leapt onto the cover of Sensation Comics in January 1942, a month after her back-of-the-book début. |
"Gram drilled into my head from an early age that a woman should be able to support herself," says Grupposo. "She'd say, 'Angel child, never, never be beholden to any man, ever.'"
In 1933, despite the Depression, Elizabeth landed a position as assistant to the chief executive of Metropolitan Life Insurance Company in New York. The job would see the Marstons through some hard times. William, who had spent a decade hopscotching from one academic post to the next, found himself in the mid-thirties without prospects. "We camped out with Dad's parents in Cliftondale [Saugus], Massachusetts, because he just wasn't working," recalls son Byrne Marston. Meanwhile, Elizabeth continued to work at MetLife, supporting the family from afar. "She was the breadwinner for several years then," says Byrne, "and she resumed the role after Dad's death."
William Marston died of skin cancer in 1947, leaving Elizabeth (with help from a profitable Wonder Woman) to support the family. And an unusual family it was, for Elizabeth bucked convention in the domestic realm as well. Sometime in the late twenties, she welcomed into her home Olive Byrne, a young woman William had met while teaching at Tufts University. The three formed a ménage à trois. Elizabeth had two children: Pete and Olive Ann. Olive gave birth to Byrne and a second son, Donn; the Marstons legally adopted Olive's boys, but she remained ever a part of the family, even after William's death.
"Olive stayed home with the kids, while Mom continued to work," recalls Pete. "It was a wonderful situation, a win-win deal for everyone."
Continuing at MetLife until she was sixty-five, Elizabeth put all four children through college and Byrne through medical school and Donn through law school as well. She and Olive continued living together until Olive's death in the late 1980s.
"Grandmother once said to me: 'Maybe that's just the way things should be — everyone should just get along,'" says Grupposo. "It worked for her, because she could have her family, she could have a career, she could do it all."
Orphaned Amazon
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| Wonder Woman spent a lot of time rescuing Steve Trevor. Trevor had considerable airplane trouble, and it was after he crashed on Paradise Island in the first episode that the powerful Amazon princess was selected as Wonder Woman and sent to take him back to the U.S.A. . |
When William Marston died, the women in his life were left to fend for themselves, including his Amazon princess. But like Elizabeth, she was prepared. From her first appearance in All-Star Comics, Wonder Woman had been a hit. The following month, she'd landed the cover and lead placement in a new comic book, Sensation Comics. By the summer of 1942, she had her own title, Wonder Woman, a first among superheroines. She even had a daily newspaper strip (a feat few comic book heroes matched) in 1944 and 1945.
Like all good superheroes, Wonder Woman earned her stripes during the war, leading the cavalry against the Nazis and the Marines against the Japanese. But the postwar years were tough times for comics crusaders. Absent menaces like Captain Nazi and Captain Swastika, superheroes were left wanting for compelling enemies, and America's interest waned. Comic books sales continued apace, but suddenly readers were agog for crime, romance, and western tales. By 1953, only six of the more than hundred wartime superheroes remained.
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| When Gloria Steinem launched Ms. in 1972, she put Wonder Woman up front and urged readers to elect the superheroine president. |
Wonder Woman survived by acculturation. Having spent the war years working incognito as Diana Prince, assistant to the chief of U.S. military intelligence, she found herself suddenly posing, at the whim of new writer-editor Robert Kanigher, as a romance editor, fashion model, and aspiring Hollywood actress.
But at least she still had her unique powers and props. Those she wouldn't lose until 1968, when Kanigher turned her over to a new creative team, seemingly bent on taking the super out of the heroine. All at once, the invincible Amazon was demoted to mere spy girl, albeit with a groovy wardrobe, a taste for intrigue, and a Chinese mentor named I Ching.
The declining stature of the world's foremost superheroine captured the attention of rising feminist Gloria Steinem, who led the charge to recoup the original Wonder Woman. When Ms. magazine premiered in July 1972, editor Steinem put her on the cover, beneath a banner reading "Wonder Woman for President." That same year, Steinem produced Wonder Woman (a Ms. Book published by Holt, Rinehart and Winston), featuring thirteen of Marston's more progressive episodes.
