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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.) Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
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