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Saturday, 27 September 2025

Zine Review: London > Cairo

 



It is long overdue for me to do another zine review on here. What caught my eye this month is Elly Bazigos' Egyptian travelogue London > Cairo, which conveys the personal perspective of an artist with Greek heritage whose grandparents emigrated to Cairo, Egypt.

The experience of civil war in the late 1940s, and frequent military coups leading up to the 1970s, led to a weakened economy in mid-twentieth century Greece and large exodus of Greeks to many other countries, not least Australia and the countries of former Yugoslavia. I was less aware of those that went to north African countries like Egypt however, so this zine has expanded my awareness of the diaspora beyond what I previously knew.

The loose drawing style gives this 24 page creation the energetic immediacy of an on-the-spot sketchbook, while the contrasting sketches of the artists' grandmother and visits to local museums provide an interesting contrast between the personal lives that exist within an ancient and fascinating culture, and gives us pause to consider how many other people have found a home in Cairo from other European countries.


Her website is: https://www.ellybazigos.com although you can't order zines there so that means getting down to Gosh Comics in London, which has developed a significant section for zine makers.





Sunday, 1 June 2025

The Art of Vietnam

Tô Ngọc Vân, who also used the name "To Tu" (1908-1954), corresponded with the Spanish Cubist and exiled communist Pablo Picasso. In one of his most famous paintings Ha Noi's Standing Up (1946), completed shortly after the August Revolution and President Ho Chi Minh's official declaration of independence, he referenced the well-known song The People of Ha Noi by Nguyen Dinh Thi.

Girl with Lotus Flower by Tô Ngọc Vân

If you are a westerner reading this you may be forgiven for not being aware of this artist or his work. The art of the decolonising world is rarely a focus, if it is even mentioned at all, in western art history. Western art history books, of which I own several, will more commonly focus on the products of ancient cultures that have found there way into western museums and galleries. There is also a studied indifference to the art of cultures allied with official enemies of the west during the Cold War period. This is our loss.

The book Marxism and Vietnamese Culture by Truong Chinh, who was at that time the Minister of Culture, had a big influence on the development of a uniquely Vietnamese form of Socialist Realism in the years immediately after independence.

Ta Ty (1922-2004) experimented with more Modernist and Cubist forms, often bordering on caricature, during the years of the independence war against France. Working from some of the "resistance zones" in the north of the country was an experience that informed paintings like Longing for Ha Noi (1947).

Other artists who lived in the resistance zones were Bùi Xuân Phái (1920-1988) and Nguyen Tu Nghiem (b.1922), the former bringing a more Impressionist influence in contrast to Ta Ty's modernism. A major exhibition that took place in 1948 also saw the participation of Van Cao (1923-1995). A veritable Renaissance man of post-colonial Vietnamese culture, he would also become a noted composer.

Support from the Soviet Union was critical at this time, and extended to the cultural sphere following the French defeat at the battle of Dien Bien Phu. The mid-1950s saw a total of 91 Vietnamese students allowed to travel to the USSR to develop their craft, with Bui Xuan Phai even awarded the Leipzig Graphics Award from the government of the GDR, a country that also provided critical assistance in the rebuilding of heavily bombed cities like Vinh following the American War.

I hope this short overview will inspire people to research more deeply into a world so often ignored by mainstream western art history.

Friday, 2 May 2025

The 20th Century Art History of the East


Bolshevik by Boris Kustodiev

 One of the interesting things about looking at the Socialist Realist artists of the former Soviet Union, in contrast to the art being promoted in the "free world" during the same period (be it Surrealism or Abstract Expressionism all the way down to Conceptualism) is both the high level of technical skill and the unambiguous meaning imbued into every canvas, which needs no priestly caste of art critics to interpret "what the artist may be trying to say" for the benefit of us, the great unwashed masses.
    In fact, such a comparison is rarely (if ever) made by establishment art critics or historians in the west. Even the most revolutionary elements contained within the art of those working outside the socialist world (such as Picasso, Rivera, Kahlo or Siquieros), artists who were openly sympathetic to the cause, are often either explained away or passed over in conspicuous silence.
    Consider the clear and obvious meaning of such revolutionary works as Bolshevik by Boris Kustodiev (1878-1927) (above) or New Planet by Konstantin Yuon (1875-1958), both of which powerfully convey the world-changing excitement that came in the wake of the October Revolution of 1917 for so many people in Russia and the labour movement beyond. We can only imagine, over a century later, how it must have felt to witness the creation of the first worker's and peasant's state in history. 
    Contrast works like these with much of the work produced in Europe or North America since then (collectively described as "the west"), from the paint splatters of Pollock, to the endless soup tins of Warhol, to Hirst's dead animals, what we are left with is a western vision which to the average eye often appears so vapid and hollow that I am reminded of that line from Shakespeare's Hamlet:

    "It is a tale told by a madman, full of sound and fury, signifying nothing."

A better description of the profit-obsessed individualism of late capitalism that brought about such sterile art movements as conceptualism would be difficult to find.


New Planet by Konstantin Yuon

    This is not to say that there is no value in leaving viewers to draw their own conclusions from a piece of abstract or conceptual art. Of course there is. The Australian artist Brett Whiteley is notable for working with both abstract and representational forms, while utilizing a stylistic approach that blends expressionism with Chinese landscape art.
    The primary point to remember is that there is little value (or freedom, for that matter) in routinely dismissing an entire genre of art that influenced millions of people around the world simply for ideological reasons. 
    
The Surrealists posed as madmen and women by taking their inspiration from the chaotic of dreams and children's games. The exception perhaps being artists such as the Mexican muralists, who by virtue of being based in what is now called the global south created a kind of cultural bridge between east and west, by blending the personal, dreamlike imagery of surrealism with the clear yearning for human progress embodied by socialism.
    By the 1940s and 50s the free form chaos of Abstract Expressionism was very much in vogue, covertly funded or promoted by the CIA through cut-outs like the Congress for Cultural Freedom (whose freedom?), seemingly as a representation of the apparent artistic freedom to be found for any emigres in the west. 
    It would be disingenuous to dismiss some of the restrictions that affected artists working in the USSR at this time. These ideological constraints within the socialist countries can only partially be explained by the mass mobilization for WW2, as the attempt to build a new world had a big influence in what themes are deemed acceptable, as it is in most cultures. To dismiss the entirely of the work being produced in Eurasia as propaganda however causes us to miss a great deal of talented and fascinating work. From the influence of Constructivism and Impressionism on the Socialist Realists, there was often more stylistic and thematic diversity than we are led to believe by western art historians.
    

Collective Farm Festival by Sergey Gerasimov

Sometimes those who had trouble fitting in with the party line of Moscow were simply sent to the outer reaches of the Soviet Union, such as the painter and teacher Sergey Gerasimov (1885-1964), who found himself sent to the ancient trading town of Samarkand in the Uzbek SSR. Here he would produce some of his most famous paintings of the old city, while artists native to Central Asia displayed their own unique colour palette inspired by the landscapes and the quality of light that illuminated them.


Friday, 2 December 2022

Anime in China

Anime is usually thought of as an exclusively Japanese-style of animated feature film, and ever since the release of the science fiction movie Akira in 1988 it has certainly been the most widely distributed in the collective west. 

The form is not unique to Japan however, and in China they have their own form of anime, usually known as "donghua." I have seen only one or two, such as the charming fantasy City of Lost Things, which appeared in 2021. The Chinese animation industry is also one of the few I am aware of to use the form to tell the stories of famous historical figures, like The Leader, a donghua biopic released in 2018 to mark the centenary of the birth of the philosopher Karl Marx, which focuses on the romance of the German philosopher with his wife Jenny, and great friendship with Engels.

You can watch the trailer with English subtitles here:


I have written several other articles specifically about comics around the world which can be read here:

https://thefreakydoodlesofrussmcp.blogspot.com/2020/02/historietas-y-tebeos-comics-in-mexico.html

https://thefreakydoodlesofrussmcp.blogspot.com/2020/02/bandes-dessinees-rich-world-of-french.html

https://thefreakydoodlesofrussmcp.blogspot.com/2020/01/fumetto-discovering-italian-comic.html

https://thefreakydoodlesofrussmcp.blogspot.com/2020/06/comics-in-gdr.html


Thursday, 1 December 2022

The Revolutionary Art of Emory Douglas

 A revolutionary in the true sense of the word, the American graphic artist Emory Douglas created strong, eye-catching imagery for the Black Power movement in the United States during the late 1960s and into the 70s, mostly for the BPP's newspaper The Black Panther. He wasn't just an artist who served the cause of Black Liberation through his art, but also served as Minister for Culture in the party from 1967 until the 1980s when the party was dissolved within a new climate of reaction.

