Tuesday, February 15, 2022

CHRIS HEDGES: MASS POLITICS MUST BE ROOTED IN CLASS STRUGGLE

Jason Myles and Pascal Robert of THIS IS REVOLUTION speak with world-renowned journalist and activist Chris Hedges about the George Floyd uprisings, COVID politics, labor unrest, and the state of mass politics in the US today.

LONG READ

BY JASON MYLES AND PASCAL ROBERT
JANUARY 25, 2022
Chris Hedges. Screenshot/TRNN



From the social upheaval embodied in Donald Trump’s presidency and the 2020 uprisings for racial justice to rampant corporate plunder and increasingly widespread labor unrest, the conditions for an organized mass political movement exist in the US. So, why hasn’t that movement come about yet? Is such a movement possible in the US today? If so, what role can the left play in mobilizing it?

As world-renowned journalist and activist Chris Hedges argues, “Part of the problem with the left [today] is that it’s too engaged in political theater, it’s not engaged enough in political organizing, and it often is not literate in the most important element before us, which is class.” In their latest interview for TRNN, co-hosts of THIS IS REVOLUTION Jason Myles and Pascal Robert speak with Hedges about the possibility of mass politics in our present moment, and about the hard work of building working-class solidarity. Chris Hedges is the former Middle East bureau chief of the New York Times, a Pulitzer Prize winner, and a columnist at ScheerPost. He formerly hosted the program Days of Revolt, produced by TRNN, and is the author of several books, including America: The Farewell Tour, American Fascists: The Christian Right and the War on America, and War Is a Force That Gives Us Meaning.

Pre-Production/Studio: Jason Myles
Post-Production: Cameron Granadino

TRANSCRIPT

Jason Myles: Good morning. Good afternoon. Good evening. Welcome to another episode of This is Revolution podcast, in partnership with The Real News Network. If you like what you see with this partnership and you’d like to see more, then please remember to hit the like and subscribe button and, most importantly, hit that bell so you’re notified every time programming like this comes on The Real News. With that out of the way, let me bring in my homie, my dog, my co-host. You may know him as one of the writers for Black Agenda Report. You may know him as a writer for Newsweek. We know him on This is Revolution as the man of the mau-mau hour. He is the Pascal Robert. [applause]

Pascal Robert: Peace and greetings to The Real News audience, peace and greetings to all of our fans and subscribers. What’s going on, Jason Myles?

Jason Myles: It is always weird doing these shows, because we also want you guys to subscribe to our channel as well and watch what we do as well, but we always do things live. So we are constantly interacting. So it is a little strange to not have a chat, the new virtual studio audience, to interact with. But, slowly but surely, we are getting used to our new setup over here at The Real News. Are you excited for our guest today?

Pascal Robert: Very much so.

Jason Myles: We’ve tried to get this gentleman on the show. I think we’ve had on a few of his friends that have tried to help us. Thankfully, for our relationship with The Real News, we were able to finally get him on. Our guest is the Pulitzer Prize – I always have trouble saying that – Pulitzer Prize winning author and journalist, former foreign war correspondent for The New York Times, and he is the host of one of my favorite shows on RT, On Contact. He’s an activist. He’s a teacher. He is the Chris Hedges. [applause] Afternoon, Chris.

Chris Hedges: Thanks. Thanks for having me.

Jason Myles: Thank you for agreeing to come on the show. We’re really excited to have you, even though we don’t have our chat audience here that would be going crazy with questions and comments. Pascal, do you want to start it off with the first question? I know [crosstalk

Pascal Robert: Absolutely. Chris, you’ve been a long-time advocate and activist on the left. I want to ask you a question about the current moment that we are in. In the wake of the fact that we saw a massive online… Excuse me, public activism during the George Floyd protests, with cities all around the country seeing a level of activism that we had not seen since the late ’60s period, and with many voices on the left, particularly publications saying that that did not really translate into organizational movement politics involving the working class, there are some who have speculated that the age of mass politics, because of the hyper technological nature of society with social media, the caliber of popular culture and culture industry production we have, as well as the availability of very poor quality cheap food, has satiated the American body politic so much that we may be in the age where mass politics is obsolete. Can you address that question? Do you believe there’s any truth to the allegation that some on the left are making that mass politics has gone to its wayside in the contemporary moment?

Chris Hedges: Well, it hasn’t, but you touch on a very good point and it’s something that Sheldon Wolin raises in his book, Democracy Incorporated, that access to credit and cheap consumer goods form the role of essentially a political and a social pacifier. You’re very right about that. I asked Wolin before he died… He probably was our most important contemporary political philosopher, was the mentor to Cornel West and Wendy Brown, a lot of other great thinkers. If that access to cheap credit was cut off and if those cheap consumer goods – And we’re now, what’s inflation? Seven, eight percent – No longer became cheap, and this feeds into this system that he called inverted totalitarianism, and by that he meant all of the structures remain the same, the Congress, the courts, the press, but internally corporations have seized the levers of power. Would that perhaps produce a more traditional form of totalitarianism? He agreed. Then I think that’s how we got a figure like Trump, and all indications are that the Democrats are going to shellacked in the midterms.

Unfortunately, waiting in the wings are competent fascists like Mike Pompeo or Tom Cotton or others. We’re saved. People use the word coup for Jan. 6. It’s not that Trump didn’t want a coup, it’s that he was utterly incapable of orchestrating one. You don’t sit and eat Big Macs in front of a TV tweeting while your supporters are storming the Capitol if you want a coup. But someone like Mike Pompeo graduated first in his class from West Point. He’s really dangerous and really venal. Those people would actually carry it out, and then of course we’re getting a kind of administrative coup through the wrath of voting rights regulations that are designed, quite effectively, to lock out the poor people of color, Democratic supporters.

But I think we have to also note that this is a moment of nascent labor activity. You’ve had a series of strikes or union organizing or attempts at organizing at Amazon, Starbucks, Uber, Lyft, John Deere, Kellogg, the Special Metals plant in Huntington, West Virginia, owned by Berkshire Hathaway. I say that only because Warren Buffett has gotten a pass on all this stuff, the Northwest Carpenters Union, Kroger, teachers in Chicago, West Virginia, Oklahoma, Arizona –

Jason Myles: I think it’s all over the country, for that matter.

Chris Hedges: …Hundreds of nurses in Worcester, Massachusetts, the International Alliance of Theatrical Stage Employees. This has all been in the last couple years. The pillage on the part of the very rapacious ruling elite has now become so grotesque. I mean, Wall Street banks recorded record profits for 2021. They milked the underwriting fees from the Fed-based borrowing. They made massive amounts of money from mergers and acquisitions. What did they do with their profits? This is fueled by roughly $5 trillion in fed spending since the start of the pandemic. They used it for what they always use it for, which is to pay themselves massive bonuses and stock buybacks. You inflate the price of the stock and that increases the money that you are paid. This has been true in the defense industry, pharmaceuticals, oil, gas, all of which have had record profits. So we now [crosstalk]

Jason Myles: A practice that was illegal at one point in time.

Chris Hedges: …745 billionaires in the US have seen their net worth grow from $2.1 trillion to $5 trillion since March of 2020. Workers are pushing back. Kroger’s a good example. We can go into Kroger. People are not paid… This is true of Walmart. It’s true at major corporations, I think Walmart’s our largest employer. People, on average, in Walmart work about 28 hours a week, which puts them below the poverty line. So I think that mass politics are not dead, but I think that they’re rooted in the class struggle. I have great admiration, by the way, for the people who took to the streets, many with great risk given the lethality of our militarized police, in the wake of the George Floyd murder. But they didn’t come with a political vision, and they weren’t tied to that class consciousness which is essential, I think, for ultimately pressuring and, hopefully, overpowering and destroying the corporate state.

Jason Myles: Well, let me follow up with that same question about the George Floyd protests of the summer of 2020. How much of that do you think is COVID related? Because we were going through the lockdowns at that time. And how much of that do you think is Trump related, because Trump was definitely doubling down on his racist dog whistling at that time as well?

Chris Hedges: Well, I don’t know if it was COVID related, because people were out in the streets defying the pandemic. I mean, this was before the vaccine. So not only were they risking police retribution but they were risking the pandemic itself. The racist dog whistles by Trump, I mean, you’re talking about a dethroned or dispossessed sense of dethronement by the white working class which fuels this neofascist cult-like Republican party gathered around Trump. I don’t think that that was a major factor in… I think that the protest petered out – You’re probably better on this than I am – But kind of petered out. There was a kind of exhaustion within the protest movement itself.

Jason Myles: Well, the reason why I say COVID, I’m definitely talking about the lockdowns. We didn’t know how long we were going to be locked down. I think most Americans probably thought it was going to be a few months. We didn’t know we’d be looking at 2022. The numbers here in California are ridiculously high. I think we’re even hitting the original lockdown numbers here in California when it comes to infection. When I say COVID related, I mean that frustration of being locked down. I bring that up because, just across the way in Saint Paul a few years before, Philando Castile gets murdered on Facebook Live by police for a traffic stop in front of his girlfriend’s child. The cop actually shot into the car, luckily missing the child, and we didn’t have protests to this level. George Floyd also wasn’t the only person with a high-profile police murder. Who was the young lady in Louisville? I can’t think of her name right now, where the cops did a no-knock warrant on her. That had happened right before George Floyd as well. So, I guess, I’m saying, do you think it was a series of events that led to it? I don’t think it was [crosstalk]

Pascal Robert: Breonna Taylor.

Jason Myles: Breonna Taylor, yes.

Chris Hedges: It’s always a series of events. It’s also… There comes a point in which these kinds of police murders just gather so much weight that people can’t sit inside anymore and accept them, so, of course, people were on the street not just for George Floyd but for, largely, Black people in poor communities across the country who are just gunned down with impunity. So I think there was a cumulative effect that led to the protests. I think that was all there. But you’re right. There’s always a variety. I mean, I covered revolutions in Eastern Europe, I covered the civil war in El Salvador, I spent a lot of time in Gaza covering both of the two Intifadas or Palestinian uprisings. It’s always a series of forces that converge that create an uprising, some of which are economic. What triggers the uprising, you’re also right, is not an event that necessarily is unique in the sense that it didn’t happen in the past, but people have just had enough.

Jason Myles: In that moment where you have all these people mobilized, after you’ve destroyed police stations and the Arby’s and the McDonald’s, did the left lose an opportunity at that moment to truly organize?

Chris Hedges: Well, my sense for these protests is that they were more like flash mobs. Social media is quite effective at creating a flash mob. That’s very different from organizing. Let’s go back to the ’60s, the March on Washington or something. It’s very different from organizing a strike at Kroger’s. We have 8,000 workers now out on strike. Kroger is the fourth largest employer in the country. It’s a supermarket chain that pays its workers slave wages while its CEO, Rodney McMullen, made over $22 million, so doubling what he made in 2018. Kroger workers, like Walmart workers, the average salary is about $29,000. That’s about $16,000 below the $45,000 which most economists would argue is needed to sustain a household. It’s different.

Chris Hedges: I think part of the problem with the left is that it’s too engaged in political theater. It’s not engaged enough in political organizing. It often is not literate in the most important element before us, which is class. Yes, racism, which is always a byproduct of the class war and is used quite effectively to split the working class, that goes all the way back to the tenant farmers in the South, white tenant farmers who economically were not much better off than Black farmers but were fed this myth of whiteness and white superiority. I think it was Lyndon Johnson who said, if you can get somebody to feel racially superior, you can pick their pocket, which was essentially what happened and what happens. So I think the left has become captive to a kind of boutique activism about inclusiveness and multiculturalism. I’m not against any of this identity politics, but the core of resistance in a capitalist society is class. It’s class warfare. Unfortunately, we’re losing big time.

Pascal Robert: Well, I’d like to actually pivot off that question in terms of your last statement. One of the themes that we have on our show, This is the Revolution Podcast, is called the 50-year counterrevolution. The basic premise of that theme is that since the rise of Nixon in ’68, the 50-plus-year counter revolution is that the politics that we’ve seen in America and in the West generally has been a counterrevolution against the New Deal civil rights coalition, moving further and further in a reactionary right-wing direction, bipartisanly. Bipartisanly. One of the analyses that we make as a consequence of this 50-year counterrevolution is the loss of the concept of even challenging capitalism, which revives, after the 2008 crash, with the rise of Occupy, Bernie Sanders, and so on, so forth.

Pascal Robert: Do you think that the contemporary manifestation of what those call the left – Some would argue that we don’t have a left. We only have leftists. I’ve made that argument.

Jason Myles: [crosstalk]

Pascal Robert: …Is making some of the same mistakes of the new left in the 1960s in that it is not rooting its politics in working-class organization and the class makeup of this contemporary manifestation of a left is really made up of faculty lounge, university pedigreed-adjacent individuals, downwardly mobile professorial types who, quite frankly, are not really rooted in a working-class politics. Can we even make that argument about the new left in the ’60s in that posturing radicalism, as opposed to mobilizing the working-class as was done in the ’30s and ’40s, kind of led to a demobilization and the rise of Nixon hardhat riots, if you will?

Jason Myles: As I asked earlier on, when you divorce the movement from its soul, what movement do you really have left?

Chris Hedges: So there’s a lot there, and you raise several, I think, really important points. The left, the radical left let’s call it, the militants, the Wobblies, the old CIO, the Communist Party, which was very important to the working class, kind of written out of American history, was very powerful on the eve of World War I and very effectively crushed by Woodrow Wilson, especially through the use of the Sedition Act and the Espionage Act. People forget that this was then turned immediately on the left, not on German spies. Emma Goldman was deported under it, Eugene V. Debs, the head of the Socialist Party, was imprisoned under it.

Then in the ’30s, again, there was a real class consciousness. Again, the Communist Party was very important in terms of organizing. You’re right to signal the ’60s and it being different. I do think the ’60s were important, but I think that severance from labor was fatal. So you had the AFL-CIO under figures like George Meany and Lane Kirkland supporting Nixon’s war in Indochina and denouncing the hippies in the street. It was largely the working class and poor kids who were fighting the war in Vietnam. They couldn’t get the college deferments. They didn’t have the connections. 60,000 middle-class, largely white kids, fled to Canada, this kind of stuff. We had figures like Bill Clinton or George W. Bush all got deferments, Dick Cheney. They had ways to get out of it.

Now I was just a boy in the ’60s but my father was active in the antiwar movement. He was a veteran from World War II, had fought in North Africa and also in the civil rights movement. So I went to these events. It was actually in ’68, our house was a waystation where Yippies could crash on the floor on their way to Chicago. So this informed much of my childhood, so I think that the organizing, that’s when Ralph Nader organized his very effective consumer movement and, in fact, organized the first Earth Day. I think it was 1970. That’s when you saw the rise of Black power movements, the American Indian movement, feminists, SDS, which was the largest antiwar organization in the country before the Weather Underground. All these figures like [inaudible] destroyed it, in the same way that Huey Newton ultimately destroyed the Black Panther Party. These were important movements and empowering movements and they certainly frightened the ruling elites, which is why in 1971 you got the famous Powell Memo written by Lewis Powell which was the blueprint for the corporate or business interests to fight back. That’s where you get the phrase from the political scientist Samuel Huntington about America’s “excess of democracy.”

The civil rights movement is interesting because legally the civil rights movement achieved integration of Black elite figures, like Barack Obama, for instance, into the power structure, but didn’t address the underlying economic racism that kept the poor poor, which King, of course understood, understood there would never be equal rights without economic justice. Of course, he’s killed in Memphis defending or marching with garbage workers who were going out on strike. Essentially, that’s what my friend Glen Ford used to call Black mis-leadership class. Let me just say, Black Agenda Report is one of the publications I admire and read.

It was a species of colonialism, and if you look, for instance, at the Congo, you saw the rise of the great revolutionary and resistance fighter Patrice Lumumba who is then assassinated by the French and the CIA and replaced with Mobutu who is, of course Black, but will do the bidding of multinationals and the European colonizers. Well, we have the same kind of species of internal colonization by a small Black elite that was willing to sell out and serve the interests of imperialism and capitalism. Obama, I think, being the poster child for this. We got caught up in this idea of identity politics. Well, we have a Black or biracial president, but if you have a Black or biracial president who serves the interests of the war industry and Exxon-Mobile and Goldman Sachs and oversees mass surveillance of the American public and expands the drone program and sides with the bankers who have just fleeced the country and trashed the global economy, then you’re actually not making progress. I mean, having Clarence Thomas on the Supreme Court, who’s a rabid right-wing member of the Federalist Society, although Black, doesn’t… And I think that even to this day if you listen to the discourse, certainly within the corporate media, the fact that Buttigieg is gay or Hillary Clinton is a woman, these are irrelevant. They’re utterly irrelevant, but it’s become quite an effective mechanism to neutralize the left.

Then I want to go to your point about who is the left. Well, you’re right. The vocal left is sitting around faculty lounges or thinks Twitter is real. The real left is marching outside of Kroger’s, although some of them may be Trump supporters, and that, of course, is the point, that building class consciousness not only redirects popular power against a concentrated power, but it is a form of education itself. If we go back and look at the old union movements, even the mainstream movements like the AFL-CIO, education was a huge component. You read Emma Goldman’s autobiography and these people are working for 12 hours in sweatshops in the Lower East Side and then going to Yiddish anarchist or Marxist meeting groups in the evening. All of that needs to come back. There needs to be a fusion with the working class and understanding of how the system has gamed us.

Jason Myles: But would you agree that that figure in the late ’60s and ’70s that you’re describing, because we do – And, sorry, you’re not familiar with the show. We should have sent you some links to the show. Sorry about that. – But we make these video essays for the show, so I have to go through a lot of old archival footage. Whenever I get archival footage from the ’30s and ’40s [if I have to take like] a labor movement, it’s definitely a lot of people conspiring to strike. It’s always labor conspiring to strike against management. That figure gets replaced by the Archie Bunker type of blue collar. He becomes what blue collar is, right? This kind of right wing, racist reactionary, and his hippie daughter and her silly hippie boyfriend become stand-ins for what people view as the left through the ’80s and of course the ’90s.

It’s interesting that you talk about solidarity and class consciousness because I feel like that’s a conversation that is constantly getting conflated, more so online than maybe in the actual organizing world. Because when you actually get out and organize, you do know how to talk to people. We had Luke Mayville on our show a few months back that actually has been organizing in the very red state of Idaho to get some progressive measures passed. One of the first questions that we had asked him was working with racists. He definitely said, well, there’s a difference between working with someone that is racist and politically active. If you’re a Proud Boy or a Three Percenter, you’re not going to get through to that guy. But if maybe you don’t have the right words around your Black and Brown neighbors, maybe we can talk about some issues that we can all agree upon.

Chris Hedges: Well, yeah, exactly. I mean, for instance, let’s look at Kroger. So you now have a strike by Kroger employees, 8,000 unionized employees at King Soopers. They went on strike in Colorado on Jan. 12. I don’t know, I haven’t done a survey, but I’m certain that there are Trump supporters in there. But you keep them focused on an economic injustice and that essentially creates a kind of class consciousness. I mean, that comes out of Marx. That’s right. They suddenly begin to understand where the real configurations of power lie. They understand that their economic suffering is not caused by undocumented people or Black people. Statistically, of course, it’s ridiculous, but Black people or Brown people taking their jobs. There is in that organizing a kind of salutary force that mitigates against the caricatures that racists use.

I just want to be clear that the media loves to focus on the militias, which are not actually much of a threat. They’re easily taken care of probably by even a police SWAT team. The real threat comes from these contractors. I don’t know what Blackwater’s called now, Xe or something. These figures like Erik Prince and these people are all… A lot of them are recruited from the special forces, and I covered war for many years. Special force units are death squads, and they are closely aligned with the Christian right. I mean, this is one of my critiques of Antifa and the Black bloc, not that I don’t fear the rise of the fascist state, but they’re kind of focused on the low-hanging fruit.

We also have to remember that a huge percentage, Roughly, usually, 90% of those who are in combat units are white, and that’s where this Christian fascism, Trump, lies within the military, which also is very dangerous, and of course within law enforcement. So even the FBI has stopped sending out profiles of local right-wing extremists because they have so many ties to police agencies that that information is almost always shared with those extremists, and sometimes, of course, they’re the same people. So there are some very dark forces that are coalescing around us, but going after the Proud Boys or the Three Percenters or the yahoos who stormed the Capitol misses the point. When things get rough, there actually is some kind of real pushback, the state has the ability to employ some very nefarious and dark forces.

When I was at Standing Rock, for instance, we were stopped. They were trying to block the roads so it took us almost a day to drive into Standing Rock. We had to drive all the way around from the north. But we would inevitably come to a checkpoint. These were guys obviously military trained, no name tags, carrying long-barreled weapons, wearing Kevlar vests, who did not identify themselves. They were all private contractors. That is a very frightening reconfiguration, and, of course, allied with law enforcement, but held completely unaccountable.

Jason Myles: Well, we can talk about the privatization of the military. That’d be a whole other show. But one thing that you did touch on, and I know you write about, one thing I appreciate that you write about, is Christian fascism. But I did live for a while with a white Christian conservative family. One thing I found fascinating was that the right had totally infiltrated the churches. One thing we bring up here on this show, Pascal has said it many times, why doesn’t the left organize in religious spaces? Why do we sacrifice these spaces to the right? Why do you think that is? You’ve done extensive work in these spaces.

Chris Hedges: I’m also a graduate of Harvard Divinity School and my father was a minister and my mother went to seminary, so I grew up in the church. Well, the problem is that the liberal – Let’s speak about the white, mainstream church – Went the way of the rest of the culture. So instead of spirituality, which if you read, for instance, Martin Luther King, especially at the end of his book, Strength to Love, he has this kind of explanation of how one stands up against radical evil and malignant injustice. That’s where you are spiritually empowered. It’s quite a beautiful scene. They actually had just thrown a bomb into his house. It became this, how is it with me spirituality, which is just narcissism. The retreat by the church… Now the church was always fractured in the 1960s, so clergy such as my father who were marching against the war and supporting the civil rights movement, had huge opposition within the institution. I don’t want to pretend that the institution itself had signed on for this. But it kept the church vital. It gave it a kind of currency. It spoke in a language that actually reached, especially those who were suffering, from injustice. They gave that all up. They left the city with white flight. Church numbers are declining. I mean, it’s in free fall because they’re not socially relevant, they’re just little religious clubs.

Now you ask about the religious right. I do not look at the Christian right as Christians. They are Christian heretics, and part of the failure of the liberal church was to call these people out for who they are. Jesus did not come to make us all rich. You don’t have to spend three years at Harvard Divinity School as I did to figure that one out. Jesus would not bless the dropping of iron fragmentation bombs on satanic Muslims all over the Middle East – And, by the way, Jesus wasn’t white. The Romans were white. Jesus was a person of color – Would not bless the white race and in particular the white race in America above other races. This is just heretical garbage, and it serves the rise of the Christian right, which is bankrolled by the most retrograde forces of capitalism, Purdue, Tyson Foods. There’s tremendous money coming into this for a reason. It preys on the despair of largely a white working class that has been dispossessed.

I remember people asked me at the start of the Trump campaign how the Christian right could align themselves with a philanderer and a liar and someone like Trump, and I said, no, you don’t understand. These mega pastors are exactly the same as Trump. The only difference is – At least, this is anecdotal – The mega pastors’ sexual interests are probably a little kinkier than Trump’s. But they’re the same people. Just as Trump preyed on the despair of people in his sham universities or his casino, these people prey on the despair of their congregations.

I spent two years writing this book, American Fascists: The Christian Right and the War on America. I interviewed hundreds of followers, sat in creationist seminars and right to life weekends and Trinity Broadcasting, sat through their tapings, and [took] an event. I mean, I was really on the inside. All totalitarian movements embrace a form of magical thinking – This comes from Hannah Arendt, The Origins of Totalitarianism – Because the real world… They couldn’t cope within a reality-based world. So I was in Detroit with Tim LaHaye who wrote the End Times series for another seminar, and there’s these gruesome, detailed, graphic explanations, none of which is in the Bible. Even the rapture isn’t in the Bible, of what’s going to happen to non believers. Their blood is going to boil, and the battles with the anti-Christ. It was really then it struck me that this lust for apocalyptic vengeance is really a lust for a destruction of a reality-based secular world that almost destroyed them. That’s why you can’t argue – You raised this point earlier about the Proud Boys. You can’t argue them out of this belief system because it’s all they have left. In fact, you will evoke tremendous hostility and anger because by attempting to dismantle that belief system you’re going to be pushing them back into the world that almost destroyed them. I don’t use that term lightly.

From the many, many interviews I did, these people suffered, and the suffering was real. It wasn’t fictitious. Evictions, struggles with drug addiction, alcoholism, domestic abuse. I didn’t put it in the book because it was anecdotal, but almost every woman who I interviewed suffered either from domestic or sexual abuse in the Christian right. I went to a pro-life weekend in Valley Forge, Pennsylvania. They asked the post-abortive sisters to stand. There were about 400 women. The whole room virtually stood. But when I started going down and doing interviews, it turns out the woman hadn’t had one abortion; they’d had multiple abortions. They preyed on their guilt. In fact, there was a group called Priests For Life there and they were running weekends where these women would go for a retreat. They would give them dolls and they would tell them these are the children you murdered. You have to name the doll and bathe the doll and beg for forgiveness at the end of the weekend for the murder you committed and make a vow to spend your life fighting the forces of death. These are their words, which is us.

When you get inside this movement it’s very insidious and very dangerous, and it replicates exactly what the Nazis did with the so-called German Christian Church in Nazi Germany, which fused the iconography, language and symbols of the Christian religion with the Nazi Party quite effectively. So when I wrote this book and gave it the title American Fascists there was a lot of blowback, but I think I’ve been proved right. You look at the connecting tissue of Jan. 6 and it is this Christian fascism. It has already built an infrastructure, it’s already hermetically sealed millions of Americans within this structure. It has its own universities, Patrick Henry Law School, Liberty University. It has its own systems of communication. You go into towns, I’ve been there, in places like Ohio, and you can’t even drive down the street faster than about 15 miles an hour because of all the potholes and the boarded up storefronts, and there’s one gleaming structure and that’s the megachurch that’s pulling in $30,000 in donations a Sunday.

So, unfortunately, the neo fascists have done what we didn’t do. Our infrastructure on the left was really built around unions, the old union hall was built around a kind of labor community. We never, unfortunately, had a real labor party in this country after maybe Debs, and that of course is what has hurt us. You need to have a political structure allied with your union movement. Even at the height, I mean, Sweden, which created in the ’70s the welfare state we should all aspire to, had 76% union membership. I think at the highest we were about 34% or something after World War II. Now we’re down to 9%. So we’re almost starting from zero.

But I see, as I mentioned before, these strikes and these heroic mobilizations in Amazon and everywhere else as the one sign of hope. It doesn’t lie in the ballot box. It lies [crosstalk]

Jason Myles: In all fairness to unions, there was a bit of a racist problem here in this country for a while that wouldn’t allow a large part of the workforce [crosstalk]

Chris Hedges: Yes, no, without question. That, of course, crippled the movement. You go all the way back to the Pullman porters strike, which Debs led, and many of the Pullman porters were Black but when they went out on strike, they had not allowed the Black employees to join the union. You had groups like… Well, the reason Black radicals like Paul Robeson and everyone else gravitated to the Communist Party is that it wasn’t racist. There was an inclusiveness –

Jason Myles: [crosstalk] They were against lynching.

Chris Hedges: What’s that?

Jason Myles: They were against lynching at a time when even the Socialist Party wasn’t.

Chris Hedges: That’s right, that’s right. So you’re right that that racial element… That goes back to what we spoke to before, how racism is always a very effective mechanism in the hands of the ruling class to fracture and weaken the labor movement. So, yes, that’s very true. If you look at the UAW strikes in the 1930s there were Black workers. But yes, it’s always been a persistent problem. Then of course the dirty deal that Franklin Roosevelt cut with Democrats in the South is that the resurrection of labor and the ability to unionize would be denied to Blacks in the South, and also denied, of course, the GI Bill, which is how my father went to college.

Pascal Robert: Well, one of the things that I wanted to discuss with you is that, in terms of this working-class history which is a strong part of the left, one of the problems that we’ve had with the contemporary moment in terms of this contemporary left that has developed in the post-Occupy era is that there’s been a conscious effort by those dispatched by the mainstream media, MSNBC type, certain writers, neoliberal folk, to paint this thing called socialism or leftism as a white thing and divorcing the whole over 100-year history of Black leftism or Black working-class socialist politics going back to the populist movement, the Colored Farmers’ Alliance, the Black socialists and communists of the early 20th century, ’30s and ’40s. We’re making it seem like this politics is something that’s just coming out of faculty lounge white kids who are downwardly mobile. We at This is Revolution podcast were very offended by that and thought it was our job to counteract that.

As someone who is a… As I said, I write for Black Agenda Report and have for years, and you have been a fan of that publication. What do you think about the role of the Black radical left in its ability or inability to make the reality of that Black left political history known in the contemporary moment that came around during Sanders and Occupy? Do you think that perhaps an obstacle to the effectiveness of the Black radical left in making that politics known to not only Black working-class people and Black people overall, but overall mainstream America, is that perhaps there was too much of a fetishization of 1972 Black power fought in politics that was a bit unable to be transferred into the contemporary moment?

Chris Hedges: I mean, the Black radical left… And let’s go all the way back to the Black prophetic tradition, which I think is the most intellectual tradition in the United States. I would argue W. E. B. Du Bois probably is the most important intellectual in the United States and American history. You are referring to MSNBC. I mean, these are… Who owns MSNBC? Comcast. It’s their job to discredit. You were talking earlier about the Archie Bunker type. Well, those stereotypes are perpetuated for a reason, and they are stereotypes. The left people are always portrayed, although it’s not true, as kind of weak and wimpy and –

Jason Myles: Ideological.

Chris Hedges: Yeah, and kind of clueless. Those are stereotypes, and the ruling elites perpetuate those stereotypes for a reason. This is what Gramsci writes about is cultural hegemony and the ability to shape the cultural narrative as an important source of power. That was why, as Glen Ford understood, Barack Obama was so destructive to Black radicalism. I remember speaking many times with Glen about how, up until Obama, Black Americans probably had, certainly proportionately, the best understanding of the evils of empire because, of course, empire is the external expression of white supremacy. They know quite intimately how white supremacy and institutional racism works. Obama was quite a powerful force in seducing many within the Black community to support empire. It’s interesting that August Wilson’s last play, Radio Golf – I don’t know if you know it – Is really about this Obama-like charismatic young Black politician who does the interests of – He sets it in Pittsburgh, like most of his plays – Who does the interests of the Pittsburgh real estate elite. That was Obama.

So you had figures like Cornel West, for instance, who held fast to that Black prophetic tradition. They were savaged, and especially savaged within Black media, which was complicit with the Obama administration. So those figures like Cornel who stood up publicly to defend that Black prophetic tradition were really crucified. That was the power of the corporate control of the media. Remember, Clinton deregulated the FCC, one of his many assaults against the American public and the American working class, along, of course, with the destruction of welfare, and that consolidated corporate control in the hands of about a half dozen corporations who control about 90% of what Americans listen to or watch. That has just narrowed the bandwidth of acceptable political debate. So there’s those erasures of history. I mean, as Black Americans, I’m sure you’re acutely aware of this, that the ruling elites always attempt to erase or silence the history of those they have oppressed and replace it with another history. This, again, is a –

Jason Myles: Martin Luther King.

Chris Hedges: Yeah. Well, you sanitize King. He becomes frozen and, “I have a dream.” Cornel published this great anthology called The Radical King that, essentially… But nobody reads books anymore. That’s another problem.

Jason Myles: He’s on the list after you. Cornel is on the list.

Chris Hedges: I mean, I think the cultural news, information, forces which have been seized by a half dozen corporations know what they’re doing. This hasn’t just affected Blacks in America, but it’s affected whites. I mean, the whole idea that undocumented workers are responsible for your economic free fall doesn’t make any sense.

Jason Myles: And not capitalism?

Chris Hedges: Yeah. First of all, there’s only 11 million of them and all of them are getting their wages stolen from them and they have no rights. This gets back to systems of information and education. So our real education, we had the bloodiest labor wars of any industrialized country. Hundreds, hundreds of American workers were murdered in the attempt to unionize. Thousands were blacklisted, probably tens of thousands blacklisted, thousands wounded by vigilante groups. We spoke about vigilante groups before, the Pinkertons, the gun thugs that were hired. There are recurring patterns and themes within American history, and those recurring patterns and themes in the hands of the ruling elite are meant to be silenced, which is why, for those who actually want to understand their own past, where they come from, how they got there, you have to be immensely proactive. You’re not going to get it, probably, off a screen too much. It’s there but it’s not taught. It’s not understood. That rootlessness, is actually a term Hannah Arendt uses, that rootlessness is quite effective in the hands of the ruling elite.

Jason Myles: Well, are they doubling down on that rootlessness that you speak of? Recently I just heard Kristi Noem, the governor of South Dakota, wants to eliminate teaching activism to children in schools. Did you see that, Pascal?

Pascal Robert: No. But I did see that the governor of the state of Florida is trying to make it illegal to make white people feel guilty about history in education, in public schools.

Jason Myles: So Black teachers can’t make them watch Roots anymore? [sad trombone noise]

Pascal Robert: I think this whole discourse, culture wars centered around education is absurd on all fronts, but I’m not surprised by what you’re telling me about the governor of South Dakota.

Jason Myles: It’s a reimagining of America.

Chris Hedges: Well, it’s mythology, and if you don’t know where you came from then you have no ability to self-critique or change. I mean, it becomes… I watched that. I covered the war in the former Yugoslavia. So with the breakdown of Yugoslavia had competing ethnic groups who were treated into their own mythologies about Serbs or Croats or Muslims and they couldn’t even communicate with each other because none of them were speaking about a history grounded in verifiable fact. That’s exactly what’s happening with the Christian right and this… Glen Ford used to call it Trump’s white man’s party.

So I was, a few years ago, down in Montgomery, Alabama, with Bryan Stevenson and Bryan was taking me through the city. Now half of Montgomery’s Black and there was just one Confederate memorial after another, including a gigantic Confederate flag that flies on the outskirts of Montgomery when you drive down from Birmingham. Bryan said these things have all gone up in the last 10 years. And Bryan, of course, has countered this with his markers to the victims of lynching. I said, Bryan, that’s exactly what happened in Yugoslavia. You strip people of their place within a society, those social bonds that give them meaning, a sense of purpose, that project the possibility of a future, and then they retreat into these mythical identities because it’s all they have left.

I see that happening, and you see it especially within the media, because the old media catered to the interests of the elites but went out of its way not to offend one demographic or another in its whole idea of objectivity and balance, which was a canard, but was used by them. Now that’s been replaced. Matt Taibbi wrote a good book on this called Hate Inc., which has a picture of Rachel Maddow on one side of the book and Sean Hannity on the other. Now you have media catering to a particular demographic and telling that demographic what it wants to hear, but then also demonizing the opposing demographic. The “left” or “liberal media,” MSNBC, CNN, The New York Times, Washington Post, are as guilty of this as the right-wing media. That, of course, mirrors what I watched in Yugoslavia as competing ethnic groups seized their own centers of media control. That’s very, very dangerous because there’s no ability to communicate. You constantly seek to stoke anger and rage, and, again, this is a parallel with Yugoslavia. You begin to speak in the language of violence, of assassinations, of taking people out, and it’s a very short step from there to actual violence. That’s kind of the road we’re on.

Pascal Robert: I wanted to ask you a question. This might be the 800-pound gorilla in the room, but I’m going to let you, as they say in hip hop, pop culture, freestyle with this question. What is your assessment of the Bernie Sanders presidential run and its effect on American politics overall, comprehensively?

Chris Hedges: I think Bernie’s responsible for emasculating the left. First of all, I mean, Bernie has always been a de facto member of the Democratic Party. He campaigned in 1996. This was after NAFTA, after the 1994 Omnibus Crime Bill. I teach in a prison. I’ve taught in the New Jersey prison system through Rutgers University and their college credit program for almost a decade. Most of my students wouldn’t be there but for Clinton, and Biden was a driving force behind this bill. I have a very hard time forgiving them for this. I certainly can’t vote for them. So Bernie… The Democratic Party always allows an outlier, Kucinich or someone like Sanders, there with the full knowledge that the quid quo pro is that when they anoint their selected candidate, whether that’s Hilary Clinton or Joe Biden, Bernie is going to then attempt to corral his supporters to back the Democrats.

We won’t build a serious political movement in that election cycle. We certainly won’t build it by capitulating to the Democratic Party. The Democratic Party have been full partners in the assault on the American working class and on the poor. Remember, 70% of the original recipients of welfare before Clinton destroyed the welfare system were children. We just had the governor of Maine, the legislature passed a bill allowing farm workers, it’s an agriculture state, to unionize, and the Democratic governor killed it.

So Bernie… I don’t dislike him. I certainly voted for him in the primaries. I think he does care about the working class, but he does not want to jeopardize his own political position. He’s not willing to defy the Democratic Party establishment. And that’s not conjecture, because in 2014 I was in an event in New York City with Kshama Sawant, a socialist city councilwoman from Seattle, and Bernie was one of the speakers with us, along with Bill McKibben and Naomi Klein. Before the event Kshama was really pushing Bernie to run as an independent. Bernie’s response was, I don’t want to end up like Ralph Nader. Now I thought that was really telling. I am a long supporter of Nader. I was Ralph’s speech writer. He understood that if he defied the Democratic Party establishment he would be turned into a pariah like Ralph Nader, and it was a cost he wasn’t willing to pay. So, therefore, I think Bernie is both politically and morally unfit at this point to lead the kind of resistance that is imperative if we are going to wrest back our, very flawed, but wrest back our democracy. Bernie isn’t going to do it.

Pascal Robert: Well, this is the thing. As you know, I’m a mentee of both Bruce Dixon and Glen Ford. Bruce Dixon, who was the original author of the Bernie Sanders is a sheepdog for the Democrats statement, that comes from Bruce Dixon. God rest the soul to the both of them. You don’t think – Hear me out on this – That Bernie Sanders running publicly as a democratic socialist within the Democratic Party and capturing about 30 to 34 percent of support within the Democratic Party, opening the political opening over to the window, to where actually people are identifying with socialism as a political option, having people talk about the legitimacy of policies like Medicare for all after people thought the Obama neoliberal Obamacare was some kind of great success story, things like universal health care, things like universal public education, higher education at the university level. You don’t think that the political discourse and ideological options that America has considered even rhetorically legitimate because of the rise of his campaign, you don’t find that to have been a net positive in terms of its effect on the American body politic?

Chris Hedges: That is a net positive. But we have to acknowledge the Democratic Party will never give it to us. It’s corporate controlled, and all you have to do is look at its major donors. So the Democratic Party freaked out with Bernie’s popularity in the primaries the second time around. Joe Biden’s campaign was going nowhere. They reached out for a Republican replacement, Michael Bloomberg. That didn’t go anywhere. Then Obama got on the phone and got everyone to drop out so we got Biden. What’s Biden done? Nothing. [crosstalk] minimum wage. He said everybody would get $2,000 checks. It’s all crap.

Jason Myles: Look here, Jack. He said you get two checks.

Pascal Robert: I want to pivot to the next question. This might be my last because I know Jason wants to jump in here. In that regard, and I want to let you freestyle on this one as well, Chris. We have this 50-year plus counter revolution we talked about where we had this bipartisan consensus, Democrat, Republican. They’re rooted in neoliberalism, which we define as a hyper fancy word for corporate privatization, for those who don’t understand what it is. Pretty much in the mind of the American consciousness, largely because of NAFTA and GATT, the Democrats were the worst stewards of the neoliberal turn or the hyper corporate, hyper privatization politics that brought us to this moment, in the consciousness of many Americans. I don’t want to argue whether that’s true or not.

But particularly because of NAFTA and GATT, and also in the minds of many Black Americans because of mass incarceration and the Clinton Crime Bill, the stain of the neoliberal turn and the corporate turn in American politics has been levied more adversely on Democrats. Usually when you say the word neoliberal, in the consciousnesses of most people they think Democrats and liberals now. Do you not think with the rhetoric and the posturing and the discourse in the Biden administration with things like the child tax credits, the Build Back Better, that – And I’m asking your thoughts – That the Democratic Party, though they may not be down with the Sanders agenda, because of the crisis of legitimacy they find themselves in, has no choice to either pivot to Keynesianism or social democracy or surrender to Trump-ism without any option.

Chris Hedges: They’ll never pivot to Keynesianism because they’ve been bought and paid for. So what has Biden presided over? He’s presided over the loss of extended unemployment benefits, rental assistance forbearance of student loans, emergency checks, the moratorium on evictions and foreclosures, and now the ending of the expansion of the child tax credits, all as the pandemic is surging. You have the Americans who are uninsured or those who are covered by Medicare who are often front line workers that can’t be reimbursed for over the counter COVID tests they buy. What did Glen Ford used to say? The Democrats aren’t the least worst, they’re the most effective worst, or he may have said the most effective [crosstalk].

Jason Myles: Evil.

Pascal Robert: The most effective evil.

Chris Hedges: He’s right, he’s right. So it’s rhetorical. I mean, you can get your corporate tyranny dished out to you by women and gays and people of color or you can get it served out by neoconfederate racists but you can’t vote against the interests of Goldman Sachs in the American political system. It’s impossible. [crosstalk]

Pascal Robert: You don’t believe the Democratic Party or any flank of American capital, the right flank or the left flank, is… Do you think that we are in a position where neoliberalism or the move to hyper corporate American politics and capitalism has been so deleterious that there’s going to be a need to pivot away from it? You do not believe that the pivot away from neoliberal capitalist American politics is happening in this current moment of crisis at all?

Chris Hedges: I do, but it’s happening with front line workers. It’s not happening within the Democratic Party. The power of figures like Biden or Schumer or Pelosi is that they’re the spigot. They get all the money and then they dole it out. It’s why they’ve domesticated AOC in the squad and everyone else. Without that money, that dark money, they wouldn’t hold political power. And they know it. They’re not going to give that up. They’d rather bring the whole thing down with them because even when they lose then they become lobbyists or they go to the Council on Foreign Relations. The elites all take care of themselves. But it isn’t going to come from the Democratic Party. I’m all for the overthrow of the corporate state. In fact, I think that’s an imperative. The Democratic Party does not function as a political party.

Jason Myles: Oh, we’re agreeing with you. We’re agreeing with you. We’re just saying, do you think that there is going to be a slight pivot, that their Overton window, as they say, has shifted?

Chris Hedges: No. Biden’s already pivoted to the right. He’s pivoted. To the right.

Jason Myles: I mean, he’s been that way since the mid ’70s.

Chris Hedges: Well, that’s why he was selected. I mean, Biden has assiduously served… They used to call him senator credit card. By the way the credit card companies even back then were employing his son Hunter Biden for staggering sums of money. That’s why he was selected. They will fight over that narrow tranche of undecided Trump voters. 80 million people in this country don’t even vote. You never hear that number used. They just go after Jill Stein or Ralph Nader or somebody, which is ridiculous because nobody votes for Ralph and nobody voted for Jill. They’ve pivoted. They’ve pivoted to the right.

Pascal Robert: So you don’t buy into the Joe Biden is the new FDR rhetoric? [sad trombone noise]

Chris Hedges: I think people are actually running around saying that stuff. I don’t own a TV, so I insulate myself from this kind of crap.

Jason Myles: Oh, you know what, we have your email now, so we’ll just send you –

Chris Hedges: [crosstalk] …You can send it to me.

Jason Myles: We’re coming up on an hour and I do want to end on this note. You are constantly, maybe, mischaracterized as the doom and gloom guy. You always have the predictions of doom and gloom. I want to ask you this question. We did a show some time ago with a gentleman named Michael Harris who wrote a book about Star Wars. I don’t know if you remember the Star Wars movies. He uses Star Wars as a grand narrative for the left, kind of capturing what Lucas was originally talking about when he made Star Wars, that the Evil Empire was the United States and the Rebels were the Viet Cong. It gets into all the politics that Lucas was trying to put into these movies that we didn’t see and how Lucas was actually part of the new left of the late ’60s. What is your message of hope for this young burgeoning left that we see here?

Chris Hedges: I mean, for me… I mean, I read climate reports and I don’t know how anyone can be particularly optimistic given the inability on the part of the ruling elites to respond in a rational way to the ecocide. My message is that resistance is a moral imperative. All great revolutionaries: Nelson Mandela, Che … Che was a kind of mixed figure, but let’s go with Che, Václav Havel, who I knew, it didn’t really matter whether you succeeded or not. You stand with what the great theologian James Cone used to call the crucified of the earth. I mean, I do, in the end, come out of this religious tradition and you have to be willing to pay the price.

I mean, every time you want to go into a booth and vote for a Democrat you should ask yourself, what would Malcolm X do? Really, no, seriously. I mean, our two greatest prophets, contemporary prophets Malcolm X and Martin Luther King were both deeply religious people. They understood that there was a moral imperative that may even end with a loss because they couldn’t be bought. They wouldn’t sell out. They wouldn’t be quiet. The state knows what to do with prophets like that. It’s what they did to Fred Hampton. They kill them. King and Malcolm were acutely aware of that, and I think we have to find that kind of political courage to defy these forces of radical evil and stop asking what’s practical. Revolutionaries never ask what’s practical; they ask what’s right.

Jason Myles: Pascal, do you have any parting words or questions [crosstalk]

Pascal Robert: I wanted to say that I really appreciate Chris Hedges coming on our show and laying down the gauntlet in terms of his position on the contemporary moment. I don’t want you to get into prognostications because, well, maybe you do. What do you see in the immediate – Maybe you are into prognostications. What do you see in [crosstalk]

Jason Myles: I will say this, Pascal. In reading America: The Farewell Tour, there’s a couple paragraphs I actually highlighted where he called out some of the stuff that we’re talking about today in 2018 when the book came out, probably 2017 [crosstalk]

Pascal Robert: Jason gave me an opportunity. We’re still in a moment where we have global reactionary right-wing what some would call fascism on the march all over the world. We have Viktor Orbán in Hungary who is now expanding his consensus to other European countries. We thought Marine Le Pen was the nightmare of the reactionary right in France, now we have someone even worse than her with Éric Zemmour. We have Boris Johnson who’s still governing over Europe. Britain is basically now a right-wing one-party state. I have said that I think America is going to move in that direction. The global reactionary right in terms of the failure of neoliberal capitalism is ascendant. Do you think that the left flank of capital, globally, is defeated beyond the capacity to make post World War II liberal democracy a factor anymore, and that we’re moving, literally, to a global reactionary right political reality?

Chris Hedges: Probably, but it doesn’t matter. We still have to resist, and that resistance allows us to assert ourselves as distinct individuals. It builds a community with people who have also embraced that moral imperative, and it tells those vulnerable, those people who are the most oppressed and the most demonized, whether that’s Muslims or Blacks or undocumented workers or anyone else, that we stand with them. That’s our job. It’s not our job to ask whether we’re going to succeed or not. You go back and read the early moments of any revolution anywhere and the odds are so stacked against the revolutionaries. I mean, Lenin, six weeks before the Bolshevik… Well, it wasn’t the Bolshevik, but before the Russian revolution that ended with the Bolshevik rise to power, six weeks before, gave a speech that said, those who are my age will not live to see the revolution. He was wrong. You can never tell how history will play out. You can never tell, what we talked about earlier, what convergence of forces will come together to trigger an uprising. We have to be there. We have to be ready. We can’t be passive. We can’t be complicit, because I’m going to go back to my religious roots. That’s spiritual and probably intellectual death.

Pascal Robert: I appreciate that, and I respect that answer. Chris Hedges, it’s been an honor and pleasure talking to you. I hope you enjoyed your time with us at This is Revolution podcast.

Chris Hedges: [crosstalk] yeah, you guys are great. I’ll go back and listen to the other podcasts.

Jason Myles: Well, don’t hang up just yet. We’ve got to play the outro music, but don’t hang up just yet. Thank you guys for watching the show. If you haven’t done it already, please hit the like and subscribe button so you can get more programing like this. Also, we’re going to try to convince Chris to hook us up with Cornel West so we can talk to Cornel West, because it’s really hard to get through to these people. If you only saw the amount of emails. Just to let you know, Chris, before we go, I want to say this on air, Joe Sacco even sent you a message for you to come on our show.

Chris Hedges: I love Joe. Joe is a genius. He’s amazing.

Jason Myles: He likes our show.

Chris Hedges: Oh, Joe’s great.

Jason Myles: So there you go. So don’t hang up. Everybody, we are out.
MORAL PANIC AT THE DISCO! COMIC BOOKS IN THE END TIMES


A Tennessee school board’s decision to ban Art Spiegelman’s Pulitzer prize-winning Maus has caused a national outcry, but this is not the first time comics have become the focus of America’s moral hysterics.
FEBRUARY 8, 2022

An employee poses in front of large scale versions of early comic book covers during a press preview of 'DC Comics Exhibition: Dawn of Super Heroes' at the O2 Arena in Greenwich, east London on Feb. 22, 2018. Daniel Leal/AFP via Getty Images

Art Spiegelman’s Pulitzer prize-winning Maus was recently banned from a Tennessee county’s classrooms. The McMinn County School Board’s decision to remove Spiegelman’s graphic novel about the Holocaust from its curriculum has caused a national outcry, but this is by no means the first time that comic books have been accused of being dangerous for young people. In this episode of Art for the End Times, Lyta is joined by Sam Thielman—a journalist and an expert on the comics industry—to talk about comics as a medium, the anti-comics hysteria of the 1950s, the subversive world of alternative comics, and why we ended up with so many superheroes.

Sam Thielman is a reporter and critic based in New York. He is the editor of Forever Wars and co-creator of Young Adult Movie Ministry, a podcast about Christianity and movies, and his writing has been featured in The Columbia Journalism Review, The Guardian, Talking Points Memo, NBC News, and Variety. In 2017 he was a political consultant for Comedy Central’s The President Show.

Pre-Production/Studio/Post-Production: Dwayne Gladden

TRANSCRIPT

Lyta Gold: Hello, and welcome to Art for the End Times. This is your host Lyta Gold, as always. I am really excited for today’s episode. I know I’m excited for all the episodes but this is one I have been wanting to do since the very beginning since we started this podcast, and this is going to be an episode about comics and history of comics. The way we’re going to start and the reason we’re doing this today is because of the breaking news story, which you’ve probably heard about, regarding the comic book Maus and that it was banned in a very tiny county in Tennessee called McMinn County. There were complaints made against it and the complaints were really on the grounds of sexuality and swearing.

There’s a teensy, teensy bit of nudity if you squint, and a teensy, teensy couple little swears here and there. There are some open questions. Is it really about the fact that it depicts the Holocaust? If you haven’t read Maus, it’s based on Art Spiegelman father’s experiences in the Holocaust. It’s very dark, it’s very serious, it’s very beautiful, and it’s very highly regarded. There’s a lot of talk about why it was really banned, because it’s probably, again, not for the nudity, the tiny bits of nudity and the tiny bits of swears.

But there’s also a longer history here, a much longer and more interesting history of comics and the reception of comics in the US and the banning of comics and the reaction to the content of comics and this idea that comics are bad, they’re terrible for children, they will hurt children’s brains, that sort of thing. I brought on somebody very special to talk about with this, because again, somebody who is an actual real expert on this, where I’m just an amateur. I brought on my buddy Sam Thielman. Sam is a writer, an editor, and a podcaster along with being a comic book expert. He is also just a joy, just an all-around fabulous person. Sam, thanks for joining us.

Sam Thielman: Thank you so much. Thank you for having me and thank you for letting me talk about comic books. Most people ask me to stop talking about comic books. That’s the…

Lyta Gold: That’s a funny thing that’s changed in a way that I think is interesting to begin with. Because if you talked about comic books when I was growing up, and I was growing up in like the ’90s and early 2000s, you were a nerd and you were dork and it was especially weird for a girl to talk about these things. Things have changed. Maus is part of that change, are there other aspects of that change? But how was it for you when you were growing up and talking about comics and being a comic person?

Sam Thielman: I think I also had that experience. I am from a little bit of a different context, I think, than most of my media pals in New York. I grew up in a very small town in North Carolina. I went to a Christian school for a long time. An interesting thing that happens with these moral panics of the kind we’re about to discuss,is that they persist for a really long time even after they’ve debunked or have left the public imagination at least as far as the press coverage is concerned. I think there was still some residual fear and resentment over comics themselves from the ’50s and certainly from the underground movement in the ’60s and ’70s comics sold in head shops were explicit and aggressive in a different way.

I think there was both that moralistic disapproval and then, lest that sound too noble, it was also really dorky. I liked Star Wars and stuff. It wasn’t that cool. I think the comics you read when you’re a teenager are maybe different than the comics you read when you grow up. Although I don’t know. Somebody said the golden age of science fiction is 12 and that’s definitely when I was reading The Sandman and Watchmen and stuff for the first time. And those, I think, imprinted on me like a baby chicken. I was both very comfortable in comic book shops in a way that I wasn’t necessarily elsewhere, and then also not friendless or anything but someone who should not be allowed to do an hour long podcast interview about cartoons.

Lyta Gold: It’s funny that you mentioned that, what you like as a child, what you like as an adult. I actually worked for Marvel for a couple years. I’m like my first day there I got into a conversation with some guys about the comics I liked and I said that I was an X-Men fan because that’s really like, I got into X-Men as a teen and then the movies came out also and then I was also into the animated show, which was a little earlier than that. Anyway, I was still into X-Men. But I mentioned this to them and they’re like, oh yeah, that’s what you like when you’re an adolescent. I was like, interesting. We’re literally at the publisher of that.

Sam Thielman: That’s a little catty.

Lyta Gold: It is a little catty. It was related to the idea that the way… Because I asked them to expand on that and their idea was like, oh yeah. Well, the way that the X-Men are countercultural and they’re an oppressed group and they really represent a lot of feelings of not belonging. These guys, I was talking to these very lovely but cishet white guys. They were like, oh yeah. That’s obviously only a teenager feels like that. I was like, okay, only a teenager.

Sam Thielman: Yeah. I think adolescence is funny because that is the time when white male teenagers feel like that, briefly. They have that feeling of not belonging that I think is broadly universal among non-Christian non-white people. I think it gets infantilized as a thing that only kids feel. But no, absolutely, it speaks to it. My friend and colleague Spencer Ackerman has written and spoken in great depth on the topic of how the X-Men are like an expression of Jewish identity, but then how they’re also fungible and they can also be read as an expression of queer identity. It’s a really plastic concept in a way that I think is really empowering for a lot of people. Yeah.

Lyta Gold: One of the interesting things when we talk about comics in general is, again, we very quickly went to superhero comics. One of the things that’s interesting about the public perception of comics is the way that superhero comics are seen as the only thing or they’re seen as the main thing or the bad example, but there’s a complicated history of where superhero comics fit in to the larger story and that has a lot to do with what happened in the 1950s and this big moral panic. I was wondering if you wanted to tell our listeners all about what happened there in 1954, a very important year for comics.

Sam Thielman: Yeah I’d love to. And I have to ask you, do interrupt me, especially if I skip over something. Yeah. Feel free to cut me off because this is a little bit of a complicated history and starts a little bit before the ’50s. It started in 1939. Comics were an art form that were a staging ground for a competition between William Randolph Hearst and Joseph Pulitzer to see who could publish the most beautiful full page broadsheet newspaper comic. And you got amazing stuff out of that. You got the Walt and Skeezix strip by Frank King, you got Krazy Kat and Little Nemo and all these incredible things. Oddly, these are more progressive, I think, than a lot of the comics you see at the end of the century, especially Krazy Kat, which is, I think, really interesting and investigative about race and gender. The author was a creole man from Louisiana who just chose to pass for white, which he did by not taking his hat off for photos.

Lyta Gold: Wow.

Sam Thielman: Yeah, George Harriman, he’s just an absolute master. His employers were racists and he, I think, knew that he couldn’t receive the same level of acclaim if he was publicly out as himself. He just fills Krazy Kat with all of these little hints and signs and symbols about race and about gender. It’s really wonderful stuff, hugely popular too. Well, Little Nemo was hugely popular. Krazy Kat was popular with E. E. Cummings and so forth, James Joyce. As these gain purchase among the public there is a sense that people want to read them outside the newspapers. The packagers start coming along and printing them up as little pamphlets, little saddle stitch pamphlets they sell on the newsstand and they’re quite expensive for the publishers to buy the rights to reprint them from Hearst and Pulitzer.

This guy Malcolm Wheeler-Nicholson, the major, major Malcolm Wheeler-Nicholson. I believe he was a major in the Civil War [Correction: WWI]. He’s quite old. But he decides that he’s going to not just package old comics, he’s going to hire a bunch of losers to write new comics because that’ll be cheaper. He hires Jerry Siegel and Joe Shuster to do a comic called Slam Bradley and he calls it New Fun. He publishes a collection of New Fun Comics. This is a terrible idea. This is the worst idea anyone has ever had. It’s a huge financial disaster.

Lyta Gold: Why was that? Why was it such a failure?

Sam Thielman: Because nobody knew who the characters were. Nobody was interested in reading. They wanted Popeye, they didn’t want some rip off of Popeye. They wanted Dick Tracy not Slam Bradley. Actually, Dick Tracy may have been a little later. These were like the… Do you remember being in the grocery stores that you maybe, I’m not sure if we’re the same age for this, but when I was a kid, you’d go in the grocery store and you’d see a VHS of Aladdin, and you’d be like, oh man, I didn’t see that movie. I would’ve seen that movie – Oh, that’s not the real Aladdin.

That’s the GoodTimes video version. This was the GoodTimes video version of all the stuff people loved in the comics like Flash Gordons.

Lyta Gold: I know this movie you’re talking about. I actually watched that recently, the knockoff Aladdin.

Sam Thielman: Yeah. It’s like 50 minutes long. Has really bad songs. Yeah.

Lyta Gold: Yes, that’s [crosstalk]

Sam Thielman: Yeah. They did a few of them. They did a Beauty and the… This is what Malcolm Wheeler-Nicholson decided to do. Again, this is a really bad business model. He finally gets staked by a couple of guys, Jack Liebowitz and Harry Donenfeld. They decide that they’re going to give him enough money to keep on going because they sell a… They call them the Girlie Pulps. They’re semi-pornographic novels that always have a lurid picture of a beautiful woman on the cover. They’re called Spicy Adventure and Spicy Detective and Spicy Action. And Wheeler-Nicholson assents and he says, okay, well, that’s fine.

They say, okay. Well, we’re not doing this New Fun stuff anymore. You need Adventure Comics. He’s like, all right, I’ll do Adventure Comics and get Joe and Jerry to cook up something for that. They say, all right, that’s not working. We need Detective Comics. All right. Ask them to do something for Detective Comics. Then finally after that they’re just like, this isn’t working out. We need you to go to The Bahamas, take a break, go on vacation. Don’t call us. Come back in a couple of weeks with a new idea.

Lyta Gold: Sometimes you hear about these old media stories the way things used to work, and you’re just like, what the fuck? I am in the wrong era.

Sam Thielman: No, it’s not actually good. They did tell him to go on vacation. When he came back from vacation they found that they had changed the locks on his office.

Lyta Gold: Oh no.

Sam Thielman: They had sued him before a judge that was friends with Leibowitz –

Lyta Gold: Oh, dear.

Sam Thielman: – So they’d gotten a judgment against him and they basically owned his business. They gave him some shut up money, a little bit of equity so that he wouldn’t kick too hard. Then they were like, okay, Joe Siegel and Jerry Shuster, we’ve done Adventure Comics for our Spicy Adventure, we’ve done Detective Comics for our Spicy Detective, now give us some Spicy Action, give us Action Comics. They say, okay, we’re going to put a muscle man in a blue leotard with red trunks and maybe a cape on the cover and he can be smashing a car. Of course that takes off huge, that’s Superman. That’s like the dawn of the heroic era. This stuff catches on great with kids. Kids love it, adults like it too because it’s … Originally this stuff is marketed as not too distinct from Donenfeld and Leibowitz’s sex books at national publications. But it’s not obscene, it’s not lewd, it’s high adventure for kids. Kids like it, GIs really like it. This –

Lyta Gold: That’s a [crosstalk] question I have, if I may interrupt, is –

Sam Thielman: Please, yeah.

Lyta Gold: …To what extent was it written for children or was it… Does written for children mean because it didn’t have sex in it? Was it meant for kids but grownups liked it too in terms of storyline, or was it, again, is it really just a question of sex or not sex?

Sam Thielman: I think it’s a little bit of question of sex or not sex, but you got to remember that there’s not that much… There aren’t official speech codes. It’s just what people get upset about at this point. Because this is being written alongside Spicy Menace or whatever there is a sense that it’s going to be at least a little racy. That’s how they’re selling a lot of this stuff. But again it does tend to… it varies by region, as well. Maybe some places wouldn’t sell an issue of comic book with the phantom lady who has a clingy costume on, but maybe they would sell the next issue of the book.

This is a problem in a lot of the films, especially of the silent era, because the sexy bits have been literally cut out. Somebody has gone through and trimmed them out of the reels. Recovering entire movies from that period is quite difficult. But, again, there no –

Lyta Gold: [crosstalk] [it is indeed] the movies that got small.

Sam Thielman: Yes. [crosstalk] It’s the pictures that got small.

Lyta Gold: They did. They were literally [crosstalk] They were cut.

Sam Thielman: Yeah. Yeah. So, Superman is ready for his closeup. There’s a big… There’s like a rage for superheroes. Everybody loves superheroes. Then as the era continues, this guy Maxwell Gaines who had mostly published Bible comics and improving comics and so forth, dies and leaves the business to his son Bill Gaines. So William Gaines takes over his father’s publishing company, EC Comics, which had then at that time stood for Educational Comics and then became Entertaining Comics under Bill. He started hiring away talented artists. He found this guy Harvey Kurtzman who’s the father of what we think of as the contemporary comic book. He’s an absolutely brilliant writer and artist who was doing ghost work for an artist named Louis Ferstad. Ferstad was a… He was like a Diego Rivera style muralist who couldn’t make ends meet.

Lyta Gold: But are you saying there’s not good money and like [crosstalk]

Sam Thielman: Yeah. Even with all of the cash that he got from leftist mural painting, even with a cartoon in the Daily Worker, he couldn’t… Somehow he was able to fritter away all that money and he had to go ghost draw The Flash at DC Comics and he hired – This is the slightly sad part – Which is that he basically had a sweatshop full of 14-year-olds.

Lyta Gold: Oh, my God.

Sam Thielman: Yeah, who would do the work for him so that he could hit all of his various deadlines and go back to mural painting about labor exploitation. One of his guys was Harvey Kurtzman, and Kurtzman went to EC Comics and started doing Mad Magazine. Mad was originally a comic book that then became a magazine largely because of the subsequent events. One of the things that happened was that Al Feldstein, the other guy that Gaines hired who was the big writer at EC Comic, got really jealous because Mad was super successful. Feldstein was a great sci-fi and horror writer, but he wasn’t funny.

But Gaines liked him and decided that he should have a chance. There were so many parodies of Mad immediately. There’s one called Sick, there’s eventually Cracked. EC was like, all right, we’ll launch our own in-house thing. We’ll call it Panic and we’ll let Al have all of Harvey’s artists for a few issues and they can get paid for two jobs and everybody will be happy. Panic didn’t last very long. Most of the parodies aren’t particularly funny. There’s a really good one though, I believe in the first issue of the Nightmare Before Christmas. It’s not written by anybody, it’s just the poem of the Nightmare Before Christmas and then Will Elder who is-

Lyta Gold: The Night Before Christmas or the Night Before Christmas?

Sam Thielman: I’m sorry, the Night Before Christmas –

Lyta Gold: [crosstalk]

Sam Thielman: Yeah. Yes. It’s not the Tim Burton movie.

Lyta Gold: [He ripped it off].

Sam Thielman: Yeah. No, it’s just the Clement Moore poem. Will Elder, who’s the essential Mad Magazine artist, goes through and he draws all these little pictures and he has Santa with a “just divorced” sticker on his sleigh. One of the reindeer is Cupid and Jane Russell and Jayne Mansfield are both pictured in caricature in part of it and I think there’s something funny for when… There’s a jug of liquor under a sign that says, “when business gets bad,” and then there’s a noose under “when business gets really bad.” It’s all of this stuff and it’s all set in the North Pole and it corresponds to the verse but in silly ways. This was a giant scandal.

Lyta Gold: Really?

Sam Thielman: The attorney general of Massachusetts seized the book.

Lyta Gold: What year was this, again?

Sam Thielman: This was, I am paging through this amazing book on this whole panic called The Ten-Cent Plague by David Hajdu, which I hardly recommend. It’s a fantastic book. This is, I believe, ’52.

Lyta Gold: ’52, okay.

Sam Thielman: ’52 or ’53.

Lyta Gold: It was disrespectful to Santa. Was that [crosstalk]

Sam Thielman: It was disrespectful to Santa, yeah.

Lyta Gold: You can’t, you can’t. He works hard.

Sam Thielman: And yet. You say that. Well, you brought up something earlier, Harvey Kurtzman and Al Feldstein and Louis Ferstad, these are Jewish names.

Lyta Gold: Yes.

Sam Thielman: Gaines was hiring these guys because they were insanely talented. The reason he was able to hire insanely talented guys is that they couldn’t get work on Madison Avenue. This is the ’50s, the ad business is booming, there’s a ton of money to be had in it. You have these companies like Unilever and Ford that are just suddenly pouring money into publications and television, all of which are having their own individual discreet renaissances. That money is not going to Jewish people, it is going to the WASPy Madison Avenue guys who are pointedly not hiring Jews to work for them.

So a lot of these guys ended up in comics. The subtext of a lot of the censorship, especially around this particular issue of Panic, is like you can’t have Willie Elder and Harvey Kurtzman and Al Feldstein talking shit about Christmas. You can’t do that. December 1953, yeah. State bans Night Before, Santa Claus, Comic Draws, Holyoke ban, all of this stuff became suddenly like Clement Moore’s stupid poem, The Night Before Christmas is like holy red. You said you can’t sue Santa Claus. That’s exactly what the attorneys for EC Comic said. They’re like, you can’t libel him. He’s imaginary and Claus isn’t real. But it didn’t matter. We tend to –

Lyta Gold: Wait, I’m sorry. This is the first I’m hearing that Santa isn’t real.

Sam Thielman: I’m so sorry. There’s no way to walk that back. Is there? I’m going to do that to my kid at some point, and I’m going to have to be like, oh, sorry, son. That was actually from grandma.

Lyta Gold: [inaudible] great Trump moment where he was on the [crosstalk] He was like [inaudible] You stop believing in Santa? Because at seven or eight, that’s marginal.

Sam Thielman: Yes, and the kid was like, yes. Yeah. That and telling the Boy Scout Jamboree about the time he went to an orgy on a yacht are my two favorite Donald Trump moments. Yeah. There was so much of just like, what have we gotten ourselves into [inaudible]. I think it was abject terror from the jump, but there were so many moments in the first couple of years where it was like, the president said, what? Yeah.

Lyta Gold: If it had been a completely symbolic position with no power, that would’ve been a great time.

Sam Thielman: Yeah. That’s what he wanted. He wanted to be treated like a recipient of the Make-A-Wish Foundation. He wanted to be allowed to – I think somebody else said that before I did. But yeah. He wanted to go to the front of the line at Disney World and if people would let him do that maybe fewer of us would be dead, but probably not. Back to a time of bucolic Americana, 1953. Around this time, Playboy launches. Playboy is a huge smash. I have to back up just a little bit here to this guy Estes Kefauver, who was a senator and really, really wanted to be president.

One of his first brainstorms was to do an inquest on organized crime. It was filmed and broadcast in a way that news events habitually are now, but this is the first of its kind. They showed it in movie theaters and so forth. Huge hit for Kefauver. It really made his name as a crusading anti-crime guy and it’s how we know names like Bugsy Siegel and so forth, as all of these guys were called up in front of him and had to explain getting payments from their dear friends who had sent them suitcase full of cash as a Christmas gift.

Lyta Gold: It was a Christmas gift from Santa.

Sam Thielman: It was from Santa.

Lyta Gold: Are you against Santa?

Sam Thielman: Yes. That’s why I’m here today, is to denounce the capitalist menace of Santa Claus who under pays the elves and uses non-union labor on your toys. But Kefauver wanted a sequel. He wanted to come in and be like, yeah, I’m doing this again. There was the sort of Joe Rogan of his era, there was a crank psychologist named – A psychiatrist, excuse me. He actually did have an M. D. – Named Fredric Wertham who had written this book Seduction of the Innocent in which he goes through and finds all of the dirtiest, grossest, filthiest comics he can.

Because Kefauver had this big hearing, crime is really in the public imagination. There’s a huge glut of crime media around this time. This is where we get Dragnet and then The Man from U.N.C.L.E comes along in the ’60s, but born [out of this]. There’s all these radio shows, and of course crime comics are a huge deal. My favorite example of these, before the censor boards, which they would just say “crime” and then “does not pay” in very small letters underneath. Because we’re not here for the “does not pay,” guys, come on, we’re here for the crime. We’re here for the crime.

Lyta Gold: Oh, no. Yeah, that’s the exciting part.

Sam Thielman: Yeah. Kefauver decides after reading Wartham’s book, which gets hugely popular, that comics are contributing to the horrors of juvenile delinquency, which is really the thing that the greatest generation was scared of in the boomers. It’s hard –

Lyta Gold: So funny boomers were once the bad kids [crosstalk]

Sam Thielman: Yes. Yeah, they were –

Lyta Gold: That’s just so [crosstalk]

Sam Thielman: It really is. Well and they… The saddest part of all this to me is that nobody spoke for the kids. Nobody was on the kids’ side. It was like pornographers in one corner and corrupt senators in the other as far as the public was concerned. Gaines saw all of this happening and he saw that the commission was happening, and Victor Fox and a bunch of the other publishers at the time told Kefauver to get [inaudible]. They were like, unless you are prosecuting me I’m not showing up for shit. I will not be in your hearing. Good luck to you. Gaines was a very… He was just a decent man who was entirely in the right and knew it, and he just thought to himself, I will go.

Lyta Gold: Oh, no.

Sam Thielman: I will go and explain.

Lyta Gold: Oh, no.

Sam Thielman: I will go and explain to these politicians that all we’re doing is providing ten cents worth of entertainment to neighborhood boys and girls and that many of our stories have good morals in them. This was 100% true. He was totally right and his stories are quite daring, actually, for the day. If you go back and read Shock SuspenStories or Tales from the Crypt, they all have these goofy O. Henry-ass endings. Some of them are silly and [inaudible], but some of them are quite shocking still today. My favorite one, it’s a Wally Wood story from Shock SuspenStories about a reporter who has staked out a Klan rally and he sees them murder a woman for “consorting” with a Black man. He runs away but the Klansmen catch him and they beat him up and he wakes up in the hospital. Hovering over him are two cops, two FBI guys. They’re like, hey man. We’re from the FBI. We know you were at that Klan rally. Do you think you can identify the leader of the mob to us? The reporter’s like, oh, it’ll be a terrible strain, but yes, I think I can. The cops say, okay, that’s all we wanted to know. Then they pull out their guns and they kill him.

Lyta Gold: Shit.

Sam Thielman: Yeah, it’s great. It’s so good. It would make a great episode of Black Mirror or whatever today. This is really offensive if you are just coming off the high of World War II and your whole thing is Americanism. America is a good place full of good people. We don’t want our kids reading about corrupt cops. This all culminates in poor Bill Gaines standing before Estes Kefauver, and I’ve forgotten the name of his Lieutenant who is officially the head of the hearing, but it was really the Kefauver show, trying to explain why a Johnny Craig cover of a decapitated woman and the hand holding her head in one hand, a man’s hands with the woman’s head in one and a bloody ax in the other, is in good taste. Matters of taste shouldn’t have been an issue in a court of law. In fact, it wasn’t a court of law, which is why Victor Fox and his other colleagues were like, we’re not going. But it was definitely the court of public opinion. It was a literal court of public opinion. After that, the rest of the comics publishers were like, Bill Gaines is an idiot.

Lyta Gold: Oh, no.

Sam Thielman: We have to form a committee to vet all of our comics, like the movies have the Hays Code, and we’re going to hire a former Tammany Hall boss to read Bill’s stuff directly. That was kind of the end of EC. It limped along for a little while. They renamed their comics because of one of the first rules that they passed where you couldn’t use horror or crime in your title. Of course, all of the EC comics were weird crime, bizarre horror, strange romance, horrific crime. Sorry,

Lyta Gold: This is the Comics Code of America, really. Is what they –

Sam Thielman: Comics Code Authority. Yeah.

Lyta Gold: I thought [crosstalk]

Sam Thielman: This is the comics. Yeah. Yeah. There’s a previous iteration of it that Gaines had actually been a part of that was just basically there to be like, hey, we have people watching out for the little kids, don’t worry, that didn’t do anything.

Lyta Gold: The CCA is really pretty amazing because it’s not, as you said, it was an industry rule because they were worried about being cracked down on. If you look at the old rules, they’re fun. If crime is depicted, it shall be as a sordid and unpleasant activity. Policemen, judges, government officials, and respected institutions shall never be presented in such a way as to create disrespect for established authority.

Sam Thielman: Yeah. All great stuff. Well, and again, the laws themselves are secondary, the point is the enforcement. The head of the Comics Magazine Association of America [which was] then later the Comics Code Authority is this New York magistrate judge Charles F. Murphy. If you go to his Wikipedia page it will say Charles F. “Boss.” Murphy, because Boss Murphy was the longest serving head of Tammany Hall. Yeah. He had some horrible honorifics drawn from Native American languages that I can’t remember. But he was the head. He was the head of Tammany Hall from 1924, and he personally reviewed all of the EC Comics himself.

The final straw came with an issue of Astonishing Science Fiction in which the punchline was that the astronaut, who has been sent to determine whether or not various planets can join the galactic council, is himself Black and is judging space robots based on whether or not they discriminate against each other. It’s the last panel. It’s a great, beautiful Joe Orlando drawing of our hero staring off into space. Murphy called Al Feldstein, the writer, in and said, you can’t have a negro. Feldstein said, what?

He said that, and he repeated himself. Gaines, of course, called and said, why can’t we do this? Murphy said, well, it’s just not done. Gaines said, well, I’m going to hold a press conference and tell everyone you’re a racist. Murphy relented and then he demanded that Orlando make a bunch of meaningless changes just to piss on Gaines a little more. Gaines said, fuck you, and slammed down the phone. That was the very last comic he published.

Lyta Gold: Interesting.

Sam Thielman: After that, there wasn’t anywhere to go if you were wanting to produce something sophisticated. A lot of these comics are really moving and deal with stuff like… There’s one in which a Holocaust survivor confronts the commandant of a camp that he runs into on the subway in New York, terrific strip by Bernard Krigstein. They deal with racism a lot, and when they have to step back they just have to get weirder and weirder. You start to get guys like Martin Goodman and Stan Lee over at Timely just making up monster comics. And they hire Jack Kirby, the originator of the romance comic, to come in and draw big monsters for them. He doesn’t really care, but he does a little bit of it.

Then they try to mix in some of the adventure stuff that gave comics their first shot in the arm in the 1940s. That combination of monsters and heroes gives us superheroes again. Because the superhero comics are run by companies, Timely becomes Marvel and National becomes DC, that are deeply entrenched in this Comics Code Association they pass largely without censorship for a long time. And because they’re very much about powerful do-gooders they are not considered anything but pro-American. There’s some red scare stuff that they toss in every now and then, there’s lots of broad anti-nuke stuff. And you essentially just have cops. It’s like all comics become cops until like the ’70s.

Lyta Gold: Well, that’s certainly true. One of the things I think that’s interesting is that some of the weird subtext that was a little older stayed. One of the things that Fredric Wertham was upset about, in the Seduction of the Innocent book, one of the things he said, Juvenile delinquency was his big thing. But he also said that Batman and Robin seemed really gay, which… Yeah. Yeah. Who needed a degree in psychiatry for that one? Yeah. They [seem] pretty gay. There wasn’t that much effort to deal with that as far as I know

Sam Thielman: I mean, my favorite one is that he was like, Wonder Woman is clearly a bondage fantasy. That’s 100% percent right. You nailed it. William Moulton Marston wrote that book to work out his fantasy life. Well, and actually his literal sex life because he was a libertine. But yeah. No, that’s 100% true. Good job. The question though is whether or not –

Lyta Gold: [crosstalk]

Sam Thielman: …This destroys children, which it doesn’t. Everybody seeks out weird experimental stuff when they’re kids. It’s much better to look for it in literature than to actually go out and like, I don’t know. Kids weren’t going… The impulse to commit crimes and the impulse to read about crimes are different, but –

Lyta Gold: Yeah. Yeah. It’s very reminiscent of the freak out over video games.

Sam Thielman: Yes.

Lyta Gold: Yeah. Like the previous freak out over Gothic novels and dreadfuls in their previous century. It’s just been a thing people have been worried about for a while and it just happened to hit comics at this time.

Sam Thielman: Yeah. The people who were doing the extremely… The beautiful work, the work that survives on its merits in collected editions and so forth, they didn’t really go away. They moved into the magazine world. Hugh Hefner staked Mew magazine by Harvey Kurtzman, after Kurtzman left EC. A guy named James Warren was thrown into jail for running a nude photo of Bettie Page in his own Playboy imitator, because that was how he ran for District Attorney in the ’50s was by locking up pornographers. He then became the publisher of Kurtzman’s next project. In that one, it’s called Help, Kurtzman started looking for new talent and found Robert Crumb who was the progenitor of the Underground movement. Then in Wally Wood’s magazine Wit’s End, which he began publishing in… Yeah, I believe the ’70s, might be late ’60s, he found Art Spiegelman.

Lyta Gold: Yes.

Sam Thielman: That brings us up to, not quite to the present day, but to Spiegelman who gave birth to what we think of as the literary comics movement today with guys like Charles Burns and Chris Ware.

Lyta Gold: Yeah. Tell us a little more about Underground Comix, which by the way is spelled with an X.

Sam Thielman: Yes. Yeah. Comix.

Lyta Gold: Comix, to make it different. Yeah, what were they trying to do and how did they manage to get away with it given that the code was still very much enforced?

Sam Thielman: Well, they were selling primarily to head shops. This is direct distribution in a way that you didn’t see on the newsstand. The reason the Comics Code Authority was so efficient and so devastating is that if they didn’t give you your code the drug store on the corner wouldn’t put you on their spin racks and you wouldn’t… That was most of your distribution. So, the direct market. The way you did distribution, I’m not going to get too nerdy about that. I was going to, you don’t want to hear about returnable and non-returnable comics. Head shops became a big thing in the ’60s and the ’70s. Crumb began to sell his comics and then was immediately prosecuted for it because they had really graphic, explicit sex in them. Then he gave them away out of a baby carriage on the corner of Haight-Ashbury.

Lyta Gold: A baby carriage?

Sam Thielman: Absolutely.

Lyta Gold: It’s dark.

Sam Thielman: Yeah. It is. It is. He’s a dark guy. The documentary about him –

Lyta Gold: [crosstalk] That’s messy.

Sam Thielman: Yeah. Yeah. The documentary about him is also messy and very good, by Terry Zwigoff. It’s called Crumb.

Lyta Gold: Nice.

Sam Thielman: He was both a guy who was working out his very extreme sexual problems by drawing them in vivid detail, but he was also depicting, in the language of comics… And this is a controversial thing to say, and I understand why his characters and drawings are received as so offensive now. I don’t want to sound like I’m saying that people who feel that way about them are mistaken and there was reception of it. But I think Crumb’s intention, drawing as he was in the ’60s, was to address systemic, extraordinarily public racism of a kind that we don’t really experience in the same way now.

That’s not to say that there isn’t a lot of public racism now, but the constant images of caricatures of Black people’s facial features, it’s just not a thing we deal with in public spaces and on advertising and restaurants and so forth. The ubiquity of that in the ’60s was something that people were becoming more embarrassed about and beginning to shove down the memory hole in a way that they’ve kind of completed now and Crumb was not letting them do that. Crumb was drawing the stuff in a way that made you think about how gross that Amos ‘n’ Andy is.

Lyta Gold: In some ways it’s similarish to the reaction that Eli Valley gets now. He deliberately exaggerates cartoons and he deliberately [inaudible] when he does stuff about Jews and antisemitism, he deliberately uses some of these tropes in a way that… And he’s Jewish himself but other people don’t understand quite what he’s doing. That he’s mocking the tropes. He’s not –

Sam Thielman: Yeah. I think Eli is very intentionally working out of that. I’d have to talk to him about it and I never have, and I should. But he is very much doing the Crumb thing there. As the undergrounds progress, they start to flourish. There are a bunch of publishers that pop up and the drug culture is a big deal so everything… Every annoying pothead trope that lasts until legalization is born out of this period. There’s a lot of really interesting art that comes around in that time too, and Crumb is a little bit of a historian. Crumb does not really fit in with the love child era in the way that a lot of his peers in the movement did.

He’s a skeptic, he’s very bitter, borderline nihilistic. He’s not like a flowers and love guy at all, but he is a devoted historian. He and Spiegelman, when Spiegelman starts to get published in Wit’s End, are looking for their own history. There is not as much art history about comics as there is about oil painting, obviously. The two of them get together and they start this magazine, Arcade. Actually, Crumb may not have been publishing. I think he just drew for it and drew covers for it. But Bill Griffith is another cartoonist who does Zippy the Pinhead, which is an alt comic that starts to run in alt-weeklies around this time. They –

Lyta Gold: That’s great, by the way [crosstalk]

Sam Thielman: That’s the other thing that really helps. Oh, he’s incredible. Yeah.

Lyta Gold: Those are fun. They’re so fucking weird, but if you can find them –

Sam Thielman: Yeah.

Lyta Gold: …[crosstalk] they’re very fun.

Sam Thielman: Yeah. He has, I believe, a memoir –

Lyta Gold: Really?

Sam Thielman: [crosstalk] That came out recently that’s also quite good. Yeah. No, he’s an incredible cartoonist. But the two of them edit this thing, Arcade, and their goal is basically to salvage the detritus of the underground comix movement because it turns into a thing where just anybody can get an underground comix published. It’s being printed and sold off to these head shops at rates that just cannot possibly be sustained. These guys who really care about the state of the art are miffed about this and want to do like a… They want to celebrate the form itself.

They call it faux-pretentiously a comics review, or EVUE. It’s called Arcade. It runs for not many issues, seven or eight. But they reprint not just their own work and the work of their peers, but they go back and they run Little Nemo strips from the teams. They find Tijuana Bibles which are little porno comics that are about the size of a dollar bill that have Blondie and Dagwood in them. Those are also, by the way, extremely influential because that’s what Jack Chick tracts are supposed to look like.

Lyta Gold: No way. I did not know that. They’re supposed to look like the Tijuana Bibles?

Sam Thielman: Yeah. In the same way that you get… You’re like, oh, it’s $100. Oh man, no. It’s a Bible verse. It’s the same thing. Yeah.

Lyta Gold: The way I would immediately buy a porn version of a Jack Chick. That would be amazing. You think it’s a Christian comic and then it’s porn? No way.

Sam Thielman: Then, it’s… Yeah. I don’t think anybody has done that actually. You could be [crosstalk]

Lyta Gold: Oh my God. That’s free to a good home. Yeah. [inaudible] whoever’s listening and wants that, that one’s free. Enjoy yourself.

Sam Thielman: Just as long as you send us contributors’ copies.

Lyta Gold: Yes.

Sam Thielman: Yeah. But the Arcade is reprinting those and they’re reprinting other stuff and then after that magazine ends, all of these guys go on and try and start their next magazine with all of their peers. The one Spiegelman starts is called Raw. Raw is gigantic, which is one of the reasons it’s hard to find now. I’m holding a copy in hand –

Lyta Gold: Physically it’s like a… Yeah.

Sam Thielman: It’s the size of the New York Daily News or the Boston Herald. It has wonderful work in it. It has worked by people like Kaz and [inaudible]. A lot of them went to work for The New Yorker, possibly not coincidentally because of course Art Spiegelman’s wife is Françoise Mouly, the art director for The New Yorker. But Jerry Moriarty, all of these cool guys are working in this magazine. They do really interesting stuff. They do a lot of stuff that looks like ready-mades. And in the second issue, Spiegelman starts to put a little insert, I’m holding this in my hand. It is in the back of the comic. It’s glued in, it’s called Maus. I think it’s like 15 or 20. No, it’s 15 pages, and that’s the first chapter. This is his memoir. In the first issue of Raw, he has a comic called Prisoner on the Hell Planet that is about his mother’s suicide. That is the thing that the censors in Tennessee this last month found so offensive that –

Lyta Gold: Yes, the specific depiction of the mother’s suicide.

Sam Thielman: Yes, of Anja Spiegelman naked in the bathtub, dead. That –

Lyta Gold: That’s a teensy, teensy little panel.

Sam Thielman: Well, it’s a comic within a comic. It’s a very small… I have the giant version here in front of me and he’s kind of embarrassed by it, Spiegelman is, because he’s a perfectionist and he’s constantly making his work better. Like all artists, I think, he doesn’t like his juvenalia. But it is an important piece because he’s dealing not just with his mother’s experience in concentration camps but with his own experience of generational trauma. That is something that I don’t think I had read about in comics on any level. I don’t think I had read a reckoning with what it means to be affected on an ethnic level by violence.

Crumb is reaching for some of that stuff, but Crumb is a white Catholic. He’s very interested in it, but his first attempts to talk about it are very clumsy and he retreats into portraits of bluesmen later on in his career, I think wisely. But Spiegelman has firsthand experience, and most importantly he has secondhand experience. That’s just a new thing. Maus continues to come out in Raw, Raw is widely read. When it’s put out in a collected edition the first paperback wins the Pulitzer Prize in… Oh, no. I’m sorry. It must be the second one.

Lyta Gold: Yeah. I think it was after [crosstalk]

Sam Thielman: Because it’s in 1992. He continued to serialize it and he eventually put out Raw in the size of a mass market paperback book, and that’s where you start to see Chris Ware and Dan Clowes and Drew Friedman and so forth. The guys you’ll see in the Fantagraphics catalogs now. As that in ’92, I believe, he wins the Pulitzer Prize for cartooning… Or was it for fiction or literature?

Lyta Gold: I remember it’s a special Pulitzer.

Sam Thielman: Yeah, you’re right.

Lyta Gold: I quite remember what about it is special. That’s actually the story here too, because comics as a medium had been… This was stupid stuff for children or it was superheroes, or pulpy, it was considered not important. And one of the things that’s so important about Maus is that it was one of the first graphic novels to be taken very seriously as a work of art.

Sam Thielman: Yeah.

Lyta Gold: [As you would] a serious work of literature.

Sam Thielman: Yeah. Around the time that it first began to be published you have a parallel movement in the United Kingdom with Warrior magazine, which is a harder core version of 2000 AD which is the big sci-fi weekly in the UK. It’s mostly stories about lasers and spaceships, but then Alan Moore and Dave Lloyd decide that they’re going to do just like a big middle finger to the Thatcher administration in the form of V for Vendetta. They start to publish that simultaneously. These books took a long, long, long time to enter the public imagination. The movie V came out, which apparently the creators don’t like, came out in 2005.

Lyta Gold: I like the movie.

Sam Thielman: Yeah. I think everybody –

Lyta Gold: [crosstalk]

Sam Thielman: Yeah. I think lots of people like the movie. I think that’s why it’s so popular, as people watch the movie and they’re like, I should read the book. Oh, the book is great.

Lyta Gold: The [inaudible] book is great, but it has a lot of the self-indulgence of the underground comix movement that I think is… Because the girl is really flat. She’s –

Sam Thielman: Sure.

Lyta Gold: …[crosstalk] person early on and not until the man changes her. Isn’t there a long sequence where a guy like takes a hallucinogen and he wanders around a –

Sam Thielman: Yeah, I love that sequence.

Lyta Gold: It’s not like it’s a bad sequence. At a certain point, you’re like, oh really? A guy takes drugs and then has [inaudible] I’ve never read this in a book.

Sam Thielman: It’s not to apologize for V for Vendetta, but that’s like… It’s not Alan Moore’s very first professional work, but it’s within a year or two of him starting his career. Then it ends 10 years later.

Lyta Gold: Oh, yeah.

Sam Thielman: Like the magazine that he started publishing it in went under and then DC Comics bought the rights from him and he finished it in 1990 or something. But it’s still effective for kids. This is where you run up against the same thing again, is you have these guys in Tennessee and then in Mississippi and Muncie, Indiana, who cannot abide the fact that children are reading this stuff. It’s all couched in concern for the children and so forth. But the most important in telling, I think, footage of all this is of the cops accosting a girl who has drawn a cartoon of a snarling police officer surrounded by the names of cops who’ve murdered Black people and then the names of their victims. It’s three school resource officers yelling at this one girl who’s drawn this cartoon because she read V for Vendetta and liked it. That’s not about her safety.

Lyta Gold: Right [crosstalk]

Sam Thielman: In fact, it’s probably making it very clear to her what the penalty for criticizing fascism is. Yeah.

Lyta Gold: What’s really incredible about what’s happening is yes, it’s part of a larger pushback against the supposed CRT, Critical Race Theory, it’s a part of this larger pushback that’s happening in schools in general. But it’s also the exact same pattern that we saw in 1954 repeated. Some of these headlines that were really popular in newspapers at the time in 1954, saw like “Depravity for Children – Ten Cents a Copy!”

Sam Thielman: Yes.

Lyta Gold: “Horror in the Nursery – The Curse of the Comic Books.”

Sam Thielman: Oh, yeah.

Lyta Gold: [crosstalk] super dramatic about how this was so bad for kids to see things that were inappropriate, and it’s the exact same thing that we’re seeing now, which is that, and the argument that is made for why these things shouldn’t be allowed, especially for children, is that they will harm children, they are bad for children.

Sam Thielman: Well, and when you get down to the specific ways in which they will harm children, the answer is they diminish Americanism. They don’t teach good citizenship. In fact, I’m going to read this. The American Legion organized burnings. They organized comic book swaps where they would give you a copy of Heidi of the Swiss Alps or whatever, if you gave them 10 of your comics.

Lyta Gold: This is like in the ’50s, right? [crosstalk]

Sam Thielman: Yeah, this is the ’50s. Yeah. In each book that they gave the kids, and this is in a particular school in Waukesha County, Wisconsin, they put this note, “Dear young reader, you have performed a great service to your country today by getting rid of those 10 crime and horror comic books. Those 10 books were like 10 enemies who are trying to destroy good American boys and girls. America is not a land of crime, horror, murder, hatred and bloodshed. America is a land of good, strong, law-abiding people who read good books, think good thoughts, do great work, love God and their neighbor. That’s America.”

Lyta Gold: That’s like a Tinder profile that you like [inaudible].

Sam Thielman: It’s wild.

Lyta Gold: Typically, it’s [inaudible] the opposite of what you are.

Sam Thielman: #KeepAmericaGreat. Yeah. Yeah. No, it’s very like… It just reads as very familiar to me. The other thing that I feel like I haven’t emphasized enough is that Spiegelman is making the news because of his stature. He is a Pulitzer Prize winning author, he is the editor of arguably two of the most influential journals on the contemporary comics movement, which now has lots of respect. The New York Review of Books has its own comics imprint. There’s all kinds of reasons to defend Art Spiegelman. This is not new. Comics are often challenged. The comics that are challenged far more often than Maus are graphic novels about being a gay kid or being trans.

There’s this beautiful book by Maia Kobabe called Gender Queer, and Kobabe uses Spivak pronouns. Yell at me if I get them wrong, which is a large part of the point of er book. It’s a really evocative book about what it’s like to go through adolescence as a non-binary person. It raises all of these questions about everything from hormone blockers to masturbation and it does it in a way that is whatever the opposite of smutty is. It’s just really gentle and sweet and welcoming to people who experience the universal process of aging differently. That book is just deplored on the right. So many schools just like, we cannot have this here. This is pornographic. This teaches kids the wrong thing.

The thing that is being objected to is the existence of these people. The Maus and V for Vendetta are explicitly antifascist works. That’s why I love them. But that is, they are in the same category, these books about throwing Molotov cocktails through the window of the repressive British regime’s telecommunications agency, and about the horrors of the Holocaust, those fall into the same category as books about the lapidary lived experience of being Black or trans or gay, and that, I think, should disturb us. Honestly, I think it should disturb us even a little more than banning Maus does, because it’s so prevalent and it’s done with such shamelessness. The mayor of a little town in Mississippi just withheld $110,000 from the library system until they purged gay books from the library.

Lyta Gold: Wow. [crosstalk]

Sam Thielman: Yeah. The aldermen were like, we approve this money. You don’t make that decision, we make that decision. He was like, well, I have the money and I’m not dispersing it.

Lyta Gold: Is that how towns work? I don’t know.

Sam Thielman: Yeah. Look, it is until somebody stops them. If you can’t… You have to wield power against these people or they will wield it against entire categories of person that they don’t want to be there.

Lyta Gold: Right. And they’ll often frame it, especially when it comes to queer stuff, to trans stuff, to gay stuff as… The issue is that it’s sexuality and they’ll often… It’s actually pretty rare, especially just with Maus, where they don’t really state what the issue is directly, they skirt around and say, well, kids shouldn’t see depictions of sex. It’s interesting actually that in 1954, they said they also were against depictions of sex, but they were actually more clear, especially when it came to things like Batman and Robin being gay. The problem with depicting Batman and Robin as gay, which, obviously they’re gay, the idea is it’ll make kids gay. It’s the same concern now is that if you read something about a genderqueer protagonist, you will become genderqueer as if it transmits in this virus sort of way.

Sam Thielman: Well, and as if it’s like a harmful shameful thing. Who cares if it did? Yeah. The Kobabe book in particular, this is one that’s been… Hopefully, like most people, I hear that something is super controversial and I’m like, all right, I’m going to put down this fantasy novel I’m reading [crosstalk] and I’m going to check it out. I’m just making sure I got the title of her book, right? Yeah. Gender Queer: A Memoir. It is a book about not wanting to have sex. It is a book about being agender and asexual and navigating the world in which you are assigned female at birth and expected to have various feelings including sexual desire. The notion that this is promoting licentiousness among kids –

Lyta Gold: You’re right.

Sam Thielman: The silliest thing is… Well, I don’t want to… I don’t know. Our listeners are probably pretty hip. But there’s a decontextualized panel that appears to be of one character getting a blow job that has gone around on right-wing Twitter, and that’s not even a penis. If you read the book, you’re like, oh, that’s not what’s happening. That’s manifestly not the thing that’s happening in this panel. But again, that’s not the topic.

Lyta Gold: Yeah. The issue is anything that tells that [inaudible], like monogamous, procreative, heterosexual sex. Anything that’s licentiousness or says that it’s okay not to be hetero and monogamous or to not have sex at all. It’s actually to have a character who has ovaries or whatever say they don’t want to reproduce, that’s also very scandalous in its way.

Sam Thielman: I think when you talk to folks who are involved in these decision-making processes on the conservative side, they tend to say things like, oh, we don’t want our kids to see this stuff. You may think that it’s right, but I don’t think it’s right for my kids. You got to respect parents’ rights. I think that sounds very reasonable to liberal reporters who are from the Mid-Atlantic. If you’ve ever spent time in a Christian school system you know people who have killed themselves because they cannot stand being told, through implication and explicitly, that the way they are is wrong.

Lyta Gold: You’d think that would be damaging. If you’re going to define damaging to children, it’s exactly that.

Sam Thielman: But I mean, this is the thing. They want to damage those children. They want to put them through reparative therapy. They want to change them so that they are the same as everybody else. And that is, I think, reads as a less urgent danger to kids if you haven’t seen little mini-societies in which that is the preferred way to communicate with and about gay people.

Lyta Gold: That being said, there are lots and lots of good and interesting comics being written. Of course the story about Maus results in it being bought everywhere.

Sam Thielman: Yes.

Lyta Gold: I guess, to close out, one big question I have is, really comics as a medium and what they do as a medium, because it’s the style of storytelling that relies less on words, though of course there are words much of the time, but it relies on image and the combination of things. There’s actually this really interesting quote I’ve seen attributed to Spiegelman, and I’m not 100% sure it’s his, which he said he believes the medium echoes the way the human brain processes information. It’s this really popular medium. It was wildly popular in the ’40s and ’50s when there was this big pushback and it’s still popular now under the corporate capture of Marvel and DC tells you actually how popular it is because it’s lucrative, and that’s why they got –

Sam Thielman: Absolutely.

Lyta Gold: …Gobbled up by bigger companies. Given that it’s popular, given that it’s a very likable medium and it’s very relatable and very easy to get into in a lot of ways, where do you see it going?

Sam Thielman: Oh, that’s a great question. I mean the most interesting thing to me about comics is its fungibility. I think one reason the right is so afraid of comics that depict people of sexual and ethnic and religious minorities is that comics came into vogue because the newspaper merchants wanted to sell stuff to a population that was 20% illiterate and was also very heavily immigrant. People were bringing their kids into the American school system but couldn’t speak English themselves. If you wanted to sell a paper, you had to show the kids Little Nemo in a hot air balloon.

I think as comics have transcended various forms, various media, I guess, they have changed in what they’re able to do. For instance, in early comic books the color is really limited because you had to actually cut each color out of a transparency called Rubylith. And then if you get into the ’70s and ’80s, suddenly reproduction is so much better that you can do painted comics and stuff. Watching the change from newspaper to pulp to better paper stock and then to graphic novels that run to hundreds and thousands of pages long has been really fascinating.

The leap onto the internet has changed the medium in ways that I don’t fully understand and I’m still trying to grasp. I still read Tillie Walden on paper even though On a Sunbeam is a web comic. I really just, I want to read a codex. [crosstalk] But that said I think I’m behind on that. I think I’m behind the curve and I think at some point I’m just going to make my peace with it because there’s so much you can do on the infinite canvas of the internet.

Lyta Gold: Yes.

Sam Thielman: There’s people doing [things] in Procreate. That’s the other thing, is the art that gets done on computers can happen much more quickly, and I think a lot of artists are progressive and green and don’t want to go through as many markers as they do. I’ve heard a lot of people say that, actually. While selling original art is a great thing if you’re working on a superhero book, if you’re just making graphic novels with your friend, you may not be… The pages may just be taking up space in your apartment. People are working on… There’s this one, Erica Henderson, who I think is just an absolute genius.

Lyta Gold: Oh, Erica Henderson is great. I love everything she does.

Sam Thielman: She’s so cool. I have one of her t-shirts. She did this book with Alex Campi called Dracula Motherfucker, that I just think is unbelievably gorgeous. I think we are going to see people experimenting with the bleeding edge of digital technology in a way that enables them to not just make goofy looking Beeple-style digital images, but to be in conversation with all of the forms passed. Everything from Walton [inaudible] to Watchmen. You’re going to see people able to do that in different panels. I’m also really loving this book Nod Away if I’m just talking about my favorite comics.

Lyta Gold: [crosstalk]

Sam Thielman: Yeah. There’s this guy, Joshua Cotter, who’s been working on this thing just quietly putting these out for a decade. It’s this huge sweeping sci-fi saga that promises to be the American version of Akira or something. I really love that.

Lyta Gold: It’s called Nod Away? Was that –

Sam Thielman: Nod Away. N-O-D. Yeah. Nod Away. Joshua Cotter is the artist. I think he’s wonderful. Yeah. I think we’re going to see more IP-friendly stuff too. I think you have very commercial writer-artist teams that are constantly churning stuff out that I think is going to hit. I think we’ll see more Ed Brubaker, Sean Phillips stuff get adapted. But I think mostly, we’re just going to see it democratized more. I think one thing that the right gets right about the various civil rights movements is that they do allow people who would not otherwise come out of the closet to come out of the closet.

Sam Thielman: I don’t think people are wrong that there are suddenly more gay people in public now than there were before the gay rights movement. The difference is I think that’s great, and I think as people experience the world in more diverse ways and in public, we will see just a flowering of communities and an evolution of existing communities that will give rise to more and more interesting art. That’s the thing I look forward to the most is seeing a kind of person I don’t know at all and then experiencing them through their work.

Lyta Gold: That’s lovely. One thing I’m also really hoping for is that there are… American comics have been a really insular medium in some ways. American art in general is very… We’re very provincial. We’ve got no idea how provincial we are. Lately, I’ve been really getting into Korean webcomics.

Sam Thielman: Oh, sure.

Lyta Gold: Which are like, they use the infinite scroll idea in a really interesting way in the way that a panel will shade into the next panel and the way the time will pass in a story. It’s just this incredibly interesting explosion of things that’s happening. Thank God they’re being translated so that [people who don’t] speak Korean can read them. With this flowering of diversity and really interesting stuff coming in all those interesting cross pollination, it leads to better art but it also leads to freak outs from people who find this thing very upsetting.

Sam Thielman: Yeah. I think, interculturation is so obviously good. It’s so hard to argue with the fruits. If you actually sit down and read the Maia Kobabe book, it’s very difficult to come away anything but impressed. I think people, even conservatives like this stuff, they just don’t know it. Every right-wing comics guy I know loves Frank Miller. There is absolutely no Frank Miller without all of the manga your worst nerdy manga friend reads. People complained when they shrunk down the Sin City reprints to digest size. They did that so that they would look more like manga at Frank’s request.

All of this stuff is so… I emailed Ursula Le Guin a few years before she died when The National Endowment for the Arts was on the chopping block at the very beginning of the Trump Administration. I was trying to write a crusading piece saying, don’t cut the NEA. I said, how do we communicate to people who might be for this that it’s not a good idea? She said, I don’t think you can do that until people recognize that country music is art. People need to know that Blue Bloods is art. People need to know that the stuff they like –

Lyta Gold: Yes.

Sam Thielman: …Is art and ought to have public investment, public support. It enriches your life and it ought to occur to you that it’s not just like the community theater doing As You Like It.

Lyta Gold: I love Ursula.

Sam Thielman: She was so good [crosstalk].

Lyta Gold: I’m very jealous you got to talk to her.

Sam Thielman: I know.

Lyta Gold: Not cool.

Sam Thielman: She’s the greatest.

Lyta Gold: Oh man. Yeah. That’s one of the things, again, that’s funny about a medium that’s very popular, and then you’ve got elements of it that are… They’re so popular, they get captured by corporate interests and then they get sanitized, and superhero stuff is easy to sanitize. Then you’ve got things like Maus that are revolutionary and Pulitzer Prize winning and artistic in this kind of recognized way. But it’s very easy to see them as separate pieces rather than like, this is a continuous art form with different pressures and different freedoms that has allowed for different things.

Sam Thielman: I’m working on a proposal for a book of my own about this and it’s so hard to draw the lines. Because comic strips and comic books are always in conversation with each other. The French comics are titanic in their influence on American comics. Some people move. Some people are no longer English cartoonists, they’re now American cartoonists. There’s a Canadian tradition that is fascinating. There are editorial cartoons in Black newspapers, like the Chicago Defender, that are absolutely perfect that just went unread by people like me until a recent anthology that The New York Review of Comics put out. Suddenly you’re dealing with stuff… There’s a guy named Dan Nadel who’s entire deal is just doing anthologies of stuff you haven’t read. He has a book called Art Out of Time that’s just all lost comics.

Lyta Gold: Oh wow.

Sam Thielman: He did It’s Life as I See It, which is the anthology of Black newspaper comics. All this stuff suddenly appears and then it’s suddenly part of the canon even if it’s temporally displaced by years of neglect. I think the richness of the medium is something that its best practitioners use to make a kind of expanding collage that informs their own work and that makes this… It’s like the photo mosaics.

Lyta Gold: Yes.

Sam Thielman: You’re making a picture of yourself out of panels from every comic. I don’t know if you’re a Chris Ware fan at all. I know many people have strong feelings one way or the other. But I do –

Lyta Gold: I like Chris Ware. I’m not actually… I don’t have strong feelings one way or the other.

Sam Thielman: Oh, all right. Nevermind. I think he is actually at work on mimicking brain function in that way that Speigelman says. [crosstalk]

Lyta Gold: Oh, interesting.

Sam Thielman: Yeah. I think that’s really his project because his stuff isn’t linearly readable. There’s a lot of going through it and being like, which panel is next, and that’s not unintentional. So, yeah.

Lyta Gold: That’s interesting.

Sam Thielman: I don’t think I answered your question at all.

Lyta Gold: No, I think you did. I think you did. This stuff is… Sometimes I think that the reason people get a little bit gate-keepy or they try to, which version of this is good and which version of this is the bad version of this art form is… There’s just so much out there that is actually really good and it gets exhausting and it gets scary and you get intimidated and you’re like, oh, no. I’m going to… The real comics people are going to be snotty at me.

Sam Thielman: Yeah. No, I think that’s true. I do think the superhero industry is sad.

Lyta Gold: Yes.

Sam Thielman: I don’t think it’s evil necessarily, although I think it certainly can be, but I do just weep for it occasionally because there are so many people whose work exists exclusively in that genre. It would be really cool if there was a way to divorce Mark Wade from the corporate IP. He’s done some stuff that’s not Superman or The Flash, but like his Superman and The Flash stories are really good. They’re his best work. To some extent it’s just a sinkhole for artistic talent where people are just subsumed under the corporate logo.

Just going to the movies and seeing Marvel’s Thor on the screen is the most offensive experience. Thor doesn’t even belong to Jack Kirby, but he at least drew the first comics. There was a movement a few years ago to consider all this stuff. These are the modern-day gods and so forth. These are our Greek myths or whatever. And I think Maddy Lubchansky on Twitter was like, yeah, it’s like how the Catholic Church owns the abstract concept of Jesus and you can’t say Jesus out loud without paying them a dollar.

Lyta Gold: Yeah. Something that’s so funny about it, because there is that argument that it’s like a myth. The way that the stories work and how long they’ve been around and how many people have worked on them and told different versions, technically true that it is kind of the way that those myths worked. But it is all owned. And when I worked for Marvel, a lot of what I did was this very specific – I worked in image licensing and they’re very, very particular about which images of Spider Man go on products because they are here to sell products and they don’t want that much creativity in any respect. It’s frustrating. I read a lot of comics while I was there and there are writers and artists who are trying and have moments of real brilliance.

Sam Thielman: Oh yeah.

Lyta Gold: But they get tied into the synergistic needs of what movies are coming out and what are the big events, the big crossover events, and so nothing ever quite pops. It’s funny because the Marvel comics of, I think, the 2000s to 2009, about when they were bought by Disney, a lot of those are actually really good. There’s a lot of money behind them and so they were able to pay talent very well [crosstalk]

Sam Thielman: Well, and Axel Alonso was a really good editor. They hired this guy who had done… He had been at the quasi- creator-owned imprint at Vertigo, and he did all kinds of weird shit. Erica’s style is not something most people would think of as superhero work, but then he gave her and this wonderful Canadian humorous, this book, The Unbeatable Squirrel Girl and it’s easily the best thing Marvel has published in a good, long time.

Lyta Gold: It’s so good. If you haven’t read Squirrel Girl and you do like superheroes and you don’t mind, Squirrel Girl‘s great. Fabulous stuff.

Sam Thielman: Yeah, it’s terrific. It’s really funny and cute. I think there’s an extent to which the corporatization, the capture of DC and Marvel has made those places far less free for creators. In the ’80s when you have Grant Morrison deciding that Doom Patrol is going to be just the weirdest thing in the world and Alan Moore reworking Swamp Thing, they were basically able to do that stuff uninterrupted. I don’t think it’s the case that nobody as good as Grant Morrison or Alan Moore is at work in contemporary comics writing today.

But I do think that there is nobody like Karen Berger who is at DC or Marvel and able to say, no, no. They’re working on a character that didn’t sell very well before we put them on it. Let’s leave them alone since they’re doing better than their predecessor. Which is what Karen did. But that’s not how stuff is monitored anymore. It’s much more of a constant parenting.

Lyta Gold: It’s unfortunate because there could be a lot of fertility in that medium. But, yeah it’s really indie comics where fun things are happening. It’s in web comics that very exciting things are happening.

Sam Thielman: I will say I’m liking Mark Russell’s One-Star Squadron at the moment.

Lyta Gold: I haven’t read that one.

Sam Thielman: Mark Russell is really good. He did a 12 issue, he did a maxi series about the Flintstones with Steve Pugh a few years ago.

Lyta Gold: That’s all right.

Sam Thielman: It is transcendent.

Lyta Gold: Is it really?

Sam Thielman: It’s so good.

Lyta Gold: Oh my God.

Sam Thielman: It is a viciously anti-capitalist reimagining of the Flintstones. I cannot recommend it highly enough.

Lyta Gold: Right. I didn’t know that I needed that.

Sam Thielman: Yeah, you do. One-Star Squadron is about the gig economy. It’s about superheroes –

Lyta Gold: Oh my God.

Sam Thielman: …In the gig economy. It’s really wonderful.

Lyta Gold: Oh my God.

Sam Thielman: Yeah. Yeah. I –

Lyta Gold: [crosstalk] image too.

Sam Thielman: What’s that?

Lyta Gold: Is that Image Comics?

Sam Thielman: No, they’re both DC. They’re both DC.

Lyta Gold: They’re both DC? Okay.

Sam Thielman: Yeah.

Lyta Gold: Wow. For DC, you’re getting away with that.

Sam Thielman: Yeah. Yeah. No, he –

Lyta Gold: Amazing.

Sam Thielman: …He does good work there. He was going to do a book for Vertigo or maybe Black Label about Jesus and DC was like, we found the line where you have to take that somewhere else. That’s also pretty good. It’s called Second Coming. But, yeah. I think he’s very funny. He has his own graphic novels from top shelf called God Is Disappointed In You. Which is true.

Lyta Gold: Yeah, which is fair. Justified. Yeah.

Sam Thielman: Yeah.

Lyta Gold: Amazing. Well, on that note of God being disappointed in us, and for good reason, I think sadly we have to end it. But yeah, is there anything you’d like to plug? Obviously your book proposal sounds like the coolest thing and that should happen and if any publishers are listening, get on that.

Sam Thielman: Thank you. Yeah, I’m mostly mentioning so that I don’t have any excuse not to work on it because I need to finish it. I’ve been going at this draft for a couple of weeks and it needs to be done. But yeah, no, I should have an essay up along these lines over at Forever Wars, which is my blog with Spencer Ackerman, at Spencer Ackerman’s blog that I work on. Spencer is the draw, let’s be honest. Yeah. Subscribe that if you’re into geopolitics from a lefty perspective. We’re very proud of it. Spencer does amazing work. We had an abortion fundraiser recently. We hope to do more stuff like that in the future. We want to keep it going. That’s my plug for today. foreverwars.substack.com.

Lyta Gold: It’s really good. It’s really well edited too, I have to say.

Sam Thielman: Thank you.

Lyta Gold: Yeah, thanks again for joining [this has been so much fun][crosstalk].

Sam Thielman: Thank you so much for having me. This is delightful. Love to talk about this stuff and love to talk to you.

Lyta Gold: Yeah. Well, someday maybe we’ll do a drunk three-hour one –

Sam Thielman: Absolutely.

Lyta Gold: [crosstalk] have a few beers and then like really get into it.

Sam Thielman: Yeah. Alcohol interferes with my medication to a degree that that’ll be really easy. You can get me really… It won’t even be three.

Lyta Gold: Oh, excellent. Get all the really weirdest comic stories [crosstalk]

Sam Thielman: Yes. Yeah. I got them. I got them.

Lyta Gold: All right. Wonderful. Well, if you’ve been listening, please subscribe to The Real News Network Feed. That’s how you get more of Art for the End Times episodes. You’ll also get all the other wonderful podcasts on The Real News Network. Thanks everybody, and we’ll see you next time.