But now turn from the Gem and Magnet to the more up-to-date papers which have appeared since the Great War. The truly significant thing is that they have more points of resemblance to the Gem and Magnet than points of difference. But it is better to consider the differences first.
There are eight of these newer papers, the Modern Boy, Triumph, Champion, Wizard, Rover, Skipper, Hotspur and Adventure. All of these have appeared since the Great War, but except for the Modern Boy none of them is less than five years old. Two papers which ought also to be mentioned briefly here, though they are not strictly in the same class as the rest, are the Detective Weekly and the Thriller, both owned by the Amalgamated Press. The Detective Weekly has taken over Sexton Blake. Both of these papers admit a certain amount of sex-interest into their stories, and though certainly read by boys, they are not aimed at them exclusively. All the others are boys' papers pure and simple, and they are sufficiently alike to be considered together. There does not seem to be any notable difference between Thomson's publications and those of the Amalgamated Press.
As soon as one looks at these papers one sees their technical superiority to the Gem and Magnet. To begin with, they have the great advantage of not being written entirely by one person. Instead of one long complete story, a number of the Wizard or Hotspur consists of half a dozen or more serials, none of which goes on for ever. Consequently there is far more variety and far less padding, and none of the tiresome stylisation and facetiousness of the Gem and Magnet. Look at these two extracts, for example:
Billy Bunter groaned.
A quarter of an hour had elapsed out of the two hours that Bunter was booked for extra French.
In a quarter of an hour there were only fifteen minutes! But every one of those minutes seemed inordinately long to Bunter. They seemed to crawl by like tired snails.
Looking at the clock in Class-room No. 10 the fat Owl could hardly believe that only fifteen minutes had passed. It seemed more like fifteen hours, if not fifteen days!
Other fellows were in extra French as well as Bunter. They did not matter. Bunter did! (Magnet).
After a terrible climb, hacking out handholds in the smooth ice every step of the way up, Sergeant Lionheart Logan of the Mounties was now clinging like a human fly to the face of an icy cliff, as smooth and treacherous as a giant pane of glass.
An Arctic blizzard, in all its fury, was buffeting his body, driving the blinding snow into his face, seeking to tear his fingers loose from their handholds and dash him to death on the jagged boulders which lay at the foot of the cliff a hundred feet below.
Crouching among those boulders were eleven villainous trappers who had done their best to shoot down Lionheart and his companion, Constable Jim Rogers--until the blizzard had blotted the two Mounties out of sight from below. (Wizard).
The second extract gets you some distance with the story, the first takes a hundred words to tell you that Bunter is in the detention class. Moreover, by not concentrating on school stories (in point of numbers the school story slightly predominates in all these papers, except the Thriller and Detective Weekly), the Wizard, Hotspur, etc., have far greater opportunities for sensationalism. Merely looking at the cover illustrations of the papers which I have on the table in front of me, here are some of the things I see. On one a cowboy is clinging by his toes to the wing of an aeroplane in mid-air and shooting down another aeroplane with his revolver. On another a Chinese is swimming for his life down a sewer with a swarm of ravenous-looking rats swimming after him. On another an engineer is lighting a stick of dynamite while a steel robot feels for him with its claws. On another a man in airman's costume is fighting barehanded against a rat somewhat larger than a donkey. On another a nearly naked man of terrific muscular development had just seized a lion by the tail and flung it thirty yards over the wall of an arena, with the words, "Take back your blooming lion!" Clearly no school story can compete with this kind of thing. From time to time the school buildings may catch fire or the French master may turn out to be the head of an international anarchist gang, but in a general way the interest must centre round cricket, school rivalries, practical jokes, etc. There is not much room for bombs, death-rays, sub-machine guns, aeroplanes, mustangs, octopuses, grizzly bears or gangsters.