Born in Michigan in 1943, Douglas was politicised at a young age after being caught up in the juvenile detention system, but found opportunities to explore his talent for print-making, and later more formal arts education, a skill he brought with him when he joined the Black Panther Party for Self Defence in 1967.

I cannot help but reflect upon how, growing up years later across the Atlantic, all the books I could find on the comix and art of the 1960s counter culture, including all of the reprints, would tend to focus on sex, drugs, music and mysticism. Growing up in the 1990s the comix of Robert Crumb and Gilbert Shelton were still very popular, including with teenagers my own age. The political satire discussed in both reprints of classic underground comix and histories of the period and the form however tended to focus on the anti-war movement or women's liberation, with the artists and journalists associated with the openly socialist Black Liberation movement barely mentioned.

This oversight is a shame, as there is a power to this imagery which should not be forgotten. I am encouraged that at the time of writing I understand Emory Douglas is still alive and some books and websites are certainly available about his fierce, revolutionary work.

For now, bathe your eyes in the revolutionary art of another time.

These savage cartoons make the editors of Private Eye look like the Cambridge-educated toffs they were (and, as much as I enjoy their work, Shelton and Crumb look like bourgeois liberals):



A  common theme in Douglas' work is the desire to link civil rights struggles within the USA to the wider anti-colonial struggle taking place at that time in Africa and Asia:

The title of this piece reminds me of a quote attributed to Ahmed Sekou Toure, the revolutionary socialist who was the first President of independent Guinea-Conakry:


In this powerful image Douglas brings together the imagery of Black Power with Women's Liberation. This woman is clearly not about to be forced to choose between motherhood or the revolutionary, anti-colonial, anti-imperialist struggle, as capitalism today tries to make women feel guilty for having to prioritise motherhood/career:


Here is a traditional newspaper-style cartoon that pulls no punches in its depiction of the cops:


It's always important for a new generations, especially those of today whose own struggles may have been shaped by the Black Lives Matter movement, to be able to see and draw inspiration from the language and imagery of past struggles. 

Tuesday, 26 July 2022

Lost Art Available to View and Own for the first time!

An image that has been sitting forgotten in my files for over two decades, waiting for some future time when I could be free to inflict my demented scribblings directly upon the unsuspecting public without having to pass under the disturbed glances of the gatekeepers of the publishing world, is at long last publicly available for YOU the general public to view or own.

I hope my madness fits in neatly with your own.

Enjoy!

https://www.redbubble.com/shop/ap/118117512?ref=studio-promote



Monday, 27 June 2022

The Bloody History of the City of Love

 

The perception of Paris as a city of romance and high fashion may be little more than the result of a sustained and very successful PR campaign. The reality is that, from the Place du Concorde (where the guillotine was raised during the revolution of 1789) to the south-west wall of Pere Lachaise cemetery (against which many of the communards of 1871 were executed by firing squad), the streets of Paris are not just tinged with the rosy red glow of romance, but are also drenched with the blood of countless generations of rebels.
The number of buildings you see dotted around the city that now carry memorial plaques listing every resident arrested and sent to concentration camps during the collaborationist Vichy regime of WW2 is indeed a sobering sight for any visitor to the city. 
Most people alive today will recall the recent ISIS-inspired atrocities carried out at the offices of the satirical newspaper Charlie Hebdo and music venues like the one close to the Place du Bastille that shocked the world in 2015.
In 2018 and into 2019 the streets of Paris, especially around the Place de la Republique, as well as many other towns and cities around the country, exploded in popular protest organised by the "gilets jaunes" (yellow vests), essentially fuel protests which saw some extreme instances of police brutality. The streets were drenched in tear gas and some protestors were partially blinded by rubber bullets.

