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Contributions by Derek T. Buescher, Travis L. Cox, Trischa Goodnow, Jon Judy, John R. Katsion, James J. Kimble, Christina M. Knopf, Steven E. Martin, Brad Palmer, Elliott Sawyer, Deborah Clark Vance, David E. Wilt, and Zou Yizheng One of the most overlooked aspects of the Allied war effort involved a surprising initiative--comic book propaganda. Even before Pearl Harbor, the comic book industry enlisted its formidable army of artists, writers, and editors to dramatize the conflict for readers of every age and interest. Comic book superheroes and everyday characters modeled positive behaviors and encouraged readers to keep scrapping. Ultimately, those characters proved to be persuasive icons in the war's most colorful and indelible propaganda campaign. The 10 Cent War presents a riveting analysis of how different types of comic books and comic book characters supplied reasons and means to support the war. The contributors demonstrate that, free of government control, these appeals produced this overall imperative. The book discusses the role of such major characters as Superman, Wonder Woman, and Uncle Sam along with a host of such minor characters as kid gangs and superhero sidekicks. It even considers novelty and small presses, providing a well-rounded look at the many ways that comic books served as popular propaganda.
In the years between the end of World War II and the mid-1950s, the popular culture of today was invented in the pulpy, boldly illustrated pages of comic books. But no sooner had comics emerged than they were beaten down by mass bonfires, congressional hearings, and a McCarthyish panic over their unmonitored and uncensored content. Esteemed critic David Hajdu vividly evokes the rise, fall, and rise again of comics in this engrossing history. "Marvelous . . . a staggeringly well-reported account of the men and women who created the comic book, and the backlash of the 1950s that nearly destroyed it....Hajdu’s important book dramatizes an early, long-forgotten skirmish in the culture wars that, half a century later, continues to roil."--Jennifer Reese,Entertainment Weekly(Grade: A-) "Incisive and entertaining . . . This book tells an amazing story, with thrills and chills more extreme than the workings of a comic book’s imagination."--Janet Maslin,The New York Times "A well-written, detailed book . . . Hajdu’s research is impressive."--Bob Minzesheimer,USA Today "Crammed with interviews and original research, Hajdu’s book is a sprawling cultural history of comic books."--Matthew Price,Newsday "To those who think rock 'n' roll created the postwar generation gap, David Hajdu says: Think again. Every page ofThe Ten-Cent Plagueevinces [Hajdu’s] zest for the 'aesthetic lawlessness' of comic books and his sympathetic respect for the people who made them. Comic books have grown up, but Hajdu’s affectionate portrait of their rowdy adolescence will make readers hope they never lose their impudent edge."--Wendy Smith, Chicago Tribune "A vivid and engaging book."--Louis Menand,The New Yorker "David Hajdu, who perfectly detailed the Dylan-era Greenwhich Village scene in Positively 4th Street, does the same for the birth and near death (McCarthyism!) of comic books inThe Ten-Cent Plague." --GQ "Sharp . . . lively . . . entertaining and erudite . . . David Hajdu offers captivating insights into America’s early bluestocking-versus-blue-collar culture wars, and the later tensions between wary parents and the first generation of kids with buying power to mold mass entertainment."--R. C. Baker,The Village Voice "Hajdu doggedly documents a long national saga of comic creators testing the limits of content while facing down an ever-changing bonfire brigade. That brigade was made up, at varying times, of politicians, lawmen, preachers, medical minds, and academics. Sometimes, their regulatory bids recalled the Hays Code; at others, it was a bottled-up version of McCarthyism. Most of all, the hysteria over comics foreshadowed the looming rock 'n' roll era."--Geoff Boucher, Los Angeles Times "A compelling story of the pride, prejudice, and paranoia that marred the reception of mass entertainment in the first half of the century."--Michael Saler,The Times Literary Supplement(London) David Hajdu is the author ofLush Life: A Biography of Billy StrayhornandPositively 4th Street: The Lives and Times of Joan Baez, Bob Dylan, Mimi Baez Fariña and Richard Fariña.
Contributions by Derek T. Buescher, Travis L. Cox, Trischa Goodnow, Jon Judy, John R. Katsion, James J. Kimble, Christina M. Knopf, Steven E. Martin, Brad Palmer, Elliott Sawyer, Deborah Clark Vance, David E. Wilt, and Zou Yizheng One of the most overlooked aspects of the Allied war effort involved a surprising initiative--comic book propaganda. Even before Pearl Harbor, the comic book industry enlisted its formidable army of artists, writers, and editors to dramatize the conflict for readers of every age and interest. Comic book superheroes and everyday characters modeled positive behaviors and encouraged readers to keep scrapping. Ultimately, those characters proved to be persuasive icons in the war's most colorful and indelible propaganda campaign. The 10 Cent War presents a riveting analysis of how different types of comic books and comic book characters supplied reasons and means to support the war. The contributors demonstrate that, free of government control, these appeals produced this overall imperative. The book discusses the role of such major characters as Superman, Wonder Woman, and Uncle Sam along with a host of such minor characters as kid gangs and superhero sidekicks. It even considers novelty and small presses, providing a well-rounded look at the many ways that comic books served as popular propaganda.
