The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America (Hardcover)

by David Hajdu (Author) "The first mission of the funny pages was to convoke the lower classes..." (more)
Key Phrases: book swap, objectionable comic books, comics legislation, New York, Bill Gaines, Crime Does Not Pay (more...)

Editorial Reviews

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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Product Details

• Hardcover: 448 pages
• Publisher: Farrar, Straus and Giroux; 1 edition (March 18, 2008)
• Language: English
• ISBN-10: 0374187673
• ISBN-13: 978-0374187675
• Product Dimensions: 9.1 x 6.3 x 1.7 inches
• Shipping Weight: 1.4 pounds (View shipping rates and policies)
• Average Customer Review: 4.4 out of 5 stars See all reviews (41 customer reviews)
• Amazon.com Sales Rank: #44,380 in Books (See Bestsellers in Books)

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  #26 in	Books > Literature & Fiction > History & Criticism > United States > 20th Century
  #89 in	Books > History > United States > 20th Century > 1945 - Present

Customer Reviews

Most Helpful Customer Reviews

86 of 90 people found the following review helpful:

5.0 out of 5 stars "I think Hitler was a beginner compared to the comic-book industry!", March 18, 2008

By	Kerry Walters (Lewisburg, PA USA) - See all my reviews (TOP 50 REVIEWER)    (REAL NAME)

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.

26 of 27 people found the following review helpful:

5.0 out of 5 stars Thoroughly Entertaining and Thought-Provoking!, March 21, 2008

By	Dorian Tenore-Bartilucci (Whitehall, PA USA) - See all my reviews (REAL NAME)

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.

24 of 26 people found the following review helpful:

5.0 out of 5 stars Censorship in four colors, March 18, 2008

By	Shelby (usa) - See all my reviews

This book is an interesting overview of the "beginning of the end" of the great1950s' crime and monster comic craze that featured horrific comic book titles like Dick Briefer's The Monster of Frankenstein and The EC Archives: Crime Suspenstories Volume 1 (The Ec Archives), both of which quickly gets cancelled due to the creation of the self-imposed Comic Code Authority. The fuss starts when Fredric Wertham's Seduction of the Innocent (a scathing assault on the comic book industry due to its use of sex, violence and deviate behavior - all of which was aimed at children) is published and garnishes enough controversy to warrant a Senate committee hearing. The result: decades of censorship and wimpy white-bread superheroes cast as role models for the youth of America. THE TEN-CENT PLAGUE is a must read for any golden age comic fan.