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The Ten-cent Plague

the Great Comic-book Scare and How It Changed America
Jun 08, 2009DavidB rated this title 4 out of 5 stars
Comic books have been criticized since their inception as being bad for young minds but the research has always been shoddy— based on fear and condescension rather than research and the pursuit of truth. Even though comics have gained acceptance since the turn of the new century and have gone completely mainstream, still they're viewed from the opposite end of the telescope. This exhaustingly researched and meticulously thorough treatise looks at the beginning of comic books— from their birth and early childhood where the producers had no idea what their doing, to the backlash from communities, organizations and government legal bodies that nearly destroyed them. Although this book is detailed and explores the issues, it’s never dry; it’s pacing and descriptions are so good it reads like a pulp novel. Author David Hajdu interviewed numerous men and women who were working in the comic industry from the thirties through the late fifties. He did the work that the legislators, pundits and “pseudo” Doctors who criticized comics never bothered with; Hajdu looks at those who were working in the field during comics struggling beginnings and tries to understand their motivations, inspirations and what they were trying to accomplish. This book centers around the notorious “crime comics” of the 30s through 50s but places them in context with their meaning, intent, culture and environment. This book is as much about how comic-books affected culture as much as it is about how culture affected them. The book’s scope stretches as far back as the first comic strip in 1897 and concludes abruptly with the demise of the infamous EC Comics. Those who are well versed in comic-lore are sure to find new and enlightening information. The best part of this expose is that it stays away from the over-explored origins of the major comic-book characters. It looks at the industry, the people who condemned it and the writers and artist behind the panels. Hadju doesn’t completely glorify or vilify anyone, remains pretty objective and is frequently witty and funny.