Austerity Britain: A World to Build 1945–48 by David Kynaston (2007)

David Kynaston (b.1951) has written about 16 history books on broadly three topics: cricket, the City of London, and Britain after the Second World War. His post-war histories (to date; the plan is to take them up to 1979) have been published as three volumes, each of which – rather confusingly – contains two ‘books’:

Should one review the portmanteau volume – Austerity Britain (692 pages long in its current Bloomsbury paperback edition) – or the two ‘books’ it contains? I’ve chosen the latter option, because each of the ‘books’ is so dense and packed with information that they require separate posts.

Approach

What makes the books so delightful and addictive is that they are an oral history. Rather than the stats and graphs of an economic history, or the acts and votes of a political history, or the treaties and negotiations of a diplomatic history, Kynaston’s account quotes at length from diaries, letters, journals and accounts kept by the widest range of people alive during the period, as they react to events large and small, national, international and parochial.

Fairly regularly he stops to consider this or that ‘issue’ – rationing, nationalisation, town planning – in what you might call the traditional historical way, describing key publications or speeches in that area. But then he swiftly returns to the more gossipy main stream of his approach, to quote housewives, workers, local officials.

The result is to be led through the key events and debates of the period, but to see it overwhelmingly in human terms, in the words of the people who shed and led debate but also the reactions of the ordinary man and woman in the street.

Some of the voices

The Famous

  • Neil Kinnock, future leader of the Labour Party, aged 3 when the war ends in 1945
  • Patrick Stewart, 5, moved along by a policeman for singing outside a polling booth in 1945
  • Bill Wyman, bassist with the Rolling Stones, starts grammar school, 8
  • Glenda Jackson, aged 9 when the war ends, starts grammar school in 1947
  • Alan Bennett, 11, spent VE Day in Guildford
  • Kenneth Tynan, drama critic to be, now Birmingham schoolboy, 18
  • Humphrey Lyttleton, 24
  • ultra-royalist James Lees-Milne, diarist, architectural historian, worked for the National Trust, 36
  • Cyril Connolly, editor of Horizon literary magazine, 41
  • Noel Coward, playwright, aged 45
  • J.B. Priestley, novelist and radio broadcaster, 50
  • J.R.R. Tolkien, 53, commenting on the insanity of the atom bomb
  • Harold Nicholson, British diplomat, author, diarist and politician, 58
  • Violet Bonham Carter, Baroness Asquith of Yarnbury, politician and diarist, 58

There are hundreds more but this gives a flavour. Kinnock is quoted as remembering the prefab house his parents moved into. Bill Wyman remembers how going to grammar school in 1947 cut him off from his working class roots, though the boys at his new school teased him for being poor. Lees-Milne is very posh and quoted liberally throughout with his generally negative reactions to the Labour government.

Connolly, as a magazine editor and essayist, wrote reams of material, but Kynaston quotes him, fascinatingly, commenting on the way the great wall of left-wing / communist solidarity among artists, writers, poets and so on during the 1930s simply evaporated after the war and had quite disappeared by 1947. The problem was that they finally had a ‘socialist’ government and there wasn’t a man or woman in ‘the movement’ who wasn’t bitterly disappointed at the reality (p.235). The same sentiment is expressed by George Orwell, who in his long essay, The Lion and the Unicorn (1942), wrote confidently about the general public’s swing to the Left and the notion of central planning but, by 1946, had become disillusioned (pp.45, 173).

All this was exacerbated by the Berlin Airlift, the coup in Czechoslovakia, and the general start of the Cold War. I hadn’t realised that this led to actual legislation banning car carrying communists from public office, with the ruin of many a career.

There are also extensive quotes from key players in politics, from the diaries or letters or speeches of men like Clement Attlee (Labour Prime Minister), Hugh Gaitskell (Minister of Fuel and Power), Aneurin Bevan (Minister of Health overseeing the creation of the National Health Service), Ernest Bevin (Foreign Secretary who oversaw the independence of India, Israel etc), Herbert Morrison (Deputy Prime Minister), Stafford Cripps (Chancellor of the Exchequer).

Slowly you get a feel for their personalities, achievements and disagreements. Around them swim all kinds of minor figures, private secretaries, and MPs, and policy makers such as Michael Young, who wrote Labour’s 1945 manifesto (Let Us Face The Future), coined the term meritocracy and went on to play a key role in setting up the Consumer Association and the Open University.

The Obscure

Kynaston takes his lead from Mass Observation, set up in 1937 by three Cambridge graduates, anthropologist Tom Harrisson, poet Charles Madge and filmmaker Humphrey Jennings. Mass Observation aimed to:

record everyday life in Britain through a panel of around 500 untrained volunteer observers who either maintained diaries or replied to open-ended questionnaires (known as directives). They also paid investigators to anonymously record people’s conversation and behaviour at work, on the street and at various public occasions including public meetings and sporting and religious events. (Wikipedia)

Kynaston relies heavily on material from the M-O archive now held at the University of Sussex. This takes many forms. M-O carried out tailored surveys on specific issues throwing up statistical results of the numbers in favour or against particular policies. Their contributors often reported on conversations overheard on the street, on the buses or tube, at the theatre etc. And other contributors kept detailed diaries. The most famous of these was Nella Last (1889-1968), who wrote over two million words about everything she died, heard and observed, from 1939 to 1966, making her one of the single largest contributors to M-O.

