Một Sàng Khôn - Ếch Và Chuột tải về miễn phí cuốn sách

Jerome Fournier _eromefournier — Long but worth it, if you're a series fan!

Eduardo Cabrer _duardo_abrer — درباره کتاب: http://bahmanagha.blogspot.com/2006/0...

方 晨旭 404125181490f — Hajdu retells one of the most often told stories in comics culture, that of Fredrick Wertham's _Seduction of the Innocent_ study linking delinquency and the comics, and the subsequent drive to ban comics that ended the era of EC and ushered in what someone, maybe Doug Wolk, called a wave of enforced blandness. Hajdu does a really good job with the material, showing that the process that led to the outrage in the fifties was the result of at least a decades worth of serious and sustained agitation, and was not the result of a couple actions or spontaneous, as it is sometimes portrayed-- instead, it's a pretty complex story with lots of players and lots of crucial moments along the way. Hajdu's book has a sort of controversial thesis, which was aired out a lot when this book was first reviewed, that the backlash against comics was primarily generational, and was the first wave of attack against the counter-culture that would soon advance via rock and roll and beat poetry. I like this idea, and I think there's some merit to it on its face, but I'm not sure I think Hajdu convinces me that his argument is the right one, at least not as convincingly as he makes the case that a lot of the anxiety over the comics, for example, is a hold-over from concerns about class. I agree these are related topics in some ways, but not the same, and Hajdu doesn't completely convince me, though it's an interesting enough approach that I at least like to toy with the idea. In the same vein, Hajdu's history of EC differs from the accounts with which I'm most familiar, in one crucial dimension-- Hajdu gives a lot more creative credit to Al Feldstein, and Bill Gaines especially, than I think I've seen in previous stories of EC. I think Hajdu might be onto something about their impulses and the way they are played out in the marketplace, chasing horror especially. But I sort of struggle with what I've heard elsewhere to attribute so much of the creative success of the line to the work of these two, a point Hajdu seems to grudgingly admit when, for example, he talks about Feldstein's humor comic _Panic_. It had long been my understanding that most of the creative success, on the writing side at least, of EC was based on Harvey Kurtzman's work. (On the artistic side, the credit is more shared and spread around). But it's possible I'm just wrong about that. I mention it here because as far as a correction of the historical record, I wonder about it a little more than in some of the other areas of Hajdu's book, areas where he's the first I've seen to cover some of this ground so I'm less inclined to disagree. These concerns aside, Hajdu's book is pretty amazing-- the writing, while never showy, is crisp and intelligent, his selection process of his material shows great discretion, and it's a consistently interesting book. A really nice piece of work that's also a solid history that doesn't skimp on the facts that will make it an incredible resource. Matt