When I was a schoolboy in England, the old bound volumes of Kipling in the library had gilt swastikas embossed on their covers. The symbol's 'hooks' were left-handed, as opposed to the right-handed ones of the Nazi hakenkreuz, but for a boy growing up after 1945 the shock of encountering the emblem at all was a memorable one. I later learned that in the mid-1930s Kipling had caused this 'signature' to be removed from all his future editions. Having initially sympathized with some of the early European fascist movements, he wanted to express his repudiation of Hitlerism (or 'the Hun,' as he would perhaps have preferred to say), and wanted no part in tainting the ancient Indian rune by association. In its origin it is a Hindu and Jainas symbol for light, and well worth rescuing.

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European fascism changed comedy in America. Jack Benny explained, 'During World War II, attitudes changed. Hitler’s ideology of Aryan supremacy put all ethnic humor in a bad light. When the black man’s fight for equal rights and fair play became an issue after the War, I would no longer allow Rochester to say or do anything that an audience would consider degrading.' Benny’s attitude toward race relations was enlightened. Starting in 1940 he refused to play any segregated venue. In the 1960s when his agent scheduled a world tour, Benny chastised him for booking a gig in apartheid South Africa and refused to appear.
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One also, in our milieu, simply didn't meet enough Americans to form an opinion. And when one did—this was in the days of crew-cuts and short-legged pants—they, too, often really did sport crew-cuts and trousers that mysteriously ended several inches short of the instep. Why was that? It obviously wasn't poverty. A colleague of my father's had a daughter who got herself married and found that an American friend she had met on holiday had offered to pay the whole cost of the nuptial feast. I forget the name of this paladin, but he had a crew-cut and amputated trouser-bottoms and a cigar stub and he came from a place called Yonkers, which seemed to me a ridiculous name to give to a suburb. (I, who had survived Crapstone… ) Anyway, once again one received a Henry Jamesian impression of brash generosity without overmuch refinement. There was a boy at my boarding school called Warren Powers Laird Myers, the son of an officer stationed at one of the many U.S. Air Force bases in Cambridgeshire. Trousers at The Leys School were uniform and regulation, but he still managed to show a bit of shin and to buzz-cut his hair. 'I am not a Yankee,' he informed me (he was from Norfolk, Virginia). 'I am a CON-federate.' From what I was then gleaning of the news from Dixie, this was unpromising. In our ranks we also had Jamie Auchincloss, a sprig of the Kennedy-Bouvier family that was then occupying the White House. His trousers managed to avoid covering his ankles also, though the fact that he shared a parent with Jackie Kennedy meant that anything he did was accepted as fashionable by definition. The pants of a man I'll call Mr. 'Miller,' a visiting American master who skillfully introduced me to J.D. Salinger, were also falling short of their mark. Mr. Miller's great teacher-feature was that he saw sexual imagery absolutely everywhere and was slightly too fond of pointing it out [...]. Meanwhile, and as I mentioned much earlier, the dominant images projected from the United States were of the attack-dog-and-firehose kind, with swag-bellied cops lying about themselves and the political succession changed as much by bullets as by ballots.
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