"Looking back now at these Wonder Woman stories from the forties, I am amazed by the strength of their feminist message," Steinem writes in the book's introductory essay. "Wonder Woman symbolizes many of the values of the women's culture that feminists are now trying to introduce into the mainstream."
"Looking back now at these Wonder Woman stories from the forties, I am amazed by the strength of their feminist message," Steinem writes in the book's introductory essay. "Wonder Woman symbolizes many of the values of the women's culture that feminists are now trying to introduce into the mainstream."
Feminist or Foe?
That statement would likely have shocked Josette Frank of the Child Study Association of America, who in 1943 wrote to Wonder Woman publisher M. C. Gaines: " . . . this feature does lay you open to considerable criticism . . . partly on the basis of the woman's costume (or lack of it), and partly on the basis of sadistic bits showing women chained, tortured, etc."
Frank had a point. The Wonder Woman strips of the forties were rife with bondage. An unapologetic William Marston explained that "binding and chaining are the one harmless, painless way of subjecting the heroine to menace and making drama of it," and besides, he added, "women enjoy submission."
It was an ill-kept secret that if a man tied Wonder Woman's bracelets together (which happened with astonishing regularity given her Herculean might), she was rendered powerless. Never did she fail, however, to outwit her captors, escape her bonds, and save the day. "All you have to do," she tells a group of young Amazons, "is have confidence in your own strength!"
William's competing fascination with female submission and female strength led to schizophrenic episodes such as 1943's "Battle for Womanhood," where various women (Diana included) are bound, blindfolded, strip-searched, handcuffed, and caged or chained to a wall. Yet the finale finds Wonder Woman freeing the wife of the misogynistic Dr. Psycho, then counseling her, "Get strong! Earn your own living — join the WAACS or WAVES and fight for your country! Remember, the better you can fight, the less you'll have to!"
It was moments such as these that allowed Steinem to latch onto Marston's Wonder Woman as icon for the women's liberation movement — the bondage motif notwithstanding — and lobby, successfully, for her return. By 1973, Wonder Woman was back in red, white, and blue, her powers restored.
With the exception of two brief hiatuses, in 1986 and 1992, Wonder Woman has remained in action since, making hers the third longest-running comic in history, next to Superman's and Batman's, launched in 1938 and 1939, respectively.
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| Wonder Woman turns sixty this year. She is now written and drawn by Phil Jimenez. |
Meanwhile, Back at the Marstons'
All the while Wonder Woman was struggling to find her way through the fifties and sixties, Elizabeth Marston was busy working and raising her family in Rye, New York.
The Marston children say their mother took a practical view of Wonder Woman after her husband died; she didn't always approve of the changes, but she was glad to see the character (and the royalties) continue. Elizabeth reportedly disapproved of Kanigher's attempt to transform Wonder Woman into a romance strip, but she declined to take it up with him. And what did she think when Steinem rallied for Wonder Woman's rehab?
"She favored anything that would bring Grandfather's Wonder Woman back to life," says Grupposo. "But she also thought Gloria screamed too hard and too loud. Gram would not have called herself a feminist. She didn't have to yell, 'I want my rights!' She just went out there and got them.
"She always said, 'I'm not Wonder Woman,'" Grupposo recalls. "But I always told her, 'You are to me.'"
Marguerite Lamb (COM'97) is a freelance writer living in Philadelphia.
William Moulton Marston Photo and biography of the man better known as Charles Moulton, the creator of Wonder Woman.
Family Circle Article-August 14, 1942: Our Women Are Our Future
William Marston His Comic Book History
Reason Online: William Marston's Secret Identity 2001 article about the strange private life of Wonder Woman's creator.
Comic Art and Graffix Gallery Artist - William Moulton Marston Profile of the psychologist, feminist theorist, inventor, and comic book writer.
Who Was Wonder Woman 1? by Marguerite Lamb from the Bostonia, The Alumni Quarterly of Boston University, Fall 2001
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