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The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America (Hardcover)
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- Sales Rank: #2724292 in Books
- Published on: 2008
- Binding: Paperback
Most helpful customer reviews
1 of 1 people found the following review helpful.
Impressive but not without flaws
By Allen Smalling
THE TEN-CENT PLAGUE is an impressive book from 2008. For me, it was a quick and enjoyable read that taught me a good deal about the rise and very swift fall of an aspect of American popular art (and, by implication, American culture, demographics and politics) -- the gruesome, "horror" type of mass-produced comic book. Author David Hajdu did a great job relating the background of American popular pulp and popular art that, after World War II, gave swift rise to the specialized and horrific comic book aimed at middle-school readers -- and the swift series of events that brought them down in the early Fifties. In his telling, junk science masquerading as psychiatry, followed by citizen boycotts that usually demonstrated more heat than light, killed off the horror comics in the increasingly paranoid atmosphere of Cold War USA. He is great at turning a phrase and uses just the right amount of cynical wit to prove his point. That's the fun part.
However, the author's vivid verbal style somewhat obscures problems at the organizational level. After all, this is a book about an inherently visual medium -- the American color comic book -- yet the visual gets short shrift. Only a brief center section of "artwork" distinguishes THE TEN-CENT PLAGUE, mostly given over to artist photos and a few interior pages of non-horrific content from other works, making this book a kind of requiem to a lost art without viable examples of that art. Hajdu stuggles valiantly to convey some of the exhilarating pictorial gruesomeness of early Fifties comics in words, but the old saying about a picture worth a thousand of them applies almost as strongly to this popular art as it would to, say, THE LAST SUPPER.
In compiling THE TEN-CENT PLAGUE, Hajdu had recourse to a small army of researchers. This gives a complete feel, but at the cost of an over-busy product. I had the feeling I'd read a popular-verging-on-academic history with incomplete proof due to the lack of illustrative photos (was it problems with rights and permissions?), and well-constructed at the syntactic level but not the organizational -- such as artists who are mentioned briefly in one paragraph but not fully introduced until two paragraphs later. This is incomplete editing as much as hurried writing, and I blame publisher FSG as much as the author. Ultimately, Hajdu does not really prove that the sudden downfall of the shockers is a "purge" so much as a trend exacerbated by cold-war fears. In fact, politically powerful figures like J. Edgar Hoover an Joseph McCarthy generally stayed away from this issue. More than anything else, the crash in the horror comic books (and in large result, the crash in an entire sub-industry playing lockstep with genres) was brought about by the shaky economics of a brutally competitive and low-cost industry. For example, one respected publisher would have lessened his censure if he had paid the post office to license one new title rather than tack the gruesome comics onto a gruesomely inappropriate prior label, "Tiny Tot." I also believe it was an inappropriate appeal to pathos to include a long list of individuals whose careers were disrupted by the crash in the industry. Longer books dealing with more recent dislocations could have been compiled that listed everyone who lost their houses by virtue of corruption in the mortgage market compounded by government apathy, but it would be impractical to do so.
Even so, I recommend THE TEN-CENT PLAGUE. While the political aspect of the horror comics' demise may not have been fully proved, the book is still wonderfully informative and, if read with a modern eye, has a few things to say about the manufacturing of consent and the demonization of hitherto-acceptable aspects of mass society. Just today, on a morning news show, an "expert" maintained with utter seriousness that certain synthetic painkillers are a "gateway drug to heroin." I'm old enough to remember this approach with marijuana vis-a-vis heroin, and cannot but be a little skeptical.
1 of 1 people found the following review helpful.
a valuable contirbution to the study of graphic story tellling
By w j abramson
what an undiscovered gem....any fan/scholar of comics must read this book, covering in exhaustive research, every detail of the hstory of comic censorship form the ridiculous and self-righterous, to the well deserved scrutiny of the 50s...
the effort required to comple this t ome is so impressive and this is a Must Read/Must Have book for all those interested in the Full Story of comics evolution
what a gem; this is my 2nd purchase,as i have already given away my original copy.
now i want to read more by this well-grounded author
-john abramson
onjay2@aol.com
0 of 0 people found the following review helpful.
