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The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America, by David Hajdu
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In the years between World War II and the emergence of television as a mass medium, American popular culture as we know it was first created--in the pulpy, boldly illustrated pages of comic books. No sooner had this new culture emerged than it was beaten down by church groups, community bluestockings, and a McCarthyish Congress--only to resurface with a crooked smile on its face in Mad magazine.
The story of the rise and fall of those comic books has never been fully told--until The Ten-Cent Plague. David Hajdu's remarkable new book vividly opens up the lost world of comic books, its creativity, irreverence, and suspicion of authority.
When we picture the 1950s, we hear the sound of early rock and roll. The Ten-Cent Plague shows how--years before music--comics brought on a clash between children and their parents, between prewar and postwar standards. Created by outsiders from the tenements, garish, shameless, and often shocking, comics spoke to young people and provided the guardians of mainstream culture with a big target. Parents, teachers, and complicit kids burned comics in public bonfires. Cities passed laws to outlaw comics. Congress took action with televised hearings that nearly destroyed the careers of hundreds of artists and writers.
The Ten-Cent Plague radically revises common notions of popular culture, the generation gap, and the divide between "high" and "low" art. As he did with the lives of Billy Strayhorn and Duke Ellington (in Lush Life) and Bob Dylan and his circle (in Positively 4th Street), Hajdu brings a place, a time, and a milieu unforgettably back to life.
- Sales Rank: #894704 in Books
- Published on: 2008-03-18
- Released on: 2008-03-18
- Original language: English
- Number of items: 1
- Dimensions: 8.94" h x 1.49" w x 6.67" l, 1.51 pounds
- Binding: Hardcover
- 448 pages
Amazon.com Review
Amazon Significant Seven, March 2008: I may be alone here, but when I read Michael Chabon's The Amazing Adventures of Kavalier and Clay, a whole strata of American artists came to life for me. Ever since then I've been waiting for a book like David Hajdu's The Ten-Cent Plague to come along and show me the contours of this world. Anyone who remembers Positively 4th Street will recognize in this new book Hajdu's peerless ability to weave first-person recollections with an acute perspective of America at a pivotal moment in its cultural timeline. The rise of comics as a mode of expression, an outlet for entertainment, and, rather tragi-comically, as a target for censorship, couldn't be more compelling in anyone else's hands. In deft narrative strokes Hajdu creates a colorful, character-driven story of our first real--and lasting--counterculture (if the burgeoning popularity of graphic novels is any indication) and shows why we embrace it still.--Anne Bartholomew
From Publishers Weekly
Starred Review. After writing about the folk scene of the early 1960s in Positively 4th Street, Hajdu goes back a decade to examine the censorship debate over comic books, casting the controversy as a prelude to the cultural battle over rock music. Fredric Wertham's Seduction of the Innocent, the centerpiece of the movement, has been reduced in public memory to a joke—particularly the attack on Batman for its homoeroticism—but Hajdu brings a more nuanced telling of Wertham's background and shows how his arguments were preceded by others. Yet he comes down hard on the unsound research techniques and sweeping generalizations that led Wertham to conclude that nearly all comic books would inspire antisocial behavior in young readers. There are no real heroes here, only villains and victims; Hajdu turns to the writers and artists whose careers were ruined when censorship and other legal restrictions gutted the comics industry, and young kids who were coerced into participating in book burnings by overzealous parents and teachers. With such a meticulous setup, the history builds slowly but the main attraction—EC Comics publisher Bill Gaines's attempt to explain in a Senate committee hearing how an illustration of a man holding a severed head could be in good taste—holds all the dramatic power it has acquired as it's been told among fans over the past half-century. (Mar.)
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From Booklist
The movies and rock ’n’ roll have had brushes with censorship, but the comic-book industry was nearly wiped out in the 1950s by do-gooders concerned about their hypothesized detrimental effects on young readers. As Hajdu shows, comics were controversial right from their turn-of-the-century origins in newspapers, but the post–World War II development of lurid crime comic books depicting the exploits of violent gangsters aroused virulent opposition that intensified with the medium’s next step—gruesome horror titles. The latter became the target of newspaper crusades, the psychiatric establishment (led by Frederic Wertham, whose 1954 screed Seduction of the Innocent became a bestseller), congressional hearings, and censorship boards in more than 50 cities. The industry, a refuge for ethnic minorities and other outsiders who reveled in the freedoms gained by working under the radar of adult audiences, survived only through self-regulation in the form of a Comics Code that stripped comics of much vitality. As a telling coda, Hajdu appends a list of nearly 900 creators who, after the crackdown, never worked in comics again. --Gordon Flagg
Most helpful customer reviews
121 of 128 people found the following review helpful.