Examination of a large number of these papers shows that, putting aside school stories, the favourite subjects are Wild West, Frozen North, Foreign Legion, crime (always from the detective's angle), the Great War (Air Force or Secret Service, not the infantry), the Tarzan motif in varying forms, professional football, tropical exploration, historical romance (Robin Hood, Cavaliers and Roundheads, etc.) and scientific invention. The Wild West still leads, at any rate as a setting, though the Red Indian seems to be fading out. The one theme that is really new is the scientific one. Death-rays, Martians, invisible men, robots, helicopters and interplanetary rockets figure largely; here and there there are even far-off rumours of psychotherapy and ductless-glands. Whereas the Gem and Magnet derive from Dickens and Kipling, the Wizard, Champion, Modern Boy, etc., owe a great deal to H. G. Wells, who, rather than Jules Verne, is the father of "Scientifiction." Naturally it is the magical, Martian aspect of science that is most exploited, but one or two papers include serious articles on scientific subjects, besides quantities of informative snippets. (Examples: "A Kauri tree in Queensland, Australia, is over 12,000 years old"; "Nearly 50,000 thunderstorms occur every day"; "Helium gas costs PS1 per 1000 cubic feet"; "There are over 500 varieties of spiders in Great Britain"; "London firemen use 14,000,000 gallons of water annually," etc. etc.). There is a marked advance in intellectual curiosity and, on the whole, in the demand made on the reader's attention. In practice the Gem and Magnet and the postwar papers are read by much the same public, but the mental age aimed at seems to have risen by a year or two years--an improvement probably corresponding to the improvement in elementary education since 1909.
The other thing that has emerged in the postwar boys' papers, though not to anything like the extent one would expect, is bully-worship and the cult of violence.
If one compares the Gem and Magnet with a genuinely modern paper, the thing that immediately strikes one is the absence of the leader-principle. There is no central dominating character; instead there are fifteen or twenty characters, all more or less on an equality, with whom readers of different types can identify. In the more modern papers this is not usually the case. Instead of identifying with a schoolboy of more or less his own age, the reader of the Skipper, Hotspur, etc., is led to identify with a G-man, with a Foreign Legionary, with some variant of Tarzan, with an air ace, a master spy, an explorer, a pugilist--at any rate with some single all-powerful character who dominates everyone about him and whose usual method of solving any problem is a sock on the jaw. This character is intended as a superman, and as physical strength is the form of power that boys can best understand, he is usually a sort of human gorilla; in the Tarzan type of story he is sometimes actually a giant, eight or ten feet high. At the same time the scenes of violence in nearly all these stories are remarkably harmless and unconvincing. There is a great difference in tone between even the most bloodthirsty English paper and the threepenny Yank Mags, Fight Stories, Action Stories, etc. (not strictly boys' papers, but largely read by boys). In the Yank Mags you get real blood-lust, really gory descriptions of the all-in, jump-on-his-testicles style of fighting, written in a jargon that has been perfected by people who brood endlessly on violence. A paper like Fight Stories, for instance, would have very little appeal except to sadists and masochists. You can see the comparative gentleness of the English civilisation by the amateurish way in which prize-fighting is always described in the boys' weeklies. There is no specialised vocabulary. Look at these four extracts, two English, two American:
When the gong sounded, both men were breathing heavily, and each had great red marks on his chest. Bill's chin was bleeding, and Ben had a cut over his right eye.
Into their corners they sank, but when the gong c
langed again they were up swiftly, and they went like tigers at each other (Rover).
He walked in stolidly and smashed a clublike right to my face. Blood spattered and I went back on my heels, but surged in and ripped my right under the heart. Another right smashed full on Sven's already battered mouth, and, spitting out the fragments of a tooth, he crashed a flailing left to my body (Fight Stories).
It was amazing to watch the Black Panther at work. His muscles rippled and slid under his dark skin. There was all the power and grace of a giant cat in his swift and terrible onslaught.
He volleyed blows with a bewildering speed for so huge a fellow. In a moment Ben was simply blocking with his gloves as well as he could. Ben was really a past-master of defence. He had many fine victories behind him. But the Negro's rights and lefts crashed through openings that hardly any other fighter could have found (Wizard).
Haymakers which packed the bludgeoning weight of forest monarchs crashing down under the ax hurled into the bodies of the two heavies as they swapped punches (Fight Stories).