The French are good at preserving their heritage. The Cafe du Croissant, at 146 rue Montmartre in northern Paris, is where the socialist politician and anti-war activist Jean Jaures was assassinated on July 31 1914 by a nationalist. Both the cafe where he was murdered and the newspaper he founded (l'humanite) still exist to this day.
Paris is also the city where one of the leading Moroccan opposition politicians, an anti-colonial activist named Mehdi Ben Barka, was disappeared after speaking to a couple of gendarmes outside Brasserie Lipp (still there) and murdered on 29 October 1965 for his key role in the anti-colonial struggle both in Morocco and the wider Arab world. Details of his murder remain largely classified, and speculation about the involvement of Moroccan, Israeli and US intelligence in his murder is still rife.
Another atrocity of the same period that is rarely discussed in the west, and has only recently been subjected to more rigorous historical analysis, occurred towards the end of the Algerian war of independence. It is an event that will make you look at the waters of the Seine in a whole new light, and may also provide a deeper insight into contemporary Islamophobia in France.


Documentaries about the 17 October 1961 atrocity

17 octobre 1961, un crime d'Etat (dir. Ramdane Rahmouni; 2021)

This is a recent 51 minute documentary (in French with Arabic subtitles) in which historians, activists and witnesses describe the massacre of Algerian protestors that took place in Paris, France. Conservative estimates suggest at least 200 people were thrown from the Pont Saint-Michel into the Seine. For Algerians it is regarded as a “colonial crime”, which was carried out by French police in order to silence Algerian voices during the final stages of the liberation war. It can be viewed here: https://www.youtube.com/watch?v=HquI833DNCk

Octobre à Paris (October in Paris) (dir. Jacques Panijel; France; 1962)

One of the first detailed accounts of the atrocity, the distribution of this film was suppressed by the French authorities until 1973, when it was granted a limited “visa d'exploitation”, and it would have to wait until 2011 to receive a full theatrical release. Other films have been made about this dark and bloody phase of modern French history, including:

Le silence du fleuve (The silence of the river) (dir. Mehdi Lallaoui; 1991), and

Ici on noie les Algeriens (Here we drown the Algerians) (dir. Yasmina Adi; France; 2011).


Books

Jean-Luc Einaudi was a French historian and socialist activist. He remains largely unknown in the English-speaking world (try searching for an English translation of any of his books). Much of his work was devoted to extensively researching the events of 17 October, as well as other crimes and abuses committed by the French authorities in their efforts to put down local support for the Algerian independence struggle. A couple of his books are cited below:

Einaudi, Jean-Luc La bataille de Paris, 17 octobre 1961 (Seuil, 1991)

Einaudi, Jean-Luc Le dossier Younsi. 1962 : procès secret d'un chef FLN en France (Tirésias, 2013)

This article is a draft. Let me know in the comments below how much of the history mentioned above you were aware of. Personally, I only became aware of the events of October 1961 from Arab commentators and Arabic (specifically Algerian) media, so I would be very interested to hear other peoples' experiences.

Tuesday, 29 March 2022

London Music History Walks

This is part of a series of walking videos I have been making in which I visit significant locations in the musical history of London.

First up, I visited Eel Pie Island in Twickenham.



Monday, 25 October 2021

The Life in Exile of Angel Parra




Often overshadowed by his famous mother Violeta, one of the leading influences who helped shape the sound of the Chilean Nueva Cancion (New Song) movement, Angel Parra's life is in many ways just as interesting, taking him far beyond Chile.

His exile was originally involuntary. Due to his left-wing political ideals and his links with the Popular Unity party of Salvador Allende, after the 11th of September 1973 coup d'état (documented by Cuban film-maker Santiago Alvarez in his film The Tiger Leaps and Kills, but it will Die...it will Die) Parra was initially held at the National Stadium, before being transferred to the Chacabuco prison camp, where he was kept until February 1974.

He used his time there to help set up a committee to organize cultural activities for the prisoners. Before being released, Parra sang to the rest of his inmates, in a performance that was recorded covertly by Luis Corvalán and released in 1975 on an album titled Chacabuco. It was also during his time in prison that he wrote "La pasión según San Juan, Oratorio de Navidad" (The passion according to San Juan) which was eventually recorded and published in Europe.