"I think Hitler was a beginner compared to the comic-book industry!"
By Kerry Walters
So thundered psychiatrist Frank Wertham in his 1954 Seduction of the Innocent, a book which accused comic books of breeding juvenile delinquincy (quoted on p. 6 of Hajdu's book). Today, Wertham's comparison between Hitler and comic books seems ludicrous. But at the time, millions of Americans took it seriously, and it brought down the comic book industry.
David Hajdu's wonderful The Ten-Cent Plague is a history of the culture war over comics that spanned the decade after the second world war. By the mid-40s, he claims, comic books were beyond doubt the leading form of popular entertainment, selling an astounding 80 to 100 million copies each week. Some 650 titles were released each month, and the industry employed around 1,000 writers, artists, and editors. The leading comic book publisher was EC, headed by the genius William Gaines.
The genre in those days, lead by EC, focused primarily on horror and crime, and some of the covers, interior artwork, and story lines could get gruesome: pools of blood, severed heads, stony-faced and scary killers. The artwork and storylines could get sexy too: heroines in filmy negligees, the occasional cleavage or bare foot showing. Middle class parents, egged on by a few religious leaders and political conservatives, began to express concerns, and those concerns grew into a national crusade against the "corrupting" influence of comic books. Editorials raged against them, politicians speechified against them, the Senate held hearings, and schools and churches sponsored comic book bonfires.
In an effort to salvage what it could, the comic book industry organized the Comics Magazine Association of America in 1954, and promised to watchdog its product by promoting "wholesomeness and virtue" (p. 319). But the resulting CMAA Code, written to placate the blue-noses, destroyed the comic book. Cops and other authorities were never to be depicted with "disrespect." No comic book could use the words "horror" or "terror" in its title. All "lurid, unsavory, or gruesome illustrations" were forbidden. Ditto on the depiction of the "walking dead, vampires, ghouls, werewolfs, and cannibals." Ditto on "words or symbols which have acquired undesirable meanings" (pp. 291-292).
You get the drift. The enforcement of this Code transformed comic books into "funny books." Interesting art and storylines disappeared in the wake of the Code, to be replaced with comics about anthropomorphized animals. But the kids (and adults) who'd avidly read the old comic genre wanted little to do with its antiseptic replacement. By the mid-1950s, title release per month had dropped to one-third its mid-1940s level, and 8 out of 10 comic writers, artists, and editors were out of work. Most of the titles released by EC disappeared overnight.
William Gaines rebelled against the death of the comic by publishing MAD, which in a roundabout way (sketched by Hajdu in his final chapter) inspired the underground revival of the comic book in the late 1960s. But before that resurgence, one of the most brutal massacres of any culture war fought in America gutted an entire genre of popular art, and in the process intimidated and de facto blacklisted hundreds of talented artists.
Hajdu's book is a fascinating, frightening read. My guess is that few of us--even those of us who, like me, were kids during the comic book purging era--are familiar with the witch hunt that Hadju chronicles. It's well worth knowing about, particularly in an era when a new front of the current culture wars seems to open almost every week.
30 of 31 people found the following review helpful.
Thoroughly Entertaining and Thought-Provoking!
By Dorian Tenore-Bartilucci
With THE TEN-CENT PLAGUE, David Hajdu does for comic books what his previous books did so brilliantly for music. Hajdu's research is exhaustive without being exhausting to read; THE TEN-CENT PLAGUE has the readability and vivid characters of a great novel as Hajdu tells his entertaining, thought-provoking account of the censorship debate over comic books in the 1950s, and how it trickled down into other aspects of pop culture and generation-gap clashes between youths and their parents. Instead of simply rehashing what comic fans already know, Hajdu digs deep into other areas, talking in-depth to the first-hand witnesses to these events, like the early comic creators who lost their jobs once people like Fredric Wertham and Estes Kefauver denounced comics as a corruptor of America's children -- you know, before heavy metal and video games and Fill In Your Favorite Bad Influence Here came along. :-) Hajdu brings the era and its struggles to life in a page-turner brimming with insight and affection. THE TEN-CENT PLAGUE is a must-read not only for fans of comics and pop culture, but for anyone intrigued with how censorship and power struggles shape society.
14 of 14 people found the following review helpful.
The evils done in the name of "good"
By mrliteral
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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