Notice how much more knowledgeable the American extracts sound. They are written for devotees of the prize-ring, the others are not. Also, it ought to be emphasised that on its level the moral code of the English boys' papers is a decent one. Crime and dishonesty are never held up to admiration, there is none of the cynicism and corruption of the American gangster story. The huge sale of the Yank Mags in England shows that there is a demand for that kind of thing, but very few English writers seem able to produce it. When hatred of Hitler became a major emotion in America, it was interesting to see how promptly "anti-Fascism" was adapted to pornographic purposes by the editors of the Yank Mags. One magazine which I have in front of me is given up to a long, complete story, "When Hell Came to America," in which the agents of a "blood-maddened European dictator" are trying to conquer the U.S.A. with death-rays and invisible aeroplanes. There is the frankest appeal to sadism, scenes in which the Nazis tie bombs to women's backs and fling them off heights to watch them blown to pieces in mid-air, others in which they tie naked girls together by their hair and prod them with knives to make them dance, etc. etc. The editor comments solemnly on all this, and uses it as a plea for tightening up restrictions against immigrants. On another page of the same paper: "lives of the hotcha chorus girls. Reveals all the intimate secrets and fascinating pastimes of the famous Broadway Hotcha girls. NOTHING IS OMITTED. Price 10c." "HOW TO LOVE. 10C." "FRENCH PHOTO RING. 25C." "NAUGHTY NUDIES TRANSFERS. From the outside of the glass you see a beautiful girl, innocently dressed. Turn it around and look through the glass and oh! what a difference! Set of 3 transfers 2; c.," etc. etc. etc. There is nothing at all like this in any English paper likely to be read by boys. But the process of Americanisation is going on all the same. The American ideal, the "he-man," the "tough guy," the gorilla who puts everything right by socking everybody else on the jaw, now figures in probably a majority of boys' papers. In one serial now running in the Skipper he is always portrayed, ominously enough, swinging a rubber truncheon.
The development of the Wizard, Hotspur, etc., as against the earlier boys' papers, boils down to this: better technique, more scientific interest, more bloodshed, more leader-worship. But, after all, it is the lack of development that is the really striking thing.
To begin with, there is no political development whatever. The world of the Skipper and the Champion is still the pre-1914 world of the Magnet and the Gem. The Wild West story, for instance, with its cattle-rustlers, lynch-law and other paraphernalia belonging to the 'eighties, is a curiously archaic thing. It is worth noticing that in papers of this type it is always taken for granted that adventures only happen at the ends of the earth, in tropical forests, in Arctic wastes, in African deserts, on Western prairies, in Chinese opium dens--everywhere, in fact, except the places where things really do happen. That is a belief dating from thirty or forty years ago, when the new continents were in process of being opened up. Nowadays, of course, if you really want adventure, the place to look for it is in Europe. But apart from the picturesque side of the Great War, contemporary history is carefully excluded. And except that Americans are now admired instead of being laughed at, foreigners are exactly the same figures of fun that they always were. If a Chinese character appears, he is still the sinister pigtailed opium-smuggler of Sax Rohmer; no indication that things have been happening in China since 1912--no indication that a war is going on there, for instance. If a Spaniard appears, he is still a "dago" or "greaser" who rolls cigarettes and stabs people in the back; no indication that things have been happening in Spain. Hitler and the Nazis have not yet appeared, or are barely making their appearance. There will be plenty about them in a little while, but it will be from a strictly patriotic angle (Britain versus Germany), with the real meaning of the struggle kept out of sight as much as possible. As for the Russian Revolution, it is extremely difficult to find any reference to it in any of these papers. When Russia is mentioned at all it is usually in an information snippet (example: "There are 29,000 centenarians in the U.S.S.R."), and any reference to the Revolution is indirect and twenty years out of date. In one story in the Rover, for instance, somebody has a tame bear, and as it is a Russian bear, it is nicknamed Trotsky--obviously an echo of the 1917-23 period and not of recent controversies. The clock has stopped at 1910. Britannia rules the waves, and no one has heard of slumps, booms, unemployment, dictatorships, purges or concentration camps.