After his release, he fled first to Mexico to avoid further persecution, before moving to France, which was at that time home to the largest worker's party in western Europe, the Parti communiste français (PCF). It was here that, in addition to being able to record and release his music again, he shared his testimony about the human rights violations he suffered under the US-backed military dictatorship.

One of the first albums he recorded after settling in France was Angel Parra a Paris, which was originally released in 1978 as a double LP, being Angel's most extensive production to date. Most of the songs are composed by Parra himself, some of them drawn from previous albums and combined with studio versions of songs previously only recorded live. There are also some cover versions of songs by his mother Violeta Parra as well as others composed by people like the Cuban troubadour Carlos Puebla. Other albums Parra released around this period are the Chilean popular guitar album La prochain fois (The next time) along with the last album he recorded with his sister Isabel in 1981.

Also in 1978 he made a small cameo appearance in El Cantor (The Singer), a TV movie produced in the GDR (East Germany) inspired by the life of his colleague, the murdered Chilean singer-songwriter Victor Jara. The film was written and directed by the US-born actor and singer Dean Reed (who played Jara in the film) who, like Parra himself, had known Jara in Chile before his murder.

With the successful referendum to restore democracy, Parra returned to Chile in 1989, and during the 1990s he began to see some of his albums reissued in his birth country. However, he continued to make his home in Paris, where he eventually died of cancer in 2017. He is buried in Pere Lachaise, along with other famous exiles like Jim Morrison and Oscar Wilde.

You can buy one of my renditions of Parra, this one in pen and ink, from my Red Bubble shop here.

Sunday, 22 August 2021

Britain's role in Vietnam


Vietnamese propaganda poster c.1960s
(translator unknown)

When we think of countries that have interfered aggressively against the people of Vietnam over the previous century the Americans are probably the first country that comes to most people's minds, with the French a close second, perhaps followed by Japan, and then China. 
What is less well known is Britain's role in trying to restore French colonialism on the Indochinese peninsula after World War 2 which, like British diplomatic support for US sanctions after the Vietnamese military victory of 1975, is rarely mentioned in official histories.
Most historians, and consequently even some peace activists, tend to look favourably on the stance that Prime Minister Wilson took to the American War, refusing to send British troops to kill and be killed, but preserving the "special relationship" by providing diplomatic support for the US war of aggression. Its image of a cautious approach to foreign policy is as comforting as it is misleading.

This much I was aware of. 

I also knew about the diplomatic support that Prime Minister Thatcher later offered the US during the post-war economic embargo it imposed on the Vietnamese as punishment for their victory. This is less discussed on television documentaries than the period of the war itself and Wilson's stance, and I only know about it because of the work of independent journalists like John Pilger. 
Pilger has also drawn attention to Thatcher's role in lobbying the UN on behalf of the USA to cut shipments of powdered milk to the war-ravaged nation, which Vietnam had been receiving through the UN's food aid programme. (I still wonder why this woman had such a callous disregard for children's nutrition, be they Vietnamese or British.)
On the other hand, I had been far less aware of Britain's role in trying to restore French colonialism to the Indochinese peninsula following the Japanese defeat in WW2. I owe much to the work of historian John Newsinger for bringing this history to light.

The key events happened in the autumn of 1945. 

On September 2, President Ho Chi Minh read his famous speech to a large crowd in Hanoi, proclaiming the independence of the new Democratic Republic of Vietnam and reading from their Declaration of Independence. So grateful were the Vietnamese for the material support the Viet Minh national liberation army had received from the US in order to defeat the Japanese military occupation that large sections of the newly drafted Declaration are modelled after the US Declaration. US intelligence officials have been identified applauding in the crowd, presumably hopeful that the new nation of Vietnam would be a useful client state in the region.

On September 6 however we see the first British troops, commanded by General Douglas Gracey, begin arriving in the southern city of Saigon. Viet Minh control is weakest here in the south of the country, and the British seek to exploit this weakness by proceeding to introduce a form of martial law, disarming the nationalists and arming newly released POWs.
By September 23, with Gracey's support, the French were able to seize power in Saigon by taking over the city hall and arresting any Vietnamese they thought were connected to or sympathetic to the new government in Hanoi. 

