The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America | David Hajdu

The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America | David Hajdu | Shocking True Suspense Tales of Weird Crime Horror Mystery

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The Ten-Cent Plagu...

	The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America David Hajdu Farrar, Straus and Giroux, 2008 - 448 pages average customer review:based on 27 reviews view larger image
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highly recommended

The evils done in the name of "good"

Probably one of the greatest evils in society are the self-righteous moralists who want to rid the world of what they perceive as sinful, usually saying it's "for the children". Usually, the things they want to actually get rid of are merely items that encourage free thought or seemingly contradict their own narrow dogma. Thus today, we get those who want to ban Harry Potter books not because of any proven harm, but merely the fact that they don't fall into their own interpretation of good and evil. It's not enough to choose to ignore the items, but also to deprive others of their joy.

David Hajdu's The Ten Cent Plague details one such situation that occurred in the early 1950s and focused on comic books. This was an era when comics were at a creative and commercial peak, dealing with not only the superhero genre, but also horror, crime, war and romance. While some of it was over-the-top, it also provided entertainment and occasionally delivered a message as well.

The main villain in this piece is Fredric Wertham, author of Seduction of the Innocent, a book that alleged links between comic books and juvenile delinquency, links that were often weak at best, and completely fabricated in other cases. In this Legion of Doom, however, Wertham is merely the biggest name, but there are others as well, driven to hound the comic book industry out of existence. They would use book-burnings, boycotts and the police to get their way, and to a large extent, they would win. Due to their efforts, the Comics Code was instituted, resulting in comics that went from being fun (if edgy) to watered-down pap fit for only the youngest kids. It was like replacing Bugs Bunny and Homer Simpson with Baby Huey and the Care Bears.

It would take decades for the comic books to get back much of the creativity they lost, and commercially, they would never be as dominant again. Yet there were still heroes in this era - most notably Bill Gaines - but they could never quite grasp the significance of Wertham and company until it was too late. Around the only positive that came out of this period was Mad Magazine, which Gaines was able to squeeze past the Comics Code by changing its classification from comic book to magazine.

Hajdu's writing is always engaging. I would have liked a few more illustrations but that's a minor quibble. Overall, this is a good book of relatively modern history, not only giving a good look at another era, but also providing a valuable lesson that too many times, the ones who say they are protecting "the children" from evil may be doing the actual evil themselves.

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Shocking True Suspense Tales of Weird Crime Horror Mystery

Comic books have gone through waves of popularity and condemnation, but the great scare of the early 1950s takes the cake. Here David Hajdu offers an enlightening cultural history of that bizarre witch hunt, which was not necessarily directed at the superhero stories that later dominated the medium, but the then-huge crazes of true crime and horror comics, the insanity and gruesomeness of which are still loved by nonconformists to this day. Hajdu starts with a selective history of comic books then proceeds to the cultural obsessions of the early 1950s, which created near-hysteria against anything that wasn't unabashedly conformist and squeaky clean. In a close parallel to the contemporaneous McCarthyism, critics and do-gooders were convinced that comic books created the menace of juvenile delinquency, with politicians and civic groups disregarding the lack of clear evidence in favor of holier-than-thou values and purity.

Hajdu does a great job deconstructing the great comic book scare into its component parts - a fear of nonconformity, cultural snobbery, political self-aggrandizement, shallow jingoism, and a refusal to accept the thinking power of kids. Knowledgeable observers will recognize that the rhetoric of the great comic book scare has repeated itself in subsequent cultural witch hunts like those against rock, rap, the Internet, and video games. Hajdu is an excellent cultural historian, and while he sometimes lapses into turgid professor-ese like "nor did they use Hooligan's clashes with the law for pedagogy," he really brings out the cultural and political causes and effects of a scare that was really about much more than comic books. Censorship Does Not Pay. [~doomsdayer520~]

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"We don't mean to censor" - uh huh!

This is a case study of how groupthink fueled by paranoia, political ambition, and lazy media outlets remiss in their responsibility to check the politicians can kill creativity.

The long list of comics industry folks who lost their jobs is appalling.

As a sometime writer of extreme horror fiction (DEADWEIGHT) and/or off-the-wall depictions of childhood icons (SANTA STEPS OUT), I can feel the chill even from 1954.

An eyeopener and a must-read!

Do we learn from history?