And in social outlook there is hardly any advance. The snobbishness is somewhat less open than in the Gem and Magnet--that is the most one can possibly say. To begin with, the school story, always partly dependent on snob-appeal, is by no means eliminated. Every number of a boys' paper includes at least one school story, these stories slightly outnumbering the Wild Westerns. The very elaborate fantasy-life of the Gem and Magnet is not imitated and there is more emphasis on extraneous adventure, but the social atmosphere (old grey stones) is much the same. When a new school is introduced at the beginning of a story we are often told in just those words that "it was a very posh school." From time to time a story appears which is ostensibly directed against snobbery. The scholarship-boy (cf. Tom Redwing in the Magnet) makes fairly frequent appearances, and what is essentially the same theme is sometimes presented in this form: there is great rivalry between two schools, one of which considers itself more "posh" than the other, and there are fights, practical jokes, football matches, etc., always ending in the discomfiture of the snobs. If one glances very superficially at some of these stories it is possible to imagine that a democratic spirit has crept into the boys' weeklies, but when one looks more closely one sees that they merely reflect the bitter jealousies that exist within the white-collar class. Their real function is to allow the boy who goes to a cheap private school (not a Council school) to feel that his school is just as "posh" in the sight of God as Winchester or Eton. The sentiment of school loyalty ("We're better than the fellows down the road"), a thing almost unknown to the real working class, is still kept up. As these stories are written by many different hands, they do, of course, vary a good deal in tone. Some are reasonably free from snobbishness, in others money and pedigree are exploited even more shamelessly than in the Gem and Magnet. In one that I came cross an actual majority of the boys mentioned were titled.
Where working-class characters appear, it is usually either as comics (jokes about tramps, convicts, etc.), or as prize-fighters, acrobats, cowboys, professional footballers and Foreign Legionaries--in other words, as adventurers. There is no facing of the facts about working-class life, or, indeed, about working life of any description. very occasionally one may come across a realistic description of, say, work in a coal-mine, but in all probability it will only be there as the background of some lurid adventure. In any case the central character is not likely to be a coal-miner. Nearly all the time the boy who reads these papers--in nine cases out of ten a boy who is going to spend his life working in a shop, in a factory or in some subordinate jo
b in an office--is led to identify with people in positions of command, above all with people who are never troubled by shortage of money. The Lord Peter Wimsey figure, the seeming idiot who drawls and wears a monocle but is always to the fore in moments of danger, turns up over and over again. (This character is a great favourite in Secret Service stories.) And, as usual, the heroic characters all have to talk B.B.C.; they may talk Scottish or Irish or American, but no one in a star part is ever permitted to drop an aitch. Here it is worth comparing the social atmosphere of the boys' weeklies with that of the women's weeklies, the Oracle, the Family Star, Peg's Paper, etc.
The women's papers are aimed at an older public and are read for the most part by girls who are working for a living. Consequently they are on the surface much more realistic. It is taken for granted, for example, that nearly everyone has to live in a big town and work at a more or less dull job. Sex, so far from being taboo, is the subject. The short, complete stories, the special feature of these papers, are generally of the "came the dawn" type: the heroine narrowly escapes losing her "boy" to a designing rival, or the "boy" loses his job and has to postpone marriage, but presently gets a better job. The changeling-fantasy (a girl brought up in a poor home is "really" the child of rich parents) is another favourite. Where sensationalism comes in, usually in the serials, it arises out of the more domestic type of crime, such as bigamy, forgery or sometimes murder; no Martians, death-rays or international anarchist gangs. These papers are at any rate aiming at credibility, and they have a link with real life in their correspondence columns, where genuine problems are being discussed. Ruby M. Ayres's9 column of advice in the Oracle, for instance, is extremely sensible and well written. And yet the world of the Oracle and Peg's Paper is a pure fantasy-world. It is the same fantasy all the time: pretending to be richer than you are. The chief impression that one carries away from almost every story in these papers is of a frightful, overwhelming "refinement." Ostensibly the characters are working-class people, but their habits, the interiors of their houses, their clothes, their outlook and, above all, their speech are entirely middle class. They are all living at several pounds a week above their income. And needless to say, that is just the impression that is intended. The idea is to give the bored factory-girl or worn-out mother of five a dream-life in which she pictures herself--not actually as a duchess (that convention has gone out) but as, say, the wife of a bank-manager. Not only is a five-to-six-pound-a-week standard of life set up as the ideal, but it is tacitly assumed that that is how working-class people really do live. The major facts are simply not faced. It is admitted, for instance, that people sometimes lose their jobs; but then the dark clouds roll away and they get better jobs instead. No mention of unemployment as something permanent and inevitable, no mention of the dole, no mention of trade unionism. No suggestion anywhere that there can be anything wrong with the system as a system; there are only individual misfortunes, which are generally due to somebody's wickedness and can in any case be put right in the last chapter. Always the dark clouds roll away, the kind employer raises Alfred's wages, and there are jobs for everybody except the drunks. It is still the world of the Wizard and the Gem, except that there are orange-blossoms instead of machine-guns.
All Art Is Propaganda: Critical Essays Page 11
