Archive for the ‘LIterature’ Category

Richard Coughlan Debunks Holocaust Denial

September 21, 2017

More on the Nazis, I’m afraid, and one of their favourite tactics: trying to get everyone to believe that the Holocaust was faked and didn’t occur.

Richard ‘the Dick’ Coughlin is a professional stand-up comedian, who regularly posts on YouTube attacking the weird and twisted denizens of the far right and men’s rights activists. In this video he takes on the necessary task of refuting Holocaust denial, and does a very good job of it. The video begins with a warning that it contains material some people may find disturbing. These are black and white footage from the concentration and death camps themselves, showing the emaciated inmates, and the heaps of bodies thrown into mass graves. These are shown with appropriate Jewish music and hymns commemorating and lamenting those murdered by the Nazis.

Coughlan explains that modern anti-Semites and Nazis have moved on from denying the Holocaust outright, as there is simply too much proof that it did occur, although there are a few that will still try to do this. Instead, they try to minimize the numbers of people murdered. Instead of millions, they will claim that it was only a few tens of thousands. In some cases, they will try to claim that only 10,000 were murdered, rather than the real figure of 5,700,000+, which is rounded up to six million.

Nazis will then claim that there was no programme to exterminate the Jews, that they were not gassed with Zyklon B in death camps such as Auschwitz, and that the large halls in which the victims were butchered were instead morgues, or chambers where the bodies were deloused before burial. Coughlan cites the textual evidence from the Nazis themselves that the areas claimed to be morgues were where they poor souls were forced to strip before they were gassed, and the contradictions in the neo-Nazis’ attempts to explain away the other chambers. For example, the story that the gas chambers were only used for delousing the bodies is clearly contradicted by the fact that the bodies of the dead were burned. Why would you bother killing parasites on a body that was going to be burned anyway? Surely you’d just burn the body, lice and all.

He also points out that the Nazis deny that the Jews were deliberately exterminated, but merely died from overwork and malnutrition. This is completely false. He makes the point that Holocaust deniers are trying to stop people believing in the Holocaust, not by refuting it completely, but by placing tiny seeds of doubt in people’s minds, which they hope they can develop and encourage further. He also analyses the psychology behind the tactic of minimizing the scale of the Holocaust, comparing it to a naughty child, who has stolen from his parents, who then tries to excuse himself and cast the blame elsewhere by admitting that he stole a lesser amount of money some time ago, but has not stolen the full amount, thus casting doubt on his sibling’s protestations of innocence.

Coughlan also debunks the claim made by Holocaust deniers like David Irving that there is no textual evidence linking Hitler to the Holocaust. There is. There are reports from the Nazi einsatzgruppen tasked with carrying out the murder of the Jews stating that they have informed Hitler of their progress, along with other documents from the Nazi leadership. These can be read in a book of collected reports and documents from these death squads, which Coughlan shows to the camera.

As for the arguments that the infrastructure for the gas chambers don’t exist, Coughlan says that this is based largely on the example of Auschwitz. But Auschwitz is only one of the immense number of these murder factories. He emphasizes their colossal number by stating that most people would probably think there were only about seven or so death camps. Not so. There were 43,000.

He could have added here that the chimneys and other structures used for delivering and venting the Zyklon B at Auschwitz don’t exist, because they were demolished shortly after the war by the Polish government. The bricks were used to build the houses on a nearby estate. Channel 4 made this point a few years ago in a documentary in which they followed an engineer, who designed gas chambers to Auschwitz to examine the remaining structures at the invitation of the American/Canadian Nazi, Ernst Zundel. Unfortunately, he was taken in by the Nazis’ lies and the apparent lack of evidence. The programme also featured a Jewish expert on the Holocaust, who provided the proper evidence that showed where the engineer was severely mistaken in his conclusions. He cited not only the history of the site itself, but also Nazi documents and the deliberately evasive language they used to hide what they were doing. They almost never talked openly about the murder of the Jews. Instead, their mass atrocity was referred to as ‘deportations’ or ‘special operations in the east’.

The video also includes clips from the film dramatization of the court case between Deborah Lipstadt and David Irving. Lipstadt is an American academic who called Irving what he was – a Holocaust denier. Irving sued for libel and lost. There’s also a clip of the real David Irving speaking, stating that he doesn’t believe in the scale of the Holocaust as normally claimed.

As Coughlan is a stand-up comedian, he occasionally uses humour to make his points. He begins the video by joking that it is financed by ‘Jew gold’. This is a dig at the claim by Nazis that anyone arguing against them must be in the pay of the international Jewish conspiracy. The number that then follows is Coughlan’s patreon account, showing that he most certainly isn’t. At one point in the video, he also tries to get his viewers to understand what the Nazis are doing when they minimize the Holocaust by asking them to imagine for a moment that they in the Nazis place. What would they do?

This is clearly a rhetorical technique, and if you watch the video, obviously so. I am mentioning it here because of the danger that someone may try to twist this into an entirely spurious proof that this is article is promoting Holocaust denial. Mike over at Vox Political is a firm anti-racist and certainly not an anti-Semite. Yet because he defended those in the Labour party that were smeared as anti-Semites simply because they criticized the equation between anti-Semitism and anti-Zionism, or even Israel itself for its occupation of Palestinian territory and ethnic cleansing of the indigenous Arab population, he was accused by the Campaign Against Anti-Semitism as an anti-Semite. I am afraid that the loathsome people, who smeared him, may also try to smear me by taking some of the ironic rhetoric in this strongly and most definitely anti-Nazi video out of context in order to smear me.

Lastly, Coughlan is an atheist and was a part of the atheist movement on the Net. Hence his anti-theist farewell against God at the end. I don’t share or approve of his atheism. However, his videos against the assorted Fascists and maniacs on the far right are well informed, and do a very necessary job of debunking them and sending them up. He’s done an excellent job. He states at the end of the video just how many books he’s read about the Holocaust, including one 4,000 pages long, and encourages others to do the same.

This is a great video, and it’s of an appropriate length – 25 or so minutes. That’s long enough to cover the main points without becoming too drawn out. However, it does mean that it obviously can’t cover everything that the Nazis and Holocaust deniers try to do. But it’s an excellent start, entertainingly done.

Of course this video shouldn’t be necessary. In the 1980s an American judge ruled against one of the Californian Nazi magazines that the evidence supporting the Holocaust was so plentiful that it couldn’t be denied. But that hasn’t stopped them trying. The Alt Right is on the rise, and the Holocaust deniers will try to criticize any attempts to present the facts or commemorate this horrific mass murder. The M Shed in Bristol, one of the city’s museums, put on a display about the Holocaust a few years ago. They then had two Holocaust deniers turn up, who tried to argue with the museum staff.

In many European countries Holocaust denial is a crime. There are problems with such legislation, as many people fear it’s an infringement of the right to free speech, however odious that speech is in the case of the Nazis. They also criticize such tactics has being too heavy-handed, and allowing the Nazis to position themselves as the oppressed party suffering official state persecution. They argue instead that a better tactic is to be informed, and refute their specious arguments using confirmed facts and evidence. This video helps to do this job.

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Telesur English: Venezuela Drops Petrodollars, Threatens US Global Power

September 20, 2017

Venezuela this week officially stopped using the petrodollar. In this short clip from Telesur English’s Breaking the Chains, they explain why this is important, and may result in very aggressive action by the US to force the Venezuelans to return to using it. Forcing the other countries in the world to pay for their oil in dollars allows the US to export its currency around the world. This allows it to refinance its debt, and import other countries goods at very low prices. If the other countries stop using the petrodollar, it becomes a severe blow to US global domination. The report states that America has been accused of using extreme measures, from assassination to war, to force the world’s nations to use their national currency as the international medium for purchasing oil.

Looking through some of the other videos on YouTube on this subject, it seems that Venezuela isn’t alone. Other countries also would like to jettison the petrodollar. These include the BRICS nations and Iran. I got the impression from reading Greg Palast’s Armed Madhouse, on George Dubya and the Iraq invasion, that this was partly caused by Saddam Hussein threatening to jettison the petrodollar. American couldn’t possibly allow that. If it did, and other nations followed suit, then America’s economic domination of the world would be smashed, and the recession the country’s experiencing would become much, much worse.

I therefore seems to me that the threats Trump made against Iran and Venezuela have nothing to do with the nature of those countries’ regimes. America has propped up numberless Fascist dictators and mass-murderers around the world with no qualms whatsoever, so long as they support America and America’s corporate interests. What frightens America is when other countries don’t accede to its corporate demands. And then it does invade – look at the overthrow of Jacobo Arbenz’s government in Guatemala. This was overthrown in the 1950s because Arbenz, a democratic Socialist who wanted to help the peons working the banana plantations, nationalized them. Many of them were owned by the US United Fruit Company, and so the US invaded, and then justified it through propaganda which claimed, quite falsely, that Arbenz was a Communist. And this is only one example of many, many others. If you want a complete list, read one of William Blum’s pieces on the subject.

Trump would just love to start a war with Iran, to continue the Neocons agenda of destroying and destabilizing the other Middle Eastern states for the benefit of the Israelis and Saudis, and he’s terrified of a socialist Venezuela, or at least one that has no fear about standing up to America.

If he does decide on military action, you can expect the usual pernicious twaddle about liberating their countries from oppressive governments. They will be flat out lies. America wants to invade these nations for the same reason it invaded Iraq – to seize their oil, and whatever state and other industries American big business wants.

Pat Mills Going Underground on Class and Politics on Comics

September 19, 2017

This is another video to add to the two others I’ve posted in which Pat Mills, one of the great creators of modern British comics, talks about industry and the political dimension to his work. In this video, he talks to Afshin Rattansi of RTUK’s Going Underground.

Mills starts by talking about how, when he first got into comics, he was frustrated and it was only when he started to look back on it and analyze it that he realized he was annoyed by the lack of working class role models in comics. They were all members of the upper middle classes. It’s why in 2000 AD he wanted to include working class characters and heroes, and why he liked Jeeves in the Jeeves and Wooster books, because here was a working class character, who makes a complete mockery of his master. But what brought home to him how the system is so completely opposed to working class heroes was his attempt working on a story for Dr. Who. He wanted to include a working class spaceship captain. The spaceship itself was to be a kind of abattoir in space, and he based the captain’s character on a real person, the captain of dredger. This would have made it realistic, and the captain of such a vessel would not have been like Richard Todd. But he was told by the script editor that this was unacceptable, and he could not have a working class spaceship captain.

When Rattansi asks him whether this censorship is internal or imposed from outside, he remarks that it’s a good question, and he believes it to be a bit of both. In the case of anti-war stories, it’s imposed from outside. That was brought home to him when he was involved in an exhibition on anarchy and comics. He wanted to include Charley’s War, the anti-war strip from Battle, as there was nothing more anarchist than that. But this was refused, just as the centenary of the outbreak of the First World. It was why TV never showed any of the great anti-war programmes and films about it, like Blackadder Goes Forth or the Monocled Mutineer.

He also comments on the massive influence the American military exerts over the film and TV industry. The Pentagon and the armed forces, including the CIA, have acted as advisors on 500 films and 800 TV programmes, from Meet the Parents to the Incredible Hulk and Iron Man. Mills has said that he has always disliked superheroes as he feels that they are corporate characters, standing for the values of the system. They are there to show people that you can’t be heroic unless you’re a tycoon or an arms manufacturer, who goes out at night to beat up members of the working class. He doesn’t think the military were involved in the last Judge Dredd film, as that was made by an independent, which is probably why it was so good. Rattansi replies that Dredd is still upper middle class, as he’s a member of the judiciary. Mills states in turn that he’s a footsoldier, and that part of the attraction of the character is that he’s also partly a villain. Villains are often more interesting to watch than heroes, who can be quite boring.

He also talks about an incident in which the Board of the Deputies of British Jews objected to one of the strips in Crisis. This was based on a real situation, which Mills had heard about from talking to a Palestinian. In the story, the IDF caught and beat up a Palestinian boy in protest, leaving lying on the ground with all his limbs broken. The Board complained because they thought the lad’s body had been deliberately arranged so that it resembled a swastika. Well, replied Mills, it wasn’t, as comics writers and artists aren’t that clever to sneak those kind of subliminal messages in. And what left him dismayed was the Board was not concerned about what was going on Israel, and which is still going on in Gaza. The incident was also somewhat ironic, in that the Board complained to the comic’s publishers, which at that time was Robert Maxwell, the corrupt thief of the Mirror pension fund. The Board’s complaint fell on deaf ears, and Cap’n Bob ‘told them to get knotted’.

Mills also observes in the interview that they were able to get away with much more in 2000AD as it wasn’t real, it was science fiction. Things are all right if they occur In A Galaxy Far, Far Away. But as soon as it’s real people, the censorship is imposed.

It’s always interesting hearing Mills’ views on comics and the subversion he put into his stories. He also told the story about the Beeb’s rejection of a working class spaceship captain for Dr. Who before, at the conference on Marxism organized by the Socialist Workers’ Party. The producers of Going Underground in the clip state that they contacted the Beeb to check the story, but the BBC had not replied by the time the programme was broadcast.

Mills is wrong in claiming at Jeeves is working class. He isn’t. He’s upper middle. Butlers are ‘a gentleman’s gentleman’, and Jeeves himself makes it very clear in one of the episodes of Jeeves and Wooster that he ‘and the working class are barely on speaking terms’. This is when the Fascist leader, Spode, tries to recruit him, saying that his wretched band need working class people like him. Nevertheless, the broad point remains true: Jeeves is an attractive character for the same reason another fictional butler is, Crichton, in the Admirable Crichton. He’s a servant, who is more knowledgible, intelligent and capable than his master.

I’ve commented in previous blog posts that I think the reason that the authorities don’t want to see any anti-War material broadcast during the centenary of the First World War, is because we still have ambitions of being an imperial power, backing the Americans in their wars around the world and particularly in the Middle East. The Beeb would also probably argue that to broadcast such material as Blackadder would be ‘disrespectful’, or some other spurious excuse.

I was aware that the American military was influencing Hollywood as advisors, but I had not idea how extensive it was. Back in the 1990s the American army advised the director Paul Verhoeven on his adaptation of Starship Troopers. This was an adaptation of the book by Robert Heinlein, who really did believe that only those, who had served in the armed forces should have the right to vote. It’s a notoriously militaristic book, and provoked a very anti-military response from a range of other SF writers, including Harry Harrison, who wrote Bill the Galactic Hero to send up Heinlein. Verhoeven wasn’t impressed with Heinlein’s militarism either. He’s Dutch, and grew up during the Nazi occupation. Thus, while the film can be enjoyed as a straightforward adventure, it also contains a very strong element of satire, such as modelling the uniforms on those of the Nazis.

I was disappointed to hear that the army had collaborated with the producers of The Hulk, as this comic was genuinely countercultural. In the comic, Banner becomes the Hulk after being exposed to the nuclear blast of an atomic bomb test saving Rick, a teenager, who has wandered into test zone. Rick is a classic disaffected teenager with more than a little similarity to the alienated kids played by James Dean. In the 1970s the comic was very firmly anti-military. The Hulk fought the army across America. Banner’s personal enemy was the general in charge of the forces sent to tackle the force, who was also the father of his girlfriend. And while the Hulk was a raging behemoth, what he really wanted was to be left alone. Some of the subversive character of the Hulk came across in Ang Lee’s film, which I actually like, even though no-one else does. But it’s still disappointing to read that the American armed forces were involved.

There’s a touch of irony to Mills speaking on the programme, as ‘Going Underground’ was the first of the two ‘Comic Rock’ strips to appear in 2000AD, the other being ‘Killerwatt’, which introduced Nemesis the Warlock and his struggle against Torquemada, the Fascist grand master of Termight, Earth in the far future. The story, set in the underground maze of rapid transit tunnels within Earth’s vast subterranean network of cities, took it’s title from the track by The Jam.

As Children Starve, Rees-Mogg Finds Growth in Food Banks ‘Uplifting’

September 16, 2017

I’ve had to write this response to Rees-Mogg’s fatuous, complacent and quite frankly, evil comments about the massive increase in food banks, because it made me so furious. On Thursday, Mike over at Vox Political reported that the Camborne Pool and Redruth food bank reported that some children in Cornwall are literally starving. This food bank hands out 10,000 meals a month, but states that they know there are many more children that they aren’t reaching.

At the same time, Rees-Mogg, whom Mike describes as the darling of the Tory party, was on LBC radio saying that he found this ‘uplifting’. Mike responded by describing Rees-Mogg as an ignorant, homicidal fool.

http://voxpoliticalonline.com/2017/09/14/food-bank-says-children-are-starving-rees-mogg-finds-that-uplifting/

Yesterday, Mike also put up the news that a food bank in Bath has challenged Mogg to volunteer to work for them, so he can see for himself the hardship that the people coming to these banks are experiencing, and hear their stories. Mike commented that there was fat chance of that, as Mogg hasn’t done a day’s work in his life. But he would be improved by having to work in one, or, better still, having to go to one himself.

http://voxpoliticalonline.com/2017/09/15/after-rees-mogg-said-food-banks-that-couldnt-help-the-starving-were-uplifting-hes-challenged-to-work-in-one/

The I yesterday printed Mogg’s comments in full. Basically, the aristo Tory MP for north-east Somerset said that the amount of generosity shown by people in the expansion of food banks was ‘uplifting’, and then went to claim that state aid could not solve the problem of poverty or provide for all the poor.

There’s nothing new in what he said. Bill Clinton made pretty much the same speech when he was president of the US. Clinton stated that there wasn’t a government programme that could solve every eventuality, and so praised private charity and initiatives in doing so. His speech, and admiration for private charity, was part of his ideological commitment to reducing still further whatever was left of the vestigial American welfare state that Reagan and the Republicans hadn’t already destroyed.

Thatcher, and it seems Young Master Mogg, believed that reducing state aid would result in more people giving to charity. And it’s true that studies in the US have shown that Conservative religious people give more to charity than secular liberals. But this misses an important point:

Private charity on its own is insufficient to tackle poverty. State aid is far better at doing so.

I also found a piece in Lobster’s ‘View from the Bridge’ a little while ago, that quoted a biography of Thatcher. Before she died, Thatcher herself supposedly realized that destroying the welfare state hadn’t made people more generous.

Which completely contradicts what Mogg has said above.

As for Mogg’s own attitude, this is the arrogant complacency of a wealthy aristocrat, who has little understanding of the lives of working people, and who fears them and the state will undermine the position of himself and his similarly entitled monied chums at the apex of British society. Young Master Mogg has voted consistently against increasing welfare benefits for them, and voted for increasing the tax burden on working people. But he’s been dead opposed to increasing the tax burden on people earning over £150,000 a year.

It’s the attitude the complacent British upper and middle classes, that looked with bland equanimity on the grinding poverty and squalor of industrial Britain and saw nothing wrong with it. It’s the same attitude that produced this appalling piece of poetry on the benefits of work to children.

‘Tis proper, Sophy, to be sure,
To pity and relieve the poor.
But do not waste your pity here,
Work is not hard to her, my dear,
It makes her healthy, strong and gay,
And is as pleasant as your play.

from Peter Vansittart, Voices 1870-1914, p. 76.

And it’s also contemporary in that we’ve had for the past decade or so Tories and Blairites telling us how wonderful work is for the mental wellbeing of the disabled, even when the empirical evidence says the exact opposite.

Mogg’s a complacent, ignorant pratt, who looks on the growth of child poverty due to the free trade policies of his poverty with complete indifference. Get him out. He has no place in politics, and his views will lead to more starvation and suffering.

Book on Working People’s Environmentalism in the US

September 16, 2017

Chad Montrie, A People’s History of Environmentalism in the United States (London: Continuum 2011)

I found this yesterday in the £3 bookshop on Bristol’s Park Street. It’s clearly inspired by Howard Zinn’s A People’s History of the United States, which told the story of the US as it affected ordinary working, blue-collar Americans and other marginalized groups, like Blacks and the indigenous peoples. It challenged the dominant, right-wing narrative of how America was founded by rich, White, and immensely wise Founding Fathers as a uniquely just society. Zinn has since passed away, but his book inspired Colin Firth’s and Anthony Arnove’s collection of radical British historical texts, The People Speak: Democracy Is Not A Spectator Sport. Contemporary scholarship has superseded some of Zinn’s work, paradoxically showing that in some areas such as ethnic minorities, his opinions were too moderate. But the Republicans still utterly despise him and his book. Looking at one right-wing website I found a list of books its readers hated and considered harmful to America. Zinn’s was one of them.

This book on working Americans and the environmental movement is particularly urgent now that Trump is set on trying to complete the destruction of both. I haven’t done more than glance at the book, but there’s a summary of the book’s contents by Kathryn Morse of Middlebury College on the back cover. This states that it’s

An engaging, critical synthesis of 20 years of new scholarship in environmental and labour history, this book tells a new story of the emergence and power of environmentalism as a movