May 28, 2012 Fredric Wertham: Not a Complete Idiot After All
There’s no name in comic book history more vilified than Fredric Wertham. Tom De Haven calls him the “industry’s real-life supervillain.” After his 1954 Seduction of the Innocent, comic book sales capsized, and over 400 titles went under. Wertham’s book sparked a Senate Subcommittee Hearing into Juvenile Delinquency that forced publishers to adopt the Comics Code or face government censorship. No single author has had a larger or more negative impact on comics, and yet De Haven says his arguments “made no sense.”
Wertham, a German psychiatrist who left Germany before the rise of the Nazi party, called superheroes “an off-shoot of Nietzsche’s superman” and joked that Superman, a “symbol of violent race superiority” should wear an S.S. on his chest. “Hitler,” he told the Senate, “was a beginner compared to the comic-book industry.” After interviewing juvenile delinquents, he concluded that Superman readers showed “an exact parallel to the blunting of sensibilities of cruelty that has characterized a whole generation of central European youth fed the Nietzsche-Nazi myth of the exceptional man who is beyond good and evil.”
In short, superheroes are fascists.
Les Daniels calls Seduction of the Innocent “a classic of wrong thinking.” Most scholars don’t bother debunking it. Gerard Jones simply acknowledges that Wertham was “genuinely concerned” but ultimately misguided in his tendency to “see fascism” “when he saw any hero using physical force.”
But Wertham wasn’t the only one reading comics through fascist-tinted glasses. In fact, he was the last in a very long but now very forgotten line.
Marshall McLuhan was just as unhappy about Superman’s “strong-arm totalitarian methods” and his readers’ “political tendencies” to “embrace violent solutions” three years before Seduction was published.
Go back two more years and Gershon Legman was calling Superman a “provincial apotheosis” of “the Nazi-Nietzschean Ubermensch” who “save[s] us” by “peddling a philosophy . . . in no way distinguishable from that of Hitler.” He thought Superman comics had “succeeded in giving every American child a complete course in paranoid megalomania such as no child ever had, a total conviction of the morality of force such as no Nazi could ever aspire to.”
Legman and Wertham had teamed up at the Association for the Advancement of Psychotherapy’s 1948 symposium “The Psychopathology of Comic Books” where they warned against comic book in which “Fists that smash against faces settle all problems.” But they weren’t the first post-war voices complaining about superheroic violence. Robert Southard beat them by two years. Superhero comic books, he said, are “paper incarnations of the devastating Nietzsche Nazi Philosophy of force.”
The idea had gone mainstream the year before. With Hitler six months dead and Hiroshima and Nagisaki smoldering, Time magazine asked, “Are Comics Fascist?” Walter J. Ong answered yes, “Superman is a Nazi.” Comparable to “Hitler and Mussolini,” the superhero “is a super state type of hero, with definite interest in the ideologies of herdist politics” and, in the case of Wonder Woman, even “Hitlerite paganism.”
But this wasn’t just a post-war phenomenon either. Reverend Southard launched his attacks in 1944, condemning the unintentional “anti-American, dictator propaganda in the glorification of these wrong-righting supermen.” The U.S. was “ready for a Hilter” and we “would not now have a war on our hands” if “German youth” had not been similarly “persuaded that [Hitler] was a superman with a mission to right the wrong of the German state . . . the Hitler way.”
But Southard wasn’t the trend setter either. The year before Thomas F. Doyle asked “What’s Wrong with the ‘Comics’?” reminding his Catholic World readers of the link between Superman and that “Nazi pamphleteer” Nietzsche.
And fascist accusations were just as popular before the U.S. entered the war too.
Sterling North warned in 1941 that the “Superman heroics” and “cheap political propaganda” found in comics books were “furnishing a pre-fascist pattern for the youth of America through the principle of emulation.” The “chances of Fascism controlling the planet diminish in direct proportion to the number of good books the coming generation reads” instead of comics.
James Frank Vlamos also saw Superman and his imitations as “Hitlerite,” “the nihilistic man of the totalitarian ideology.”A year earlier, Slater Brown, familiar with the black “arts of modern demagogy,” “understood why this new comic should have become so generally and fantastically popular.” Brown recognized Nietzsche in “this popular vulgarization of his romantic concept” and condemned the pro-fascist adults in “Nietzsche’s own native land and in the neighboring country where he lived . . . who have embraced a vulgarized myth of Superman so enthusiastically.”
Even Germany saw Jerry Siegel’s Superman as a Nietzsche knock-off. According to Das schwarze Korps, the weekly newspaper of the German S.S.: “Jerry looked about the world and saw things happening in the distance, some of which alarmed him. He heard of Germany’s reawakening, of Italy’s revival, in short of a resurgence of the manly virtues of Rome and Greece. ‘That’s fine,’ thought Jerry, and decided to import the idea of manly virtue and spread them among young Americans. Thus was born this ‘Superman.’”
So Wertham’s fascist-tinted shades had been a popular prescription long before Seduction of the Innocent. And plenty of contemporary readers are squinting through the same lenses.
Amy Kiste Nyberg sees Wertham as “largely misinterpreted by fans and scholar,” arguing that “the image of Wertham as a misguided pioneer in media effects research is erroneous.” Bradford Wright, with ample misgivings, agrees with Wertham, calling his “basic argument . . . perceptive and prophetic.” And David Hadju, with even more misgivings, sides with Wertham too, declaring that the “the comic book war” fought and won by Wertham and his allies “was worth the fight.”
Of course the fight worth winning was World War II. And if Superman was a bit of a totalitarian bully, at least he did his strong arming in the name of democracy. But that sort of contradiction can only last so long. Once democracy wasn’t under siege, fascist-fighting fascists were harder to stomach.
The Superman later generations came to know and love was very different from the superpowered vigilante Siegel and Shuster introduced in 1938. Their Superman routinely took on the police and army if they got in the way of whatever agenda he chose that month. Too many traffic accidents? Superman demolishes a car factory. Too many juvenile delinquents? Superman demolishes the slums.
Wertham demolished comic books for the same reason. But he wasn’t the lone voice crying “Hitler!” He was just the voice that America finally listened to.
Tags: fascism, Gershon Legman, James Frank Vlamos, Marshall McLuhan, Robert Southard, Seduction of the Innocent, Sterling North, Superman, Thomas F. Doyle, Walter J. Ong
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Permalink # David Oakes said
He was also shouting “homosexuality”, “disrespect for authority”, “juevenile delinquency”. Just because he was correct that superheroes do feature a Fascist element of “Might Makes Right” doesn’t mean that the rest of his argument were not hysterically overblown, or that his methodology was dubious at best.
You become the voice of a movement, you have to be prepared to take your lumps when that movement is discredited.
Permalink # Chris Gavaler said
I strongly agree. Dubbing him “Not a Complete Idiot” is no endorsement of all things Wertham, just an acknowledgement of one thing he may not have gotten entirely wrong.
Also, I think it’s useful to recognize him as not a prophet, but a latecomer to a debate in motion long before he stepped on stage.
If you’re interested in his impact on homosexuality in comics (which, to my surprise, was mostly absent in the actual Senate hearing), you might look at my earlier blog:
Permalink # ALLAN KEAR said
Wertham was putting the blame for juvenile delinquents on Superman Batman and Robin and Wonder Woman, when the real culprits in this case were mentally fucked up parents. his crimes are still being perpetrated to this day. Marvel and DC need a hero to save their corporate self respect.
Permalink # gened5 said
I don’t suppose that Wertham considered that Siegel and Schuster devised their power fantasies as Jewish Americans in reaction to the rise of Fascism? Superman originally fought corrupt politicians, profiteers, and criminals before tackling mad scientists, alien despots, and supervillains, making him more progressive a vigilante than he’s often given credit for.
The caped boy scout and family man of the 1950s and ’60s was neutered by American desire for the safety of postwar domesticity and fear of communism.
Permalink # Chris Gavaler said
Exactly. Wertham’s attack on superheroes was a decade late. By the mid-50’s, the TV Superman was a sweetheart, not a fascist bone in his fist. The few superheroes comic books that remained were child-friendly compared to the Crime and Horror magazines flooding the market. You could say the formula was still fascist, but toned down so much that it had really evolved into a different species. One, ironically, that Wertham could have embraced as an antidote to the uglier comics that really were objectionable.
Permalink # citizensingh said
Alright this fascist charge is pretty overwrought and when you break down what fascism is about the charge doesn’t hold. Wertham is still wrong about Superman.
Just because someone is a vigilante doesn’t mean they are a fascist. Fascism is a political ideology of national strength through coordination of production and political leadership based on racial and ethnic superiority. Did fascists act like “strong-men” taking the law into their own hands because they believed they were above it? Yes. Did the Jacobins and other revolutionaries do this as well? Yes. Just how does a super-powered costumed being who fights against wife-beaters, stops lynchings, and brings corrupt bosses to account entail a “nihilistic man of the totalitarian ideology”? All this quoting of scholars who make broad, sneering remarks about what they perceive as low-brow trash doesn’t indicate anything about Superman’s vigilantism. Taking the law into your own hands to correct injustices against the “downtrodden and the oppressed” (Superman’s tagline) is a lot different from taking the law into your own hands in order to establish a hierarchical society where the strong rule, the weak are eliminated, and conformity enforced. Superheroes act on the principle that Right makes Might not Might makes Right.They use force but in the service of the good not in the extension of the principle of force and “will”-fascism.This fascism charge against superheroes is just sensationalistic grasping at vague similarities of the use of force.
Permalink # Chris Gavaler said
The similarities are more vague the further we get from the late 1930’s. But the character was created when fascism was at its height. I’d say Superman started out as a fascist-fighting fascist. Meaning his mission opposed fascism, but he used some of the same authoritarian tactics.
Would you agree that the fascist charge is overwrought in a 21st century context, but historically it has some validity?
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