The story of how the comic book industry anticipated the fight against fascism and helped sustain America's war effort.
Stalin's cunning and ruthlessness brought him to supreme power in the Soviet Union. Yet in the summer of 1941 he appeared to lose his touch. With unparalleled access to the Soviet archives, this text reveals why the dictator behaved as he did.
This unique volume offers a definitive new history of European economies at war from 1914 to 1918. It studies how European economies mobilised for war, how existing economic institutions stood up under the strain, how economic development influenced outcomes and how wartime experience influenced post-war economic growth. Leading international experts provide the first systematic comparison of economies at war between 1914 and 1918 based on the best available data for Britain, Germany, France, Russia, the USA, Italy, Turkey, Austria-Hungary and the Netherlands. The editors' overview draws some stark lessons about the role of economic development, the importance of markets and the damage done by nationalism and protectionism. A companion volume to the acclaimed The Economics of World War II, this is a major contribution to our understanding of total war.
OUR ARTISTS AT WAR is the first book ever published in the US that solely examines War Comics published in America. It covers the talented writers and artists who supplied the finest, most compelling stories in the War Comics genre, which has long been neglected in the annals of comics history. Through the critical analysis of authors RICHARD J. ARNDT and STEVEN FEARS, this overlooked treasure trove is explored in-depth, finally giving it the respect it deserves! Included are pivotal series from EC Comics (Two-Fisted Tales and Frontline Combat), DC Comics (Enemy Ace and the Big Five war books: All American Men of War, G.I. Combat, Our Fighting Forces, Our Army at War, and Star-Spangled War Stories), Warren Publishing (Blazing Combat), Charlton (Willy Schultz and the Iron Corporal) and more! Featuring the work of HARVEY KURTZMAN, JOHN SEVERIN, JACK DAVIS, WALLACE WOOD, JOE KUBERT, SAM GLANZMAN, JACK KIRBY, WILL ELDER, GENE COLAN, RUSS HEATH, ALEX TOTH, MORT DRUCKER, and many others. Introduction by ROY THOMAS, Foreword by WILLI FRANZ. Cover by JOE KUBERT.
Acclaimed New York Times journalist and author Chris Hedges offers a critical -- and fascinating -- lesson in the dangerous realities of our age: a stark look at the effects of war on combatants. Utterly lacking in rhetoric or dogma, this manual relies instead on bare fact, frank description, and a spare question-and-answer format. Hedges allows U.S. military documentation of the brutalizing physical and psychological consequences of combat to speak for itself. Hedges poses dozens of questions that young soldiers might ask about combat, and then answers them by quoting from medical and psychological studies. • What are my chances of being wounded or killed if we go to war? • What does it feel like to get shot? • What do artillery shells do to you? • What is the most painful way to get wounded? • Will I be afraid? • What could happen to me in a nuclear attack? • What does it feel like to kill someone? • Can I withstand torture? • What are the long-term consequences of combat stress? • What will happen to my body after I die? This profound and devastating portrayal of the horrors to which we subject our armed forces stands as a ringing indictment of the glorification of war and the concealment of its barbarity.
The Second World War might have officially ended in May 1945, but in reality it rumbled on for another ten years... The end of the Second World War in Europe is one of the twentieth century's most iconic moments. It is fondly remembered as a time when cheering crowds filled the streets, danced, drank and made love until the small hours. These images of victory and celebration are so strong in our minds that the period of anarchy and civil war that followed has been forgotten. Across Europe, landscapes had been ravaged, entire cities razed and more than thirty million people had been killed in the war. The institutions that we now take for granted - such as the police, the media, transport, local and national government - were either entirely absent or hopelessly compromised. Crime rates were soaring, economies collapsing, and the European population was hovering on the brink of starvation. In Savage Continent, Keith Lowe describes a continent still racked by violence, where large sections of the population had yet to accept that the war was over. Individuals, communities and sometimes whole nations sought vengeance for the wrongs that had been done to them during the war. Germans and collaborators everywhere were rounded up, tormented and summarily executed. Concentration camps were reopened and filled with new victims who were tortured and starved. Violent anti-Semitism was reborn, sparking murders and new pogroms across Europe. Massacres were an integral part of the chaos and in some places – particularly Greece, Yugoslavia and Poland, as well as parts of Italy and France – they led to brutal civil wars. In some of the greatest acts of ethnic cleansing the world has ever seen, tens of millions were expelled from their ancestral homelands, often with the implicit blessing of the Allied authorities. Savage Continent is the story of post WWII Europe, in all its ugly detail, from the end of the war right up until the establishment of an uneasy stability across Europe towards the end of the 1940s. Based principally on primary sources from a dozen countries, Savage Continent is a frightening and thrilling chronicle of a world gone mad, the standard history of post WWII Europe for years to come.
Billy Strayhorn (1915-1967) was one of the most accomplished composers in American music, the creator of such standards as "Take the 'A' Train", yet all his life he was overshadowed by his friend and collaborator, Duke Ellington. Through scrutiny of Strayhorn's private papers and more than five hundred interviews, Hajdu revives Strayhorn as one of the most complex and tragic figures in jazz history.