Crime Does Not Pay, Volumes 1 and 2
Dark Horse Archives, $49.99 per volume
Someone once quipped that a history of American theater minus Jews would be far more difficult than a history of Jewish Americans without theater. The same goes for comic books in their glory era, from the late 1930s to the early 1950s. Yes, comic superhero icons now figure in vast media merchandizing. But the moment of maximum influence takes us back three generation when comics outnumbered all other printed publications and when parents’ anxieties about war and communism were sometimes overwhelmed by fears about their children reading comics.
The strangest story of all is one easily forgotten today but treated, in the McCarthy Era, as evidence that Jewish comic publishers, editors and artists were corrupting innocent American youth. At that time “headlight” comics featuring well-endowed sweater girls were a nuisance, and perhaps worse. But “horror” comics were the real thing, proof of fears that comics-haters had been nurturing since at least Pearl Harbor.
Their rise came even before the postwar era, when superhero comics full of red, white and blue fighters had begun to bore young readers. The entrepreneurial patriarch of horror comics was indeed a suspicious character: Lev Gleason had been called to testify before congressional hearings about his support for the Spanish Republic and he had published a short-lived Popular Front magazine called “Friday” that apparently died with the Hitler-Stalin Pact.