The inside cover reads "this is the revelatory, until now largely untold story of a lost world of the imagination..." Not quite so true - there was very little in this volume that I hadn't read or seen elsewhere, scattered across the forwards of the recent EC hardback collections, Stan Lee's autobiography, a recent cable documentary about the history of comics, and a dozen other sources. But this book does bring it all together into a clear and fairly comprehensive narrative of those dark days and I recommend it, not just for comic fans but also for those that are just interested in American history and or sociology.

It was an interesting trifecta last week, as I finished this book, watched the season finale of Boston Legal, and began reading Kenneth Johnson's sequel to the 1980s sci-fi miniseries, "V". All three gelled into the message that we usually don't learn from our history and thus do repeat our mistakes. They also gelled into the idea that all it takes for a group to get its way is for it to create a sentiment of fear against something, and then to allow for peer pressure to step in and move the society into a direction no-one would have imagined shortly before. There is little more dangerous than a scared populace.

Mr. Hajdu interviewed some of the, now elderly, children that participated in the bonfires that burned comic books. Just a few years after people reacted in horror to films of the Hitler youth burning books, in Germany, American youth were doing the same thing. The "kids" talked about how they felt they were doing something positive, but in retrospect realized they had been misled and tricked by adults - parents and teachers.

The architects of this censorship created an environment of fear: Store owners feared prosecution and attacks, teenage customers feared being beat up by mobs of do-gooders, parents feared that their children would become monsters, politicians feared they would lose their positions. This great comic book scare was coincident to the much bigger scare of the McCarthy hearings. In both cases a combination of the self-serving and the well-meaning and fear ruined the livelihoods of people. Mr. Hajdu, in an appendix, lists 14 pages (double columned) of writers and artists that never again worked in the industry the loved, after the purge of the 1950s.

Mr. Hajdu takes the time to carefully introduce all of the players, and in so doing, gives a good overall history of comic books in America, from their origins as newspaper strips. In doing this he helps the reader understand how the works were viewed by the average person when the scare began. He also talks about how they changed due to societal changes and due to the crisis.

It's a good book - and thought provoking. Hopefully it will be eye-opening to its readers to be wary of those that deal in fear. Hopefully it will also help its readers to realize that comic books are a medium, not a genre - a medium that can have diverse products aimed at every age group. In recent years district attorneys in Texas and Georgia have tried to prosecute comic book sellers for selling adult comics to adults on the grounds that comic books are for kids. A reminder that 2008 is not that far removed from 1954.

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A decent book that should have been better

This book was recommended along with Amy Kiste Nyberg's "Seal of Approval". This one is more of a history and biography of the people, Nyberg's is more of an academic study. I'd 4-star this if it had presented itself as a history and a biography, but since it purports to be a review of the issues as well as the people I 3-star it - if you promise something you have to deliver it.

The book is about the people who worked in the comic book industry and the development of that industry up to the institution of the Comics Code, a self-regulatory system enacted to avoid government regulation of the comics industry. That's not actually what the book says it's about - it says it's about the industry as a whole and the impact of the Code - but I guess you can't judge a book by its cover.

I kill me...

Seriously, this is an interesting bit of history and stands on its own there. It recounts the business, and the political and cultural environment in the 1950s that all but killed the business. But it's those words "all but" that make the big difference between what this book purported to be and what it is. The fact is, comic books survived. They were published through the 1950s, 1960s, and 1970s. They started coming back into their own in the 1980s, and by the 1990s the graphic novel craze had brought them right back. How did this happen? You won't find out in this book. Considering its subtitle is "The Great Comic Book Scare and How it Changed America" I would have expected to see it deal with events both before and after. It doesn't.

Net-net: if you're looking for a historical document to describe a period of time and the people who were active in it, this book does that very well. The author is a journalist and uses those skills. Those aren't really the kinds of books I usually buy or read for pleasure, but your mileage may vary. I would have liked to have known the answers to questions like:

- Did companies that were subject to the Comics Code sell more issues than companies that weren't?
- Did parents actually consider whether a particular book was subject to the Comics Code when allowing their children to purchase?
- Did members of the Code try to push its limits or self-censor to make sure they stayed well inside its scope?

Without them, it was instructive for me and not a waste of time from a work perspective. With them, I would have made all my colleagues buy it. But this would have taken an author like Niall Ferguson, and this author isn't Niall Ferguson.

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reviews: 1, 2, page 3, 4, 5, 6

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