But Kynaston quotes from a large number of other diarists and recorders, including:

  • Michael Burns, grew up in Tolworth
  • Lawrence Daly, coalminer
  • Alice ‘Judy’ Haines, a young married mother of two living in Chingford
  • Anthony Heap, a middle-aged local government officer from St Pancras
  • Mary King, retired teacher
  • Gladys Langford, deserted by her husband, living alone in the Woodstock Hotel
  • Ernest Loftus, headmaster of Barking Abbey School
  • Edith Palmer, ex-pat’s daughter, late-20s, arriving in England from Kenya
  • Mrs Michael Pleydell-Bouverie who spent three years on behalf of the Daily Mail speaking to ‘the Women of Britain’ about homes and housing
  • Kenneth Preston, a middle-aged English teacher at Keighley Grammar School
  • Marian Raynham, a housewife from Surbiton
  • Henry St John, son of a sweetshop owner, living in Bristol
  • Sir Raymond Streat, head of the Cotton Board
  • Rose Uttin, housewife from Wembley
  • Mrs Madge Waller

Post-war issues

So what do these people comment on and discuss? A huge array of issues and problems which faced Britain right from the moment war ended (Victory in Europe 8 May 1945, Victory in Japan and the final end of the war, 15 August). As stated, Kynaston is not a conventional historian of diplomacy or economics. Issues appear insofar as they impinged on the minds of his huge cast of Britons. None of them are pursued in detail and, after 300 pages, I realised that he rarely comes to a conclusion about any of them. Instead we are presented with a variety of opinions, from top politicians and expert down to housewives and coalminers – and then he moves on.

Domestic affairs

  • Rationing
  • The General Election 5 July 1945
  • The Labour government’s attempts to:
    • nationalise industry
    • set up a National Health Service (launched, after much struggles with the doctors, on 5 July 1948)
  • The housing crisis
  • Education  (everyone accepted the 11-plus, the division between grammar and technical schools, and nobody touched the public schools which were [and are], according to Kynaston, ‘the single most important source of political, social and economic privilege’, p.153)

International affairs

  • Surrender of Germany, suicide of Hitler
  • Atom bombs dropped on Japan
  • Berlin Blockade and airlift
  • June 1947 Marshall Plan
  • February 1948 communist coup in Czechoslovakia

But most of the people Kynaston quotes have little or no interest in international affairs. After initial relief that the war is over, and then shock at the revelation of the atom bomb, most people sink back into their customary indifference to international affairs (and to politics generally).

Britain might as well not have an empire at all. The independence of Israel and India/Pakistan are not mentioned. Decades ago I read the comment by the Trinidadian historian C.L.R. James, that the tragedy of the British was that all their history took place abroad – by which he meant in the empire.

One of the biggest aspects of the book is the way the British Empire is almost completely absent from it. The people Kynaston quotes are struggling to make ends meet, to find somewhere to live, find a job, and then find food to eat. He quotes a survey of 2,000 adults made in 1948 which revealed that only 49% could name a single British colony. The majority of those surveyed could not name a single British colony.

And so, since so few people knew or cared about the empire, Kynaston devotes much space to popular radio programmes (Woman’s Hour, first broadcast on 7 October 1946 on the BBC’s Light Programme, the popular comedy It’s That Man Again), to the very slow spread of television (only 50,000 sets in 1945). There is more about the Grand National than there is about Gandhi, more about Stanley Matthews (the footballer) than Stalin.

In this book nobody travels abroad (nobody can afford it) but plenty of people have a summer holiday at Margate or Morecambe or at Billy Butlin’s new holiday camps (first one at Skegness in 1936).

Kynaston gives us the results of the key test matches and FA Cup Finals for 1945, 46, and 47, as well as the Epsom Derby, and reports from greyhound races and boxing matches – while all kinds of high-minded middle-class commentators lament that the average working man seems more interested in a pint, a packet of fags and the sports results than he does about the Iron Curtain.

The intellectuals and the masses

This reflects what, for me, is the main impression of the book, which is the enormous divide between the relatively small educated liberal intelligentsia – the policy makers and politicians and thinkers and writers and architects and planners – and the vast majority of the population, still very working class, often illiterate or, as Kynaston puts it:

the profound cultural mismatch between progressive activators and the millions acted upon (p.267)

Kynaston shows how all of the 1945 Labour government’s policies were not just controversial but opposed by large number of people, even the working people the Labour Party claimed to represent. For example, efforts to pass laws guaranteeing the trade unions representatives on boards of the new nationalised industries (a policy followed in Germany) were rejected by the unions. Why? Because they preferred to negotiate wages from a position of freedom and strength (p.229) It was a mindset which, arguably, crippled British industry for generations.

Similarly, it is fascinating to read how many ordinary people (not just the usual suspects, Tory MPs and toff writers), really hard core working class people, were suspicious of, or actively against, the welfare state, the new system of national insurance and the National Health Service.

The gaping chasm between well-meaning left-leaning university-educated intellectuals and ‘the masses’ is probably best demonstrated in the area of housing. Vast amounts of Britain’s housing stock was destroyed by German bombing. But a fair percentage of what survived was desperately rundown slums, particularly in the industrial cities – London’s East End, Manchester, Birmingham, Glasgow and so on contained acres of slums, houses with no running water, gas or electricity, millions of people living with no indoor toilet.

The chasm comes about when the planners and architects put their heads together to solve the problem. There was debate and argument at all levels, but roughly speaking, people wanted houses with a little garden of their own, and the planners wanted to put them in blocks of flats. People wanted their bombed out city centres to be restored to how they were before the war. Urban planners and go-ahead young architects wanted, on the contrary, to demolish what old buildings were left, and create sweeping new town centres, dominated by pedestrian precincts and car parks, surrounded by ring roads. As he writes of the brave new plan devised to demolish and rebuild central Plymouth:

There was little or no local consultation, with all objections overruled. (p.36)

The opening of the book is devoted to arguments about how to rebuild Britain and, through the thicket of specific details about new schemes for Plymouth or Hull, one gets a really clear feel for the divide between those who know best what the people want, and the people themselves – not least, of course, because Kynaston’s whole book is devoted to the people’s voices. He quotes one of the founders of Mass Observation, Tom Harrison:

worried most by the way that planners and others associated with the matter talked as if they were winning over the general public when they were only winning over each other. He had never met any group of people who ‘scratched each other’s backs’ more than planners did. (p.47)

In Bristol the local retail association organised a poll which showed that only 400 were in favour of the new Broadmead shopping centre, while 13,000 opposed it. The planners ignored this and all other opposition, and went ahead and built it.

This Great Divide, this sense of a mass population profoundly alienated from their lords and masters, grows as the book progresses from the May 1945 General Election through to its end point, 5 July 1948, the day the National Health Service was inaugurated. Intellectuals at the time were agonisingly aware of it. Various papers and reports guesstimated that ‘the thinking minority’ ranged from 20% down to a mere 5% of the population (p.55). How could they break out of their bubble to really engage with the great unwashed (an expression coined around 1830 by the novelist Edward Bulwer-Lytton)?

Ronald

Maybe the single biggest surprise is the couple of pages devoted to the four months spent by American actor, Ronald Reagan at Elstree Studios making a war movie called The Hasty Heart (pp.314-315). Reagan was appalled by the filthy London smogs and rundown hotels, and – although he went out of his way to praise the director and all the other technicians he worked with – it was a grim first-hand sight of socialism in action which, in his view, amounted to stoppages dictated by the militant trade unions, six-hour queues at hospitals, gaunt impoverished passersby and mile after mile of slate-roofed council houses in the rain.

So far so anecdotal: but Kynaston goes on to say that Reagan himself, writing twenty years later in the 1970s, pointed to this trip to Britain – to seeing the ‘natural’ economic order of free markets replaced by rationing and state interference at every level, and the resulting lack of all basic facilities in a culture dominated by the petty tyrannies of trade union shop stewards and local government officials – as a defining moment in his journey to the Right.

So that, considering Reagan’s centrality to world politics during the 1980s and the role he played in the collapse of the Soviet Union, of communism, and even of full-blooded socialism as a viable political programme, there’s a case for saying that these few months in rainy Hertfordshire changed the history of the world.

General impoverishment

Kynaston devotes pages to political debates about Marshall Aid, about the end of Lend-Lease, about the currency crisis and devaluation of sterling, and so on.

But by far the biggest and most enduring subject of the book is RATIONING, the rationing of food and clothing, which not only continued after the war, but got worse, a lot worse. From the poshest in the land down to a variety of housewives, Kynaston’s quotes convey the sheer numbing crushing effect of days and months and year after year of shortages of meat, bacon, milk, sugar, butter, even of bread.

Demobbed soldiers, or visitors from abroad (including the American playwright Tennessee Williams), or British children arriving in Britain back from the colonies (Cliff Richard arriving from India in 1948, aged 8) all noticed how pale and underfed the population looked. For years after the war the gas supply was weak and the electricity was turned off at certain times of day. Witnesses like Harold Nicholson testify that even in the best London clubs, the food came in minuscule portions and was barely edible.

And then in February 1948 the population was afflicted by the coldest winter of the 20th century. Young Roy Hattersley remembers sledging down the middle of usually busy streets (p.199) but thousands of the elderly and the infirm died. And millions had to dig a path from their back doors to their outside toilets.

There are thousands of wonderful anecdotes, gems and insights throughout the book – but the predominating image is of impoverishment and endurance.

The queue for rationed food - symbol of post-war Britain

The queue for rationed food – symbol of post-war Britain

P.S. Obscure novelists

A lot of the people Kynaston quotes are, inevitably, writers, a self-selecting cohort since he is himself a writer dealing with written records which ‘writers’ dominate.

Your ears prick up at the famous ones (Graham Greene, Noel Coward, Doris Lessing) but he also introduces us to a cocktail party of less well-known writers from the period, a list which has the effect o making you realise how selective ‘literary history’ is, picking out the half dozen ‘serious’ writers from each era or decade, and letting plenty of other authors drop into obscurity.

It is one of the many many pleasures of the book to come across forgotten authors he mentions, and google them and toy with tracking down and reading their (mostly forgotten) works:

  • Ruby Mildred Ayres b.1881 – one of the most popular and prolific romantic novelists of the twentieth century
  • Ethel M. Dell b.1881 – author of over 30 popular romance novels
  • Naomi Jacob b.1884 – author and actress
  • Ivy Compton-Burnett b.1884 – novelist
  • Angela Thirkell b.1890 – author of a series of 19 novels set in Home Counties ‘Barsetshire’
  • James Lansdale Hodson b.1891 – journalist and novelist
  • Sylvia Townsend Warner b.1893 – novelist and poet
  • Elizabeth Bowen b.1899 – Irish novelist and short story writer
  • Mollie Panter-Downes b.1906 – novelist and writer of Letters from England for the New Yorker magazine
  • Pamela Hansford Johnson, Baroness Snow b.1912 – novelist, playwright, poet, literary and social critic
  • Denton Welch b.1915 – writer and painter
  • Sid Chaplin b.1916 coal miner who wrote novels about mining communities in the North-East
  • Joan Wyndham b.1921 – rose to literary prominence late in life through the diaries she had kept about her romantic adventures during the Second World War

Related links

A Brief History of Superheroes by Brian J. Robb (2014)

Robb has previously written biographies of Leonardo DiCaprio, Johnny Depp and Brad Pitt. This volume is one of a series titled ‘A brief guide to [or A history of] …’ which includes guides to Stephen King, ghost-hunting, the Roman Empire, Star Wars and any other topics they thought would sell. Written for a popular audience, then.

No illustrations

At 340 pages, including notes and index, it’s quite a long book, but its most obvious feature is that there are no illustrations, none, nada, zip – which is a big drawback seeing as comic books are a largely visual medium. When it gives descriptions of the early artwork for Superman, or how Batman’s look was refined over time, or the visual makeover of many comic book heroes in the 1960s, the reader is crying out for illustrations to show what he’s talking about. But you have to turn to the internet to do your own research…

So the book is solely prose, made up of thumbnail profiles of the writers, artists and publishers who created comic book superheroes, along with a dense account of how they developed and evolved over time.

Superman 1938

Comic Superhero history starts in May 1938 when Superman made his first appearance in Action Comics #1. In other words, Superman is 80 years old this year, in fact this month!

He was the creation of two schoolfriends from Cleveland, Jerry Siegel (writer) and Joe Shuster (artist). Everything before this date is the pre-history of superhero comics; everything afterwards is the complex unfolding of superhero comic history.

Cultural forebears of superheroes

The prehistory is entertaining because Robb (like many others writing on the subject) feels compelled to give a brisk popular history of the wide-ranging role of ‘the hero’ in myth, legend, history and folklore (the word ‘hero’ is itself of Greek derivation).

Thus a man gifted with magic powers to protect his people can be made to include Moses and Aaron and the Biblical hero Samson. It can include the pantheon of Greek gods and mortal heroes like Heracles, Perseus and Theseus. Robb quotes Joseph Campbell on the importance of ‘the Journey’ in numerous ancient stories about heroes, and references the Epic of Gilgamesh, the Odyssey and the Mahabharata as cultural forebears of Batman and Robin. This is both fun and a little pompous.

Folklore forebears of superheroes

More persuasive is the notion of a lineage from more folklore elements of ‘the hero’ through to the popular fictions of the late 19th century. Robin Hood and Dick Turpin are two prime examples. Robin Hood is not only an epitome of schoolboy morality (stealing from the rich to give to the poor) but he wears an early version of the superhero costume: tights and a distinctive cap, all in bright primary colours (Lincoln green with some red thrown in). Dick Turpin concealed his face behind a neckerchief and a pulled-down hat, and wore a cloak or cape.

Pop culture forebears of superheroes

But in fact, historians have no idea what Robin Hood or Dick Turpin wore. The images I’ve described above derive from movies, and it is Hollywood which is probably the prime factor in the origin of the superhero look.

Superheroes didn’t derive from scholarly study of ancient mythology and folklore: they came out of the extraordinary rich, bubbling swamp of popular and pulp culture of the 1920s. If Jerry and Joe knew about Sherlock Holmes or the Scarlet Pimpernel it wasn’t from reading the books about them (Sherlock had debuted in 1887, the Pimpernel in 1905). It was from paying a few cents to sit in the cheap seats of the local movie house, chomping on popcorn and watching the adventure films of a movie star like Douglas Fairbanks, who starred in a movie about Zorro (created 1919, turned into a movie in 1920), Robin Hood (1922) or the Black Pirate (1926).

In a sense superheroes began in the movies before, in our time, returning to the movies.

Like other historians of the subject, Robb pays special attention to characters with dual identities, a standard feature of most comic book superheroes – the classic example being Dr Jekyll and Mr Hyde.

(Although if you stop and think about it for a moment, a dual identity is a basic element of almost all detective, spy and crime fiction of the kind that was growing more and more popular at the end of the 19th century and start of the 20th. Many thousands of detective stories take their time working up to the grand ‘reveal’ of the ‘true identity’ of the criminal, of the dope dealer or jewel thief or murderer etc caught by Sherlock Holmes or any one of the hundreds of copycat detectives invented in the 1890s and 1900s. (See my review of The Shadows of Sherlock Holmes a collection of stories about fictional detectives inspired by Holmes.) Spy stories, are by their very nature, about people concealing their true task and intentions.

Anyway, Robb’s book becomes really interesting when it gets to the extraordinarily dense jungle of popular culture which flowered in the 1890s and then just got denser and denser in the decades that followed, proliferating in penny dreadfuls, shilling shockers, pulp magazines, newspaper supplements and then in the new format of moving pictures and related magazines and merchandising.

Robb dwells on two Edwardian doers of good deeds who hid their true identity:

  • the Scarlet Pimpernel (real name Sir Percy Blakeney) who rescues aristocrats from the guillotine, leaving a calling card with a picture of the pimpernel flower
  • Zorro, who wears a black face mask and cape, protects the poor of California, and leaves a distinctive ‘Z’ carved into various objects with his stylish swordplay

Just as important for a superhero is the fiendish villain, and these were prefigured by – among many – Holmes’s opponent, the ‘Napoleon of crime’, Professor Moriarty, or the diabolical criminal mastermind Fu Manchu (1913).

British hero fiction included John Buchan’s hero Richard Hannay who debuted in 1915, followed by the more thuggish Bulldog Drummond, who appeared in 1920. Lesley Charteris’s crime-fighting hero, the Saint, first appeared in 1928. Biggles the heroic fighter pilot first appeared in 1932. All these heroes were morally unambiguous fighters against Crime and Fiendish Plots.

In America the spread of radio gave rise to a florid variety of heroic fighters against crime: the Shadow, a masked crime-fighting vigilante (1930), the Spider (1933) and Doc Savage (1933), a kind of ‘peak human’, reared to have perfect abilities, who had a base in mid-town Manhattan and a rich armoury of state-of-the-art gadgets, funded by money from a secret Mayan goldmine, to help him fight crime.

In 1936 the Green Hornet, another crime-fighting, masked vigilante was created specially for radio. Also in 1936 appeared The Phantom, who wore a skin-tight bodysuit and a ‘domino’ eye-mask to fight crime.

Off in another part of the rich jungle of popular and pulp culture which exploded around the time of the Great War, was the more unrestrained world of science fiction and fantasy. Important forebears were John Carter of Mars (1912) and Tarzan (1912), both created by Edgar Rice Burroughs, Philip Francis Nowlan’s hero Buck Rogers (1928) and Robert E. Howard’s Conan the Barbarian (1932), soon joined by Alex Raymond’s newspaper strip hero Flash Gordon (1934).

What these numerous figures have in common is that they are modern, pulp versions of ‘the hero’, who always outwit their fiendish opponents after a string of exciting adventures, and that they appear in series or serials: once invented they can appear in almost limitless numbers of adventures (as Conan Doyle, who came to hate his invention, Sherlock Holmes, knew all too well).

By now you might share the feeling I had that the first appearance of Superman in 1938 was maybe not quite the dazzling innovation I thought it was; in fact reading about this proliferation of heroes might make you wonder why it took quite so long to come up with what seems to be the logical conclusion of all these trends.

Robb tells the story of how two teenagers from Cleveland conceived the idea, developed it over many years, were repeatedly rejected by newspapers and comic publishers, and were forced to work on other characters and projects, until finally given their big break in 1938.

I found the two most interesting things about Superman were:

1. His descent not so much from all these detectives and crime fighters, but from the Victorian circus strongman. These popular performers generally wore tights and pants, a figure-hugging suit to highlight their musculature which was strapped in with an impressive belt, and often stylised boots.

Victorian circus strongman, whose shiny boots, tight pants, utility belt and stylised vest all anticipate the 'superhero look'

A Victorian circus strongman, whose shiny boots, tight pants, utility belt and stylised vest all anticipate the ‘superhero look’

2. Jerry Siegel and Joe Shuster sold the exclusive rights to their then-new character, Superman to DC (short for Detective Comics) Publishing for just $130 (split between the two of them). Superman was an instant hit and not only went on to generate hundreds of millions of dollars for the publisher and the film company that eventually bought it, but to inspire an entire genre of superhero fiction across all media.

As they watched this happen Siegel and Shuster continued to work as a comic book writer and illustrator, respectively, but made repeated attempts to sue for a share of the vast revenue generated by their invention. In fact their heirs are still locked in litigation with DC’s parent company, Time Warner, to this day.

The development of the comic strip

Robb gives a brief and fascinating recap of how the comic strip itself evolved. As far back as the record stretches, human beings have always told stories. Bas-relief carvings on Greek and Indian temples capture moments from religious or legendary narratives. (Robb doesn’t mention it but I’d have thought the 12 Stations of the Cross which appear in tens of thousands of Catholic churches are an early example of a story told through snapshots of key moments.) He does mention the use of ‘scroll speech’ in medieval and Renaissance art work, where a scroll unfolds from a figure’s mouth, containing their speech (something I’m familiar with from my readings of the British Civil Wars).

17th century cartoon with speech scroll

17th century Civil War cartoon with speech scroll

Robb says the next step forward was marked by the popular engravings of the 18th century artist William Hogarth, famous for the series of pictures which depict The Rake’s Progress and A Harlot’s Progress. These popular engravings showed the decline of the eponymous rake and harlot with plenty of humorous detail. They gave rise to similar pictorial sequences by Rodolphe Töpfler later in the century, and by the Victorian artist Gustave Doré, among others. Throughout the 19th century Punch in Britain and similar magazines across the Continent used cartoons, often with speech captions, to convey narratives with punch lines.

Capitalist competition creates comics

But all these sometimes dubious historical antecedents are there simply to pave the way for the real start of popular comic books which, as with most things American, came out of ferocious competition to make money.

Starting in 1887 a newspaper war was waged between Joseph Pulitzer and William Randolph Hearst’s newspaper empires. One among many fronts in this war was the innovation of cartoon strips with catchy titles and populist characters. In 1892 The Little Bears was created by Jimmy Swinnerton for Hearst’s San Francisco Examiner, probably the first cartoon strip anywhere which featured regularly recurring characters.

In 1895 Pulitzer debuted a strip titled The Yellow Kid for his paper The New York World, drawn by Richard Felton Outcault, which pioneered the use of speech text to indicate dialogue. In 1897 the paper added a supplement featuring just Outcault’s strips and expanding it to describe an array of characters from the yellow kid’s neighbourhood – titled McFadden’s Row of Flats – and a new term, ‘comic book’, was invented to describe it.

As a direct response to all this, Hearst’s New York Journal commissioned their own strip, The Katzenjammer Kids, created by Rudolph Dirks. Dirks developed Outcault’s device of speech balloons and invented the ‘thought balloon’, indicated by a series of bubbles leading up to the text balloon itself. The same year saw the first use of colour printing (as the name, The Yellow Kid, indicates).

These kind of narrative cartoons featuring recurring characters proved tremendously popular (nicer, after all, than reading the depressing news) and spread like wildfire to every other newspaper which could find a decent illustrator. By 1912 Hearst was devoting an entire page of the New York Daily Journal to comic strips, a feature which became known as the ‘funny pages’, the ‘funny papers’, or simply ‘the funnies’.

It was quickly realised that the strips which appeared during the week could be repackaged into a bumper weekend supplement. Rather than broadsheet size, it made financial and practical sense to publish them in magazine format, which was easier for readers to handle and read. The comic book was born.

Superhero history

So much for the multi-stranded prehistory of the comic superhero.

The publication of Superman in 1938 transformed the landscape, inventing a whole new genre of superhero. From this point onwards Robb’s book becomes a dense and fascinating account of how numerous newspapers and publishers sought to cash in on the fad by creating their own superheroes. He describes the complicated evolution of the two publishing houses which would eventually become known as Marvel and DC, and reading his book gives you a good sense of the difference between them.

Basically, DC owned Superman (1938) and Batman (1939) who spawned hundreds of imitators but managed to remain ahead of the pack. Through the war years the superheroes performed their patriotic duty with a strong sideline in film noir-style violence against all manner of crime or fantasy baddies.

In the 1950s there was a moral backlash against comics, with a nationwide panic in America that they were one of many influences turning teenagers into ‘juvenile delinquents’. This resulted in 1954 in the establishment of The Comics Code Authority (CCA) which forced comic books to abandon much violence and all references to drugs and sex, tending to replace hard 1940s stories with softer, romance elements.

Marvel began existence in 1939 as ‘Timely Publications’, and by the early 1950s was generally known as Atlas Comics. The Marvel branding began 1961 with a rack of superhero titles created by Stan Lee, Jack Kirby, Steve Ditko and others. Robb describes the period 1961-62 as a kind of annus mirabilis, during which Lee oversaw the creation of The Fantastic Four and their nemesis Dr Doom (November 1961), Ant-Man (January 1962), the Incredible Hulk (May 1962), Spider-Man (August 1962), the Mighty Thor (August 1962), Iron Man (March 1963), the Avengers (September 1963) and the X-men (1963).

Even if you think comic books are rubbish, this is by any measure still an incredible outpouring of creativity, the creation of characters which would go on to have multi-billion dollar futures in popular culture.

Although other artists and writers were involved, Stan Lee is commonly associated with this outburst of imagination and the key element of it seems to have been his conviction that superheroes must be flawed – realistic characters who often struggle with their own superpowers. Thus Spider-Man is deeply confused about how to use his skills, the X-Men bicker amongst themselves, the Fantastic Four are riven by rivalries, and the Hulk considers committing suicide he is so upset by the scientific accident which has turned him into a monster.

It was this troubled psychology which set them completely apart from DC’s untroubled hero Superman and made them feel more contemporary than their older cousins (although, admittedly, DC’s Batman is a much darker creation).

In a second nod to contemporary concerns, Lee’s Marvel creations were nearly all connected to contemporary paranoia about the atom bomb and atomic energy. It is radioactivity which messes up the DNA of almost all these superheroes, a paranoia about the potentially damaging impact of modern science which remains relevant right down to the present day.

It is this more ‘modern’ way of conceiving superhero psychology, as well as the more modern concerns about science, which possibly account for the relative success of the Marvel characters in the movies, and the rather staid, static quality of the DC movies.

The difference between the Superman era and the Fantastic Four era is recognised by comic book historians who have divided the past eighty years into a series of ‘ages’.

The golden age of comic books was from 1938 to about 1950, when waning interest in superheroes was capped by the baleful influence of the Comics Code Authority.

The silver age of comic books is dated from DC Comics’ new character Flash, introduced in Showcase #4 in October 1956. This led up to the Marvel outburst in the early 1960s which spawned a great sprawling cast not only of heroes but of baddies and enemies. This era also another important Marvel innovation, which was introducing one set of heroes into the adventures or ‘universe’ of another set. As the 1960s progressed, the interactions of heroes from different narratives became not only more complex in itself, but led to the notion of parallel worlds in which the various characters might have different superpowers, fight each other and even die.

The bronze age of comic books runs from about 1970 to 1985. The bright, Pop optimism of the 1960s turned into a nitty-gritty concern with social ‘issues’, such as the environment, feminism, racism and drugs, along with more realistic depictions of alcoholism, addiction, urban decay and so on.

Alongside the two giants of Marvel and DC there arose a new wave of independent comic book publishers who took a whole new approach to the superhero genre. This was crystallised in the epoch-making Watchmen, written by Alan Moore and illustrated by Dave Gibbons, which set out to deconstruct the entire mythos of superheroes.

Superheroes in movies

Although Robb doesn’t quite make this point, his book ends where it began, with the movies. Not with the distant antecedents of Gilgamesh or Robin Hood, but with the fact that Jerry Siegel and Joe Shuster loved the movies and were influenced by what they saw, by the sight of Douglas Fairbanks swashbuckling his way across the screen and that now, we in our time, queue up to watch the Amazing Spiderman, Thor and Iron Man swing across our multiplex 3D screens.

Poster for Douglas Fairbanks in The Mask of Zorro (1920)

Poster for Douglas Fairbanks in The Mask of Zorro (1920)

Radio Robb’s last few chapters give a bewilderingly dense account of the way superheroes were adapted to other media beyond comic books. Radio was the first, and it’s interesting to learn that radio developed catchphrases, plot lines and even new characters, which hadn’t existed in the original comics but which the comics then co-opted.

Television From the 1950s various television series portrayed superheroes, probably the most memorable being the camp classic Batman of the 1960s.

Animations Movies were slower to adapt superheroes because of the technical challenges of portraying superhero action. It was easier to do this in animations, so there have been scores of animated TV shows and movies about superheroes.

The Modern Age of Superhero Movies starts with Christopher Reeve’s portrayal of Superman in the film of the same name, directed by Richard Donner in 1978. Although the special effects look creaky to the modern eye, they were a quantum step up from all previous attempts and made superhero film-making a real possibility. Three sequels were released, in 1980, 1983 and 1987.

The next benchmark was the pair of Batman movies directed by Tim Burton and starring Michael Keaton. Robb is great on the showbusiness gossip and behind-the-scenes manoeuvring which accompanied these films, for example the way that Keaton, previously known mainly for light comic roles, was widely opposed by comicbook fans, who mounted a campaign to prevent him taking the role. In the event, Burton’s two Batman movies (Batman, 1989 and Batman Returns 1992) were widely seen as a triumph, and made stacks of money ($411 million and $266 million, respectively).

Robb details the ongoing attempts to stage other superhero movies during the 1980s and 90s, which met with mixed success, and a fair share of dazzling flops. Along with most fans he considers the last two Reeve Superman movies (Superman III, 1983 and Superman IV, 1987) and the Val Kilmer and George Clooney Batmen (Batman Forever, 1995, and Batman and Robin, 1997) to be disasters.

The modern age of superhero movies

The Current Age of Superhero Movies was launched with the X-Men directed by Bryan Singer and released in 2000. With an intelligent script, the steadying presence of two top-class British actors (Patrick Stewart and Ian McKellen) and state-of-the-art, computer-generated graphics, X-Men inaugurated the modern age.

It cost a lot to make, but it:

a) made a fortune ($296 million)
b) spawned a host of sequels (there are now no fewer than 10 films in the X-Men series)
c) and led to a number of successful television spin-off series

The X-Men movies played an important role in creating the superhero cultural, film and TV universe that we now inhabit.

This is a list of the main superhero movies of the last 18 years, excluding various flops and failures, with an indication of their costs and revenues.

2000 X-Men ($296 million gross on $75 million budget)
2002 Spider-Man ($821 million on $139 million)
2003 Daredevil ($179 million on $78 million)
2003 X-Men 2 ($407 million on $125 million)
2004 Fantastic Four ($330 million on $100 million)
2004 Spider-Man 2 ($783 million on $200 million)
2005 Batman Begins ($374 million / $150 million)
2006 Superman Returns ($223 million / $223 million)
2006 X-Men: The Last Stand ($459 million / $210 million)
2007 Fantastic Four: Rise of the Silver Surfer ($290 million / $130 million)
2007 Spider-Man 3 ($890 million / $258 million)
2008 Batman: The Dark Knight ($1 BILLION / $185 million)
2008 Iron Man 1 ($585 million / $140 million)
2008 The Incredible Hulk ($263 million / $150 million)
2009 Watchmen ($185 million / $138 million)
2009 X-Men Origins: Wolverine ($373 million / $150 million)
2010 Iron Man 2 ($624 million / $200 million)

2011 Thor ($449 million / $150 million)
2011 X-Men: First Class ($353 million / $160 million)
2011 Captain America: The First Avenger ($370 million / $140 million)
2012 The Amazing Spider-Man ($757 million / $230 million)
2012 Batman: The Dark Knight Rises ($1.08 BILLION / $300 million)
2012 Marvel’s The Avengers ($1.5 BILLION / $220 million)
2013 Iron Man 3 ($1.2 BILLION / $200 million)
2013 Man of Steel ($668 million / $225 million)
2013 Thor: The Dark World ($645 million / $170 million)
2013 The Wolverine ($414 million / $120 million)
2014 The Amazing Spider-Man 2 ($709 million / $293 million)
2014 Captain America: The Winter Soldier ($714 million / $177 million)
2014 Guardians of the Galaxy ($773 million / $232 million)
2014 X-Men: Days of Future Past ($747 million / £205 million)
2015 Ant-Man ($519 million / $142 million)
2015 Avengers: Age of Ultron ($1.4 BILLION / $444 million)
2015 Fantastic Four ($168 million / $155 million)
2016 Captain America: Civil War ($1.15 BILLION / $250 million)
2016 Batman v Superman: Dawn of Justice ($874 million / $300 million)
2016 Deadpool ($783 million / $58 million)
2016 Doctor Strange ($678 milllion / $165 million)
2016 X-Men: Apocalypse ($544 million / $178 million)
2017 Guardians of the Galaxy Vol. 2 ($864 million / $200 million)
2017 Superman: Justice League ($658 million / $300 million)
2017 Spider-Man: Homecoming ($880 million / $175 million)
2017 Thor: Ragnarok ($854 million / $180 million)
2017 Logan ($619 million / $127 million)
2018 Ant-Man and the Wasp
2018 Avengers: Infinity War
2018 Black Panther ($1.334 BILLION / $210 million)
2018 Deadpool 2

Quite a few, aren’t there?

The first superhero movie to gross over a billion dollars was Christopher Nolan’s Batman: The Dark Knight, and six other superhero movies have grossed over a billion since then.

The X-Men movies between them have generated $5 billion.

In 2010 Marvel produced the first in a carefully planned sequence of movies designed to maximise revenue from their stable of characters, and which has become known as the Marvel Cinematic Universe or MCU. This is divided into ‘phases’ of six movies each, the first five of each phase devoted to individual Marvel heroes, the sixth bringing the previous five altogether into a grand finale which ties together plotlines from the previous movies.

As I write we are approaching the end of Phase Three, which has just seen the phenomenal success of Black Panther (phase 3, movie 5) which grossed over $1.3 billion, and paved the way for the sixth in this phase, Avengers: Infinity War which has just opened in the States to the usual mass marketing and hype.

Summary

Despite having no illustrations at all, Robb’s book is an eminently readable and very enjoyable overview of the entire history of the superhero comic book phenomenon, which puts it in the context of expanding popular culture, twentieth century history, and the evolving media of radio, TV and film – all told in a light, accessible prose style with a sure sense of the interesting anecdote and fascinating fact.

Great fun, and a very useful introduction to a cultural phenomenon which is bigger than ever, and set to dominate our movie and TV screens for the foreseeable future.


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