The historian George Rosie records one clash that took place between 80 members of the British Indian Infantry Brigade (Gracey, like the author George Orwell, came from that tier of British society born to parents living in British India, but educated at private schools back in the UK) that resulted in the deaths of at least 60 Vietnamese.
It was only due to considerable pressure that General Gracey was forced to open negotiations with the Viet Minh, who he had refused to recognise up until this point. However, this was merely a ploy to buy time for reinforcements to arrive.


English language film poster for Memories of Dien Bien
(source: IMDB)

The rest is pretty well known history. The French continued their attempts to restore their colonial domination of Indochina until they were finally defeated at the battle of Điện Biên Phủ in 1954 (a period depicted in the 2004 film Memories of Dien Bien). By this time the Cold War was underway, and the USA was fully in the grip of its anti-communist fervour, so was more inclined to view the new socialist government in Hanoi far more negatively than when it was fighting against Axis-aligned Japan.

Thursday, 29 April 2021

ART IS FREEDOM

This is quite an old comic strip which I created in 2005. At the time I was still producing a lot of work for the groovy people at Hope Street Studios in Glasgow, but it wasn't stoner humour so I kept it on the back burner, and so it has sat hidden in my files for the last few years. I can't remember why I made the guard into a French-style gendarme. I hope you enjoy it.



Monday, 12 April 2021

NEW COMIC STRIP

I have enjoyed a lot of the historical comics that have been published over the last decade immensely, whether it is Mary and Bryan Talbot's graphic novels about the French revolutionary Louise Michel, or Kate Evans' book about the Polish-German communist Rosa Luxembourg, or even the late, great Spain Rodriguez's graphic autobiography of the Argentine revolutionary, and honorary Cuban, Ernesto "Che" Guevara.

What more could a former bookseller, whose principle published comics have been a series of short strips consisting mainly of gags aimed at Scottish stoners a decade ago, possibly add to magnificent illustrated tomes of this nature? After all, there are many (non-illustrated) books about these revolutionaries and others in the English language.

If you have looked at this blog before you will know that I have a particular fascination with uncovering art (including comics, music and film) that lies outside the mainstream of western culture. The Cold War years certainly shut us off from a lot of art and culture which only cheaper travel and the Internet has made (theoretically) more accessible. Yet despite being able to travel freely to countries of the former Soviet Union for thirty years, most people in the west remain oblivious of the culture of the east, effectively shut out by the invisible barriers of language. Add to this the fact that if the entire culture of a civilisation is routinely written off for by western pundits and historians as mere propaganda for a century, you create a situation in which people in the west aren't even aware of what they are missing.

The first installment of Going East is about a Canadian musician who emigrated to East Germany, and seems to remain completely unknown in Canada and the wider western world because he sang in German and any books that have been written about him are only published in German. I hope it inspires some people to find out more art they may have missed out on. I assure you, its the merest tip of the iceberg.




 

Wednesday, 16 December 2020

Revisiting Hanworth's Largest Outdoor Street Art Gallery 2020


It may not be the lanes of Melbourne or the east end of London, but I keep returning to the stunning work being produced in this outdoor space beside a crematorium in south west London.


Most appealing to me is the large number of artists incorporating characters into their work.


Some are far more reminiscent of cartoons than "traditional" graphotism with its elaborate sense of design.







 

Friday, 5 June 2020

Comics in the GDR

Following on from my previous post, about the British journalist who ended up becoming a hit crime author in East Germany, but also continuing the series of articles I began earlier this year about comics around the world. 

I am indebted to the German language website ddr-comics.de for much of this information and to online translation tools for helping me understand it.


Atze was the name of a children’s adventure comic in the GDR. The small-format comic magazine was published monthly from 1955 to 1991 by Junge Welt-Verlag, under the direction the national youth organisation the FDJ (in English: ‘Free German Youth’), and was aimed at the members of the Ernst Thälmann Pioneers (an East German version of the Boy Scouts or Woodcraft Folk). It’s first editor was Klaus Hilbig.

Popular themes included the October Revolution, the communist resistance against Nazism, or partisan stories, but also stories about voyages of discovery.

However, not all of the comic strips drew upon events from labour or partisan history for inspiration. Jürgen Kieser (1921-2019), who created the title character Atze, a boy from Berlin, also created the popular comic strip about two mice named ‘Fix and Fax’ in 1958. An animated version of this comic strip with puppets was produced by DEFA in 1969. Although ‘Fix and Fax’ was discontinued in 1991, the comic strips have continued to be published in various collected editions since 1994.

The series ‘Pats Reiseabenteuer’ (in English: ‘Pat's Travel Adventures’), which ran from 1967 until 1991, was about a wandering journeyman travelling around Germany in the 19th century, often meeting famous historical personalities, and the episodes always contained a competition where readers were asked to spot the modern item hidden within the panels. It was written by Atze’s editor Wolfgang Altenburger and drawn by Harry Schlegel. The artist Günter Hain also created ‘The Bells of Novgorod’ in the 1980s.

In many primary schools in the GDR, the Working Group "Junge Brandschutzhelfer" (Young Fire Safety Helpers) was founded in the 1960s, which were known as the "Atze fire brigade" until 1990. The Atze editorial staff promoted fire safety for children and young people through regular reports on the groups’ activities. The television network of the GDR also addressed the work of the Atze fire brigades, commonly in its holiday programming.

The magazine FRÖSI (short for "Fröhlich sein und singen" or “Be Cheerful and Sing”, which does sound a bit coercive within the context of a one-party state) was aimed at kids between 6 and 14 and also featured some comic strips, among other content about interesting crafts and scientific and cultural stuff. From the 1960s it also published comic strips from places like Italy and Hungary. Jürgen Günther (1938-2015) created a comic strip for the magazine about a fat orangutan named Otto, which later became ‘Otto and Alwin’ in 1976 with the addition of a penguin who escaped from a zoo and became Otto’s friend.

The ruling Socialist Equality Party of the GDR struggled with what to do about comics throughout the countries' 40 year existence, which I suppose explains why the East German comics scene was quite small. Most of those that were published, like Atze and FRÖSI, seemed to strike a balance between popular strips featuring characters like Fix and Fax and more propagandistic offerings that promoted the SEP's socialist worldview. Both its small size and the fact that East German comics have been almost entirely ignored in the west means that for many years I remained oblivious that the GDR had any comics, hence the reason for this article.


My other articles about comics around the world:

https://thefreakydoodlesofrussmcp.blogspot.com/2020/02/historietas-y-tebeos-comics-in-mexico.html

https://thefreakydoodlesofrussmcp.blogspot.com/2020/02/bandes-dessinees-rich-world-of-french.html

https://thefreakydoodlesofrussmcp.blogspot.com/2020/01/fumetto-discovering-italian-comic.html


Tuesday, 19 May 2020

An Englishman in the East

Born in London, England in 1910, and winning a scholarship to Chigwell School as a child, during his lifetime the British journalist and novelist Alan Winnington would travel the world.
As a young man, following a chance meeting with Harry Pollitt in a pub in 1934, he joined the Communist Party of Great Britain, and he soon became a branch secretary. His career in journalism began when he landed a job with a photo agency, and soon he was writing for socialist newspapers like the Daily Worker (as the Morning Star was known at the time) which he continued to write for from the 1940s up until the 1960s. For the first few years after WW2 he became “our man in Beijing”, when he reported on the early years of the newly independent People’s Republic of China for the Daily Worker, while also working as an advisor to the new Xinhua (New China) news agency.

Uncomfortable Truths
His location in Asia meant he was ideally placed to report on the Korean war when it broke out in June 1950, and he would anger his own government by reporting on both the Korean and later the Vietnam wars from the communist side. Along with his colleague, the Australian journalist Wilfred Burchett (who was equally ostracized for his reporting by his own birth country), Winnington would expose the use of biological weapons against Koreans by the USA.
For this brave reporting both men had their passports removed for many years.

From China to Germany
By 1960 Winnington had learned to speak Chinese fluently, but had already become skeptical of Mao’s approach to building socialism at least two years earlier because of the "Great Leap Forward" and other campaigns, which he described as “stupidities.” He left China with his Sino-British wife Esther and their two children, settling in East Berlin while they attempted to negotiate the return of his British passport with the help of Lance Samson, a German Jew who also worked for the Star.
The British government were still considering a charge of treason or espionage, possibly with a death sentence, as punishment for his reporting during the Korean war, so even after the restoration of his passport he did not return permanently to his country of birth, choosing instead to remain in Berlin. Sadly, his wife wanted to return to Britain, and their marriage broke down when she decided to move with their two children back to Britain, where she married Samson with whom she had a third child. Their daughter Polly would subsequently grow up to become an author in her own right.
After making the decision to remain in the east, Winnington began a new family with a lady named Ursula Wittbrodt, who he had met in 1963 and who would become Ursula Winnington when they married in 1967. He did not receive his British passport until a year later. (Burchett had to wait until Gough Whitlam’s Labour government came to power in 1972 before his birthright was restored.)
Winnington continued to work as a correspondent for the Morning Star from his new home in the GDR, and also served at times as an Asia advisor to the East German government. During the Vietnam War he repeatedly had the opportunity to travel to the Far East where he reported from both China and Vietnam.

From Journalism to Crime Writing
Alongside his journalistic work however, Winnington was increasingly beginning to develop a career as a novelist and author of crime fiction, among them novels in German like Heart failure, Inspector Gullet and The Death Curve, The Presumed Dead Man and Angler's Alibi. He also wrote children's books, such as a fantasy novel in two volumes about a robot horse called "Silver hoof", which was set in the Himalayas. During his time in China, he had developed a considerable love and admiration for the people of Tibet, writing Tibet: Record of a Journey (1957), which these stories reflected.
He even had a very brief foray into acting, appearing in a small film role as a Chief of Intelligence Service in the 1967 East German film Die Gefrorenen Blitze (Frozen Flashes), although he seems to have enjoyed more success with writing. His crime novel Police Alibi was made into a film for East German television in 1971 (Tod in der Kurve), while Milliony Ferfaksa (Fairfax’s Millions) was turned into a feature film in 1980 by the Russian Dovzhenko Film Studios.
His autobiography Breakfast with Mao was first published in a small German print run, as he had still been writing it when he died on 26th November 1983. Described by the historian Edwin Moise in the London Review of Books as “marvellously readable” it only appeared in English in 1986 when Lawrence and Wishart published it as From London to Beijing: Memoirs of a Foreign Correspondent 1914 to 1960.
Nine short novels, six of which belong to the crime and detective genre, the aforementioned two children's books and four travel books about China and Asia have also been published in English at some time or another. Yet despite this diverse oeuvre it appears that Slaves of the Cool Mountains remains the only one of his books currently still in print in the English language, and he currently has no English language Wikipedia entry.
Today Ursula Winnington is mainly known in Germany as an author of cookbooks, where she has been called the “Chef Queen of the East”, with some of her books reaching a total circulation of over one million copies, including her Kleines Kochbuch für Kinder (Small Cookbook for Children) (1977). Since 1992, Klatschmohn Verlag has reissued three of her most popular books, and in 2008 she published another book Liebe, Lust und Leckereien (Love, Lust and Treats). In 1995, long after Winnington’s death in 1983 and the reunification of Germany in 1990, she opened The Gecko in Berlin, a shop for exotic furniture and gifts from all over the world, and continues to make her home in Berlin.

Revival of Interest from Korea
Alan Winnington remains almost unknown in the country of his birth, and the English speaking world more broadly. Unlike Burchett, who is mainly remembered for his Daily Express article of 1945 which exposed the reality of nuclear radiation sickness following the atomic bombing of Hiroshima and Nagasaki, Winnington does not even have an English language Wikipedia entry. He is remembered, it seems, only in Germany.
With this in mind it is therefore quite noteworthy that recently the media organisation Ahim and South Korean journalist Im Hyoin have been bringing Winnington’s revelations about US atrocities in Korea to light once more, if only in South Korea, among them Winnington’s work exposing the notoriously under-reported Sincheon massacre. This atrocity even inspired a painting by Picasso which sits in the Picasso Museum in Paris. It is a painting as stark and brutal as his earlier painting Guernica inspired by fascist atrocities in the Spanish Civil War but which still remains far less well known. 

This should give us pause to reflect upon how, thirty years after the Cold War ended, its logic continues to distort our own historical memory.

Notes: