Comic Book Nation by Bradford W. Wright

As you would expect from a medium that has survived decades, comic books have changed with time to adapt to changes in culture.  In Comic Book Nation, Bradford W. Wright describes that history from the birth of comics as a new medium in the 1930s through the 1990s. Though the book was published a decade ago, it still provides a good perspective on where comics are. He mentions the advent of electronic publishing at the close of the book. I think it is fair to say that electronic publishing and distribution has not radically changed comics, though there may be potential for that in recent developments in the business of self-publishing comics electronically.

Bradford is an academic historian. Comic Book Nation is intended to be a cultural history of comics. Of course, Bradford can’t help but cover some the same ground that other writers cover, though this book predates many of the more academic or journalistic books on the subject. Some publishers, creators, and titles are just too important and influential not to mention. Even so, he tries to stick to his purpose and show how the times were reflected in comics.

I think it is fair to say that comics, and popular media generally, reflect cultures more than they influence them. If they didn’t, they wouldn’t be popular. This reflection isn’t always simplistic, even in comics. Comics writers and artists, like other producers of popular media, tried to address the concerns and interests of their audiences, sometimes realistically, sometimes idealistically, and sometimes with cynicism.

Of course, it was Superman who sparked the immense popularity of superhero comics, and comics generally. That popularity spawned imitators, as it does today. The early Superman, created by Cleveland high school students Jerry Siegel and Joe Shuster, was a reformer. He battled gangsters and crooked politicians. He was a New Dealer. Many comics supported New Deal policies to address the Great Depression.

Superheroes made the transition to World War II with ease. Writers had to address why the costumed crusaders weren’t enlisting or bringing the war to a swift end. They must have succeeded, because superhero titles were very popular, even among American soldiers. Comics were pro-war, and many costumed heroes were battling foreign menaces, especially the Nazis, even before America entered the war.

Superhero titles floundered after the war, but other genres did well. Comics generally supported American policies of intervention in smaller nations and containment of Communism. The medium reflected the post-war hopefulness that there could be peace and international cooperation with America leading as a benevolent superpower.

The post-war years had troubles, too. People feared the misuse and spread of nuclear weapons. The Korean War was a doubtful venture that many felt lacked the clear and good purpose of World War II. This applied to Viet Nam, too, where the additional problems of guerilla warfare challenged notions of heroism.

Comic books faced other challenges. The excesses of crime and horror comics brought about industry-operated censorship. Television competed for the time and money of children.

Much of the latter part of the book shows how the comics industry found a way to survive these problems. The 1960s introduced a resurgence of creativity and superheroes, especially the flawed fantasy men of Stan Lee’s Marvel Comics. New models of distribution were introduced in the 1980s. Electronic media has the potential to reinvigorate comics.

Because my adolescence was in the 1980s, I’d like to mention a few things about it. Unlike some comics historians, Bradford spends a fair amount of time on that decade, especially in a book that covers more than 60 years. He provides a pretty good description of how Frank Miller and Alan Moore challenged the superhero model and brought a lot of new interest to it. If anything, Miller and Moore were too influential. A lot of comics are still derivative of their best works.  Imitation of success is common in comics, and too often the imitators do not have the skill or understanding of the masters.

What I’d really like to mention is that Bradford acknowledges John Byrne’s contribution. Byrne was a very popular writer and artist in the 1980s. He did some pretty good stuff, too. He also indulged in excesses that presaged the excesses of the 1990s, but at least he did it with a self-aware wink. Byrne brought fun back to comics. Then as now, I like comics with a good dose of fun.

If you’re interested in this book, you may also be interested in

Men of Tomorrow by Gerard Jones

Stan Lee by Jordan Raphael and Tom Spurgeon

The Ten-Cent Plague by David Hajdu

Will Eisner by Michael Schumacher

Wright, Bradford W. Comic Book nation: The Transformation of Youth Culture in America. Baltimore, MD: Johns Hopkins University Press, 2001.

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The Big Roads by Earl Swift

Swift, Earl.  The Big Roads: The Untold Story of the Engineers, Visionaries, and Trailblazers Who Created the American Superhighways.  Boston: Houghton Mifflin Harcourt, 2011.

The American interstate system is often thought to be a product of the Eisenhower administration.  It’s named for him.  However, the nearly 47,000 miles of interstate were conceived largely before Eisenhower’s presidency.  Even as he observed the Army’s 62-day, cross-country convoy of 1919, engineers were laying the political and technical foundations of national highways.  Earl Swift tells this longer history of the interstates in The Big Roads.

When Americans began calling for better roads, the typical road was mud.  The loudest calls for better roads at the beginning of the 20^th Century were cyclists, especially the colorful Carl Fisher.  Fisher’s most famous work is the Indianapolis Speedway, where a popular 500-mile race continues to be run.  His promotion of the Lincoln Highway, the first coast-to-coast highway (at least on paper), provided an important antecedent to the interstates.

The Lincoln Highway Association operated on a system that informed later highway development.  Rather than build a huge new highway, it selected existing roads for improvement, joining them together in a highway.  New roads were built only if necessary.  The association, a private organization that raised private funds for road improvement and route promotion, was a model for later systems in another way.  The Lincoln Highway was built and improved in pieces by a number of local and state agencies.  The association provided a route, coordination, promotion, encouragement, and sometimes funding, but the road improvements were mostly local works.

Thomas MacDonald, an Iowa highway engineer, was using a similar model as he worked for that state.  He worked with city and county road departments to coordinate improvements leading to a statewide system of decent roads.  When he became director of the Office of Public Roads, he brought this model to the federal highway program, institutionalizing it in the Federal Aid system that began in 1916.

Of course, the U.S. highways that developed under this system were not like modern interstates.  They were open to anyone along them.  In rural areas, they might have been and often still are long ribbons of pavement crossed by the occasional farm road.  In cities, they became crowded with business, especially restaurants and gas stations, that slowed traffic to a crawl.  This problems gave rise to the concept of a limited-access highway, first proposed by Benton MacKaye, the conservationist who conceived the Appalachian Trail.

MacDonald and his engineers began working the concept.  His office produced a report, authored primarily by Hubert Sinclair Fairbanks, that laid out most of the current interstate system in 1938.  Fairbanks supported that idea that better roads might solve problems related to slums and blight in cities.  The recommendations of this report and a follow-up commission were largely implemented in law in 1944, when the term “interstate” first appeared in legislation.

The plans for an interstate system languished during World War II and the years immediately following.  Eisenhower comes into the picture at this time because he strongly supported funding for the interstate system.

Highway engineers saw themselves as providing a good and giving the people what they wanted.  Along the way, as Fairbanks suggested, they could clean up the cities.  As they began to implement their plans in earnest, opposition arose.

Swift gives particular attention to two interstate opponents.  Critic Lewis Mumford provided the intellectual and philosophical foundation for the Freeway Revolt.  Joe Wiles, a black professional and veteran, organized opposition to Interstate 70 in Baltimore which resulted in changes to the plan and help unite the white and black communities in that city.  The federal and state governments began to take seriously the possibility that interstates could have a negative impact on the communities near them

The intestate system, finally completed in the 1990s, is the largest public works project in history.  Now that it is built, it needs to be maintained.  It will be expensive: $225 billion a year for the next 50 years to keep it in good shape.  That is more than twice what we’re spending.  In addition, improved fuel efficiency and reduced driving prompted by the economic downturn has reduced gas tax revenues for the Highway Trust Fund.  In the near future, we may need to find new ways to pay for maintaining our transportation marvel.

If you’re interested in this book, you may also be interested in

The Brooklyn Bridge by Judith St. George

Canals and Their Architecture by Robert Harris

Dreams of Iron and Steel by Deborah Cadbury

The Great Bridge by David McCollough

On the Mainlines by William B. Claycomb

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