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"A WILD-RIDE ACCOUNT" —The Hollywood Reporter
"EPIC" —The New York Times
"INDISPENSABLE" —Los Angeles Times
"DEFINITIVE" —The Wall Street Journal
"SCINTILLATING" —Publishers Weekly
"AUTHORITATIVE" —Kirkus Reviews
"GRIPPING" —Rolling Stone
"A MUST FOR ANY SUPERHERO OR POP-CULTURE FAN" —NY Post
"ESSENTIAL" —The Daily Beast
"A SUPERPOWERED MUST-READ" —USA Today
"REVELATORY" —The Miami Herald
"AS FULL OF COLORFUL CHARACTERS, TRAGIC REVERSALS AND UNLIKELY PLOT TWISTS AS ANY BOOK IN THE MARVEL CANON" —Newsday
Flo Steinberg quit working at Marvel Comics in the spring of 1968, when the Goodmans refused to raise her hourly wage. “They didn’t believe in giving raises to people in certain jobs,” she said, “because they could be so easily replaced.”
Photo: Flo Steinberg in 1970. Desperate to catch up on deadlines, Stan Lee got Martin Goodman’s approval to hire an assistant—a “gal Friday,” in his words—to help with the administrative work. In March 1963, a temp agency sent over Florence Steinberg, a button-cute, bouffant-sporting twenty-five- year-old in pearls and white gloves who’d recently arrived in New York from Boston. Steinberg, a former art history major, was every bit as upbeat and outgoing as Lee—she’d been student council president in high school and later volunteered for campaigns of both Ted and Bobby Kennedy. Now stationed at a desk next to Lee, she answered fan mail (hundreds of pieces arrived every day), called freelancers, and shipped pages to the printer for sixty-five dollars a week, while he sat atop a stool and pounded away on his typewriter, or greeted visiting artists for story conferences.