Tag Archives: American Left

One More Look: ‘A Dangerous Woman: The Graphic Biography of Emma Goldman’

A DANGEROUS WOMAN

A Dangerous Woman: The Graphic Biography of Emma Goldman. by Sharon Rudahl. edited by Paul Buhle. The New Press. 2007. 115pp. $17.95

Emma Goldman (1869-1940) is not an obvious choice for the subject of a graphic novel. Unless you’re into political science, you probably have never heard of her. But since when is it an obstacle to read a book about someone you’ve never heard of? It’s absolutely not an obstacle. More of an invitation. You see, Emma Goldman was a trailblazing anarchist who became known as “Red Emma” and, when she was deported from the United States in 1919, J. Edgar Hoover called her “one of the most dangerous women in America.” Comic artist Sharon Rudahl brings Emma Goldman to life in her graphic novel. It was a pleasure to review Rudahl’s graphic novel on Paul Robeson. You can read that here. And it seemed only natural to take one more look back to her graphic novel on Emma Goldman.

Red Emma

Emma Goldman lived a truly storied life. Born in Russia, Goldman joined the mass, late-19th century emigration to the United States as a teen, only to be deported back to Russia just as the Bolshevik revolution was tranforming it into the Soviet Union. One of the founders of the feminist wing of underground comix, Rudahl is a wonderful match to depict Goldman’s life and times. You can see the subject shimmer with energy as Rudahl digs in with enthusiasm and dedication. She adds little artful flourishes as needed and she dutifully finds creative ways to digest all manner of information and reconfigure it upon the page in a concise manner.

Emma and the Wobblies

Creating a graphic novel is no easy task and it sure helps if your subject is not only compelling but also unusual, in some way transcendent. Emma Goldman proves to be a highly distinctive individual with a hunger for knowledge and a need for helping the disadvantaged rise up. Rudahl follows Emma Goldman’s arc: from tentative public speaker to self-assured leader and rabble-rouser. Goldman was a true original, out in the forefront for worker’s rights, women’s rights, free love, anarchism and ultimately an overthrow of capitalism. It was her opposition to World War I that got her deported but, by that time, she’d already well established herself as “a most dangerous woman.”

Emma Goldman meets Paul Robeson in Sharon Rudahl’s Ballad of an American: A Graphic Biography of Paul Robeson.

Sharon Rudahl is one of the female comic artists who contributed to the first underground comix publications of the early 1970s. She was part of the collective that started Wimmen’s Comix in 1972. Rudahl also drew stories for Anarchy Comix #2 and #3 in 1979. In 1980, she published her own comic book, Adventures of Crystal Night.

An “old story” from the old country.

A close look at Rudahl’s career shows the steady progression of a determined auteur cartoonist moving up the ranks of the indie scene: creating short works of comics that lead to longer work; finally, everything in place, pursuing graphic novel work, A Dangerous Woman and Ballad of an American: A Graphic Biography of Paul Robeson. If you take a look at Rudahl’s short works, you’ll see she likes to come back to “old stories,” those nearly forgotten stories from the old country. It is someone with that sort of sensitive touch who is perfect for depicting the life of such a colorful and complicated figure as Emma Goldman.

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Review: ‘American Daredevil: Comics, Communism and the Battles of Lev Gleason’ by Brett Dakin

American Daredevil: Comics, Communism and the Battles of Lev Gleason

Guest Review by Paul Buhle

American Daredevil: Comics, Communism and the Battles of Lev Gleason. By Brett Dakin. Toronto: Chapterhouse, 2020. 242pp, $24.99.

Lev Gleason is a storied figure, a part of the history of comics production and comic art that had yet, until this fascinating volume, to be told in any detail. A personal saga, a business history, and a detective story by a great-nephew pursuing a disappearing world: we have here a tasty package. For those interested in the popular culture angles of the American left, this makes an especially intriguing addition. A minor baron of the pulp world, Gleason supported left causes of all kinds by determined fundraising, meanwhile publishing a left-of-center imitation of the Readers Digest and even consulting the Daily Worker on how to win more readers.

During Gleason’s prime years of comics, the end of the 1930s through the middle 1950s, comics themselves were outselling any other periodical except the newspaper, and doing so with a market mostly (if by no means entirely) under 20 years of age. Gleason helped create this market through keen salesmanship and an eye to design. His very own comics, for reasons other than politics,  would lead in part to the….suppression of comics, a genre denounced and hated by the elite. His best-selling Crime Does Not Pay series (1942-55) could not be described as the most garish or violent of comics, but the outright sadism of the criminals, the “headlights” looks of the dames, this and more was unmistakably—popular! If never as popular as war and its perpetual American glorification in and out of comics.

But let’s start at the beginning. The author, a contributor to distinguished journals like Foreign Affairs and The Guardian, had to learn about his great-uncle second hand. Lev died before Dakin was born. He learned  only by his own research that Lev was the grandson of a prominent supporter of abolitionism in the border states of Kentucky and Ohio—not a small or even very safe thing to be. In family lore, Lev himself was the left-leaning financial dynamo who made a fortune and lost it. Also not a small thing.

A Bostonian mustered out of the Army in 1919, Lev wanted to make money (he had at least one ex-wife to support) and went into the magazine business as an advertising manager for a kids’ publication. He took his experience to New York in 1932, and became an advertising manager at Eastern Color Printing, an auspicious spot. Eastern actually did the printing of most of the Funny Pages of the big East Coast papers. Gleason has at least a solid claim, if not the only existing claim,  to have invented the comic book format: 64 page booklets full of comics.

Far from over-the-counter, these were first sold to corporations as give-aways. But Lev and his friends convinced Eastern to let them try selling the pamphlets at newspaper outlets, starting in 1934. The dime comic was born or rather pre-born, because only a year later did a comic appear with all original material rather than reprints from the newspaper comic pages.

As the earliest editor of Tip Top Comics, Gleason made his first and most spectacular blunder: passing on the strip by a couple of young Jewish guys from Cleveland, called Super-Man. You could say this error cost him millions. In charge of Superman, he might have avoided the dreadful cheating of the artist and scriptwriter by the comics corporations.

Gleason pressed onward and Silver Streak Comics appeared just in time for the comics’ Golden Age, helping to make it possible. The soon-to-be-famous artist Jack Cole came up with a dreaded character, The Claw, and action scenes hinted at one of Gleason’s favorite motifs in the years to come: the scantily clad maiden, obviously in trouble but also somehow tempting (psychoanalytic critics would describe comic books  as faintly masturbatory).

Daredevil, Comic House, August 1941

Daredevil, of this book’s title, was for years Gleason’s meal ticket. A handsome agent of derring do, he could punch Hitler in the face (even if no one was doing so in real life) without raising a sweat. But to make the comic work big, Gleason had to buy a “few million pages of pulp” on a promise of turning the comic around in a couple weeks in 1941. With several more of the artists and letterers destined to become famous in the business, especially Charles Biro, they did it. Daredevil was a smash hit.

But this was only one side of Gleason’s inclinations. The Popular Front oriented Theater Arts Committee (TAC) had made a name during the 1930s, bringing elements of progressive theater to ordinary audiences, but it re-blossomed along with other such entities in the antifascist war years. Gleason raised thousands of dollars for the TAC as he did for the Joint Anti-Fascist Rescue Committee, and a large handful of others, most of them destined to be placed upon the Attorney General’s list of “subversives,” despite most having actually ceased operation or even existence during the years shortly after the War.

Gleason had also published Friday, a popular magazine that set out in 1940 to gain part of the booming magazine audience, but did not have the advertisers to survive a single year. More important, he published Reader’s Scope (1945-49), a  lively, pocket-sized, leftish version and would-be rival to the ubiquitous Readers’ Digest, with condensed versions of articles from the liberal press. Salute (1946-48) aimed at the returning GI, was no success. There were still other unsuccessful magazines, proving that he had ideas, probably not quite the right time for them or the financial backing, but he pushed the antifascist, reform and anti-racist message forward.

Amidst all this, Gleason lived rather palatially in suburban Chappaqua,  New York, until the middle 1950s. Publishing a liberal daily  (New Castle News) to combat the local conservatives, entertaining guests of all kinds, he traveled regularly to the city with or without his family for what one could properly call anti-fascist popular culture. He was a personality of his place and time, as anyone could see. And then it fell apart.

Pursued by the FBI, Gleason also bravely fought the threatened repression of comics that was coming in the wake of the Red Scare. Indeed, the charges made against the Reds and comics were surprisingly similar, out of the mouths of rightwingers:  Jews were corrupting Christian youths. You could say that William Gaines, publisher of EC Comics, faced the same enemies, but of course, Bill Gaines was an honest (Jewish) liberal without the dangerous political connections. Gaines turned the generalized collapse of the comic industry into the vast triumph of Mad Magazine. Gleason had no such backstop, at least not in publishing.

A real estate salesman in Upstate New York, living with his family in a small house, he was cut off from a sparkling social life. These had been shut down by McCarthyism anyway. Gleason survived for a while. He died in 1971. A year earlier, in a message to fellow Harvard graduates, he embraced the civil rights and antiwar movements that respectables shunned, evidently celebrating the renewal of the American Left.

Author Brett Dakin purses this part of his great-uncle’s life by driving around, talking to old people, and by checking FBI documents. It’s a change of pace for the book, but welcome in its highly personal tone. Dakin is a family member looking for roots, like so many others. He found the most interesting great uncle that almost anyone could find. I wish I had someone like that in the family tree.

Paul Buhle is the rare leftwing scholar of comics. He is coeditor of the Paul Robeson comic, to be published in October, and drawn by Sharon Rudahl.

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