The Rise and Fall of Comic Books
By Acute Observer
The Ten-Cent Plague
David Hajdu is a Professor in the Graduate School of Journalism at Columbia University. This is a history of the Comic Book Industry in America from its beginnings in the 1930's to its destruction in the 1950's. Some were a version of the true-crime and detective magazines that were around since the 1920's, such as “Crime Does Not Pay”. [Hammett, Chandler, and others wrote stories for these pulp magazines before famous.] They reported famous crimes, some controversial. Were stories about crimes a catharsis to its readers? These books appealed to those over eighteen (p.70). [Compare them to the “Dick Tracy” comic strip.] Chapter 4 discusses “juvenile delinquency”. Was it caused by economic changes that can’t be mentioned? Working wives? The late 19th century had local censorship (Chapter 5). The US Supreme Court banned these laws in 1948.
Fredric Wertham made a career by attacking comic books. Book burning of comic books was celebrated (Chapter 6). [Echoes of Nazi Germany (p.113)?] Hollywood movies were censored in the 1930's. [The original and better “The Maltese Falcon” was banned.] Comic book publishers created a similar censorship board. The Depression taught many of the importance of money (Chapter 7). Comic books were “one of the few truly American art forms” (p.144). If comic books should be banned what about the novels favored by adults (p.147)? Chapter 8 discusses the Romance comics (oriented to girls). There was a new trend towards horror comics (Chapter 9). This followed the Hollywood movies from the 1940's. But public anxiety over juvenile delinquency was rising (Chapter 11). Hajdu writes “every story about Santa Claus is pagan” but cites no references (p.220). Where did he get that?
The “Seduction of the Innocent” began an attack on the comic book industry (Chapter 12). It claimed to be a work of scientific research. But it was not a scientific investigation (p.233). [No mention of its competition with television.] It was “psychologically oversimplified” (p.242). The Kefauver Committee largely exonerated “comics for delinquency” (Chapter 13). Kefauver’s investigation into organized crime stymied his political career in spite of his popularity (p.250). [Why?] Soon “rock and roll” music would become the new target and alleged cause of juvenile delinquency. Or was it due to working wives (p.276)? Public opinion was turned against comic books (Chapter 14). Without crime and horror comics did the juvenile delinquency rates go down (p.290)? Book Swaps were used to gather comic books and destroy them (p.297). Chapter 15 tells what happened with the Comics Code. Laws were passed to ban certain comic books. [Was this an example of “group think”?]
Don’t newspapers and the broadcast media still tell people what to think today via advertising? Weren’t some comic books killed off to eliminate competition to television (p.314)? Afterwards wasn’t there complaints that kids no longer read books? ‘MAD’ magazine is the sole survivor from that era (Chapter 16). Today your Public Library has an assortment of “Graphic Novels” in the “Young Adults” section. One of these may be the “Sherlock Holmes” stories, not possible earlier. In 1962 Speaker of the New York Assembly Joseph Carlino was exposed as having a hidden interest in the corporation that was to build fall-out shelters all over New York state; his bill failed. The Assemblyman who revealed that was Mark Lane, who became better known in the future. Comic books died after 1955 but some recovered in the early 1960's (p.330).
Page 325 has errors: that looks like Harry Truman with Liberace, and Joe McCarthy and Roy Cohn “behind Kefauver”. The Smith Brothers are using ‘Ludens’ cough drops. Julius La Rosa has the detonator hooked up to Arthur Godfrey; Jackie Gleason is between them. Martin & Lewis are to the right. Is that Grandma Moses putting a tattoo on General MacArthur? Milton Berle behind Art Linkletter? Groucho Marx behind them? Jack Webb to the right of Aunt Jemima? Bing Crosby to the left of Lincoln? Bob Hope in front? The ‘Notes’ lists the many people who lost their jobs in the comic book industry. You might just as well talk about the people who worked in factories that made radio tubes. If you look at a newspaper from fifty years ago you will notice changes in their comic strips. “Blondie” and “Prince Valiant” live on. Gone are “Dick Tracy”, “Li’l Abner”, “Little Orphan Annie”, “Smilin’ Jack”, “Terry and the Pirates”, “The Phantom”, even “Little Lulu”. The only constant in this world is change.
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