Showing posts sorted by relevance for query Ku Klux Klan. Sort by date Show all posts
Showing posts sorted by relevance for query Ku Klux Klan. Sort by date Show all posts

Friday, December 21, 2012

Superman versus the Ku Klux Klan by Rick Bowers

On February 5, 1946, The Adventures of Superman radio program opened with a new introduction:

Yes, it’s Superman.  Strange visitor from another planet, who came to earth with powers and abilities farbeyond those of mortal men.  Superman, defender of law and order, champion of equal rights, valiant, courageous fighter against the forces of hate and prejudice!

This announced the beginning of the radio Superman’s struggle with post-war social issues, especially a campaign against racial and religious intolerance.  In this adventure, Jimmy Olsen infiltrated the Guardians of America, a fictional stand-in for pro-Nazi groups that were operating in the United States at the time.  This was only the beginning.  Later that year, Adventures would feature a 16-episode story in which Superman took on the Clan of the Fiery Cross, a stand-in for the Ku Klux Klan (KKK).

Behind these fictional stories of Superman were real-life adventures.  The KKK was attempting to launch a new national membership drive, playing on the insecurities people felt after World War II.  There were real infiltrators of the KKK and other organized hatemongers who exposed the workings of these organizations in the media.  Rick Bowers tells the story of these men and the producers of the comic book and radio Superman in Superman versus the Ku Klux Klan.

Superman had been dealing with cultural concerns from his beginning.  When Jerry Siegel and Joe Shuster, Jewish high-school students in Cleveland, created Superman in the 1930s, they pitted him against criminal gangs and crooked politicians.  As Nazi Germany began to rise as an aggressive European power, the hero opposed Nazis at home and abroad.  During the war, he protected the home front.   Though it is not the focus, Bowers describes how Superman has changes with the concerns of the times.


The Klan has roots going back to the Reconstruction era after the Civil War.  It started as a jokey order of former Confederate Army officers in Tennessee who imitated the mystery religion-inspired fraternal orders that were popular at colleges, with mysterious rituals and strange names.  It spawned imitators that secretly gathered in Nashville to organize themselves in 1867.  Former Confederate General Nathan Bedford Forrest was the first Grand Wizard, who lead the Klan in opposition to Reconstruction, including domestic terrorism against blacks and white proponents of racial equality and Reconstruction policies.  The violence of the Klan members, called Ghouls, eroded the organization’s popularity.

William J. Simmons launched a campaign to revive the Klan, taking it national in 1920.  For Simmons it was largely a moneymaking scheme, though he seemed happy to promote intolerance of blacks, Jews, Catholics, immigrants and anyone else who wasn’t a white, male Protestant.  (I’m a white, male Protestant and I find nothing in Protestantism, or Christianity in general, that justifies the intolerance promoted by the Klan.)  Successors led the Klan to political activism in the 1920s, and it became very powerful, but front-line violence and leadership hypocrisy undermined their position.  The post-war membership campaign, led by Samuel Green who was Grand Dragon of the Georgia Realm, was thwarted by law enforcement and equal rights advocates with help of medial like Adventures.

The library helpfully labeled Bowers’ book with a sticker that reads, “TEEN.”  I suppose it is a young adult book, though I think it is within the grasp of many middle school students.  It is an unusual introduction to the history of bigotry in American and the movements that promoted equality, but the tie to a popular superhero might make the subject more appealing to kids in school.  It made me pick up the book, and I’m far passed my school days.

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

Bowers, Rick.  Superman versus the Ku Klux KlanWashington, DC: National Geographic, 2012.

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Sunday, July 10, 2016

Rising Tide by James M. Barry

The Mississippi River is powerful. I’ve seen it. I grew up in the northern tip of the river’s delta and now live near one of its major tributaries. John M. Barry’s history of the 1927 flood of the Mississippi, Rising Tide, is only partly about the power of the river. It is more about the power of men, particularly the political power of the men who have tried to exert control over the river.

The first political battle related to the river took place in the 19th Century. It was a conflict between the nation’s military engineering establishment and their increasingly influential civilian counterparts over who would control Mississippi River policy. The principal actors and figureheads for the two sides were Andrew A. Humphreys, chief of the U.S. Army Corp of Engineers, and James B. Eads, St. Louis-based civil engineer. The Corp largely won this battle, maintaining a controlling voice in river policy, but the resulting agency, the Mississippi River Commission, adopted a theory of practice that neither Humphreys or Eads supported. It would lead to floods on the river becoming increasingly bad.

That conflict doesn’t completely disappear, but it is overtaken by the greater flow of money, politics, society, and race, mostly centered in New Orleans, Mississippi’s Yazoo Valley, and Washington, DC. It is hard to give each player his due in a brief review of Barry’s book. Barry focuses on Leroy Percy, who had great influence on river policy before, during and after the flood. He was a planter in the Mississippi-Yazoo Delta and, briefly, a U.S. Senator from Mississippi. He was also a relative of Walker Percy, one of my favorite authors.

The flood made political careers and had lasting effects. President Calvin Coolidge appointed his Secretary of Commerce, Herbert Hoover, to lead relief efforts after the flood. The publicity and public goodwill that accrued to Hoover during this period helped to usher him into the White House as Coolidge’s successor. Hoover’s lack of follow-through on promises to black leaders created a crack between in the relationship between African-American’s and the Republican Party that led to a serious split.

Huey P. Long also owed some of his success to the flood and its aftermath. New Orleans business leaders promised to provide relief to neighbors who would be flooded by the dynamiting of levees to protect the city. Afterward, these men did everything they could to minimize their liability and did not even pay one-tenth of the cost of damages caused by the flooding. Long rode a wave of resentment against New Orleans aristocrats into the Louisiana governor’s office. Once there, he used his position to strip the New Orleans elite of as much power as he could. As the city elites became more insular and focused on protecting what they had, rather than growing their businesses and community, New Orleans lost its position as the leading city of the South as other more welcoming cities grew.

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


Barry, James M. Rising Tide: The Great Mississippi Flood of 1927 and How It Changed America. New York: Simon & Schuster, 1997.

Sunday, September 23, 2018

Why Comics? by Hilary Chute


I enjoyed reading comic books as a kid. Sometimes I enjoy reading them as an adult. Comics have always been for adults (and kids, too). While popular superhero comics have told stories of the physical and moral paragons of our fantasies, comics have also been a place accessible to those who didn’t see themselves represented in other media. The combination of words and pictures, sometimes more of a juxtaposition, that are the language of comics can powerfully present a point of view. Hilary Chute considers the power of comics to communicate the experience of individuals and subcultures in Why Comics?

While Chute focuses on comic books, she considers cartooning more broadly, especially the early cartoons that appeared in British magazines (quickly imitated in the U.S.) and the American newspaper comic strip. While some newspaper comics were designed to appeal to kids, many were meant to attract adult readers. They often depicted people from poor and immigrant communities. In addition, cartooning could also be very artistic and even in the early days of comic strips some artists were recognized for the quality of their images and storytelling, such as Winsor McCay and George Herriman.

Because Chute generally focuses on groups that were historically or currently marginalized, much of the book focuses on underground and independent comics. I’ll admit that I’ve not particularly been a fan of underground comics. My earliest introduction to underground comics in the 1980s was mostly to 1960s and 1970s books that featured drug culture and bizarre or pornographic depictions of sex. In the subsequent years, I’ve come across some incredibly good underground, literary or artistic comics. Chute discusses some of them such as Art Spieglman’s Maus, Marjane Satrapi’s Persepolis and Harvey Pekar’s American Splendor. I’m a Midwesterner and I was amazed to see Pekar’s depictions of scenes I might see in my own town.

Comics were born as a mass media, which may explain some of the stigma attached to them, and mainstream comics have always been produced in factory-like manor with a division of labor (writer, penciler, inker, etc.). Some creators were uncredited, or one name appeared on the work of many (this practice was common in the newspaper comic strips, too). Undeground and art comics were more often the work of an auteur, who produced the entire work. This opened up comics to more individual perspectives that strayed farther from the mainstream. Comics can powerfully represent personal experience or memories because it is like memory: it mixes words and images, it can readily present comparisons and contrasts, and it can show past, present, future, real and imagined on the same page.

I don’t plan on adding a lot of underground comics to my reading list, but I did enjoy Chute’s book. If someone is looking for an introduction to comics that are outside the mainstream and done well, Why Comics? is a good place to start.

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

Chute, Hilary. Why Comics?: From Underground to Everywhere. New York: Harper, 2017.

Monday, September 1, 2014

Scott Pilgrim Gets It Together by Bryan Lee O'Malley

Scott Pilgrim Gets It Together is the fourth volume of a six-volume work by Bryan Lee O’Malley. In reviewing other volumes of the series, I’ve mentioned that the story is a pilgrimage. In this volume, things start moving.

Nothing signals a figurative move like an actual move. Scott’s friend and bandmate, Kim, moves from her apartment into a house with some friends. One of these friends has sound editing equipment, so Scott’s band, Sex Bob-omb, moves from playing clubs to recording an album. Eventually, Scott is forced to move because the lease is up on the apartment he shares with Wallace.

The important moves in the series, though, are Scott’s stumbling from an extended adolescence toward adulthood. His internal challenges are represented by external challenges. In order to have a place to go when he leaves the apartment he shares with Wallace, he proposes to move in with Ramona. One can imagine how disastrous this might be in the state of their relationship at the start of the book; Scott must make an emotional move to Ramona and responsibility first.

This emotional move is achieved in several stages. Scott practices self-control by resisting the temptation for an easy, breezy summer fling with a woman he knew from school who has a crush on him. He takes on responsibility by getting his first job as a dishwasher at age 23.

His other conflicts are represented or resolved in combat. It wouldn’t be Scott Pilgrim without cool fight scenes. His relationship with Ramona is haunted by his not actually broken off relationship with Knives. Knives’ vengeful father hunts down and attacks Scott. In addition, another of Ramona’s evil exes arrives. It’s neat that he survives combat with Mr. Chau and defeats Roxie. The powerful actions he takes are to confess his love to Ramona, accept the baggage of her past, and treat Mr. Chau (an through him Knive’s) with respect.

Self-control, responsibility, love, acceptance, and respect are a decent set of virtues for a young man to practice. Scott is not perfect, but his journey isn’t to perfection, it’s to maturity.

Bryan Lee O’Malley also wrote

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


O’Malley, Bryan Lee. Scott Pilgrim Gets It Together. Portland, OR: Oni Press, 2007.

Saturday, September 5, 2015

Miss Mizzou by J. B. Winter

Miss Mizzou was a secondary character in the Steve Canyon comic strip. She may not have stood out from the other bombshells in the cartoon pilot’s adventures, but she made quite an impression on the university from which she took her name (my alma mater, the University of Missouri) and the town that proudly housed it (Columbia). J. B. Winter talks about the girl in the overcoat (and maybe nothing else) and her impact in a mid-Missouri community in his book Miss Mizzou: A Life Beyond Comics.

Milton Caniff was a very well regarded cartoonist. His work on Terry and the Pirates was an inspiration to many in the field. He left that strip in 1947 to start another adventure comic, Steve Canyon, which he would own. He spoke at the University of Missouri in 1949. It bore the nicknamed Mizzou even before then though the university did not officially embrace it until 2004. Caniff apparently enjoyed the trip because he chose Mizzou as the name of a character he introduced in 1952, and made Columbia her hometown.

Caniff took inspiration from waitress he knew as a student at Ohio State University, Marilyn Monroe, and, more directly, dancer and model Bek Stiner. Miss Mizzou, played by Stiner, appeared was introduced on television before appearing in newspapers. Caniff and Stiner, in the characters overcoat, appeared on the Bob Considine Show about a month before her adventure with Canyon ran.

Columbians and Mizzou students jumped on the opportunity to celebrate. The Missouri Student Government Association organized publicity events that Stiner attended over a weekend about a month after the character appeared in newspapers. In 1954, a journalism fraternity proposed a Miss Mizzou-themed contest and calendar as a fundraiser; Caniff agreed to let them do it. The contest ran from 1955 to 1971, and the skits that became associated with it were popular.

Winter’s slender book is a quick read, but still very informative. He concentrates mostly on the character’s impact on the titular school and city than on her adventures in the comics. Even so, comics fans may enjoy the book because few character have been embraced by community in this fashion or had such an influence

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


Winter, J. B. Miss Mizzou: A Life Beyond Comics. Lexington, KY: CreateSpace, 2014.

Saturday, October 19, 2013

300 Books Reviewed on Keenan’s Book Reviews

I’ve posted reviews of 300 books on this blog. It’s hard to believe.  Here are links to the 50 most recent posts. Further down are links to more reviews.

First Time Reviews






Additional and Expanded Reviews


Continuation of list of 250 books reviewed


Thursday, April 29, 2021

The Phantom Unmasked by Kevin Patrick

The Phantom is a long-running newspaper comic strip that first appeared in the New York Journal in 1936.  He was a pulp-adventure hero who protected his jungle home while fighting piracy and crime around the world. His unique twist, at least visually, was his outfit of tights and trunks, with a domino mask to obscure his features. More than a year before the appearance of Superman, the Phantom was dressing like a superhero.

In parts of the world, people consider the Phantom to be the very first superhero. Though he persists in American newspaper pages, he has not been very popular in the U.S. in comparison to similar characters. In other part so of the world, notably Australia, Sweden and India, he is possibly the most well-known and followed comics characters. How did a middling American adventure comic become so popular overseas? Comics scholar Kevin Patrick wrote a dissertation about it, and has since turned than dissertation into his book, The Phantom Unmasked.

It started with the general popularity of newspaper comic strips in the United States. As the American market became saturated, the features syndicates that distributed comics sought to expand by marketing to foreign publishers. While they faced objections in some markets, they had the advantage of being cheap and plentiful. In addition, the American syndicates worked with local syndicates or publishers to adapt their comics to local tastes and customs. This included The Phantom.

Lee Falk, writer of the strip, conceived of a character who was likely to be popular by taking ideas from popular jungle stories and hero pulps. He noted that he took inspiration form Edgar Rice BurroughsTarzan of the Apes (serialize in All-Story magazine) and Rudyard Kipling’s The Jungle Book. The name of the Phantom is suggested by The Shadow, one of the most popular pulp magazines. The Phantom marked his enemies with the stamp of his skull ring, similar to the signet of The Spider, who more often left his mark on a corpse than a living foe. The skull-mark itself may have been inspired by the death’s head ring of Operator 5; though that ring was loaded with an explosive charge.

Patrick traces the spread of The Phantom from the United States to overseas markets, especially Sweden, which would become a center of oversees Phantom media production, India and his homeland of Australia. While he considers the features of the strip that make it popular in these countries, he also explores the marketing and publishing practices of the features syndicates in America and abroad to show how The Phantom was a financial as well as a popular success. The Phantom Unmasked is as much a business history as it is a comics history, though the two have always fit closely together.

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

Comic Book Nation by Bradford W. Wright

Kirby by Mark Evanier

Men of Tomorrow by Gerard Jones

Miss Mizzou by J. B. Winter

Mr. America by Mark Adams

The Secret History of Wonder Woman by Jill Lepore

Superman versus the Ku Klux Klan by Rick Bowers

The Peerless Peer by Philip Jose Farmer

Why Comics? by Hilary Chute

Patrick, Kevin. The Phantom Umasked: America’s First Superhero. Iowa City: University of Iowa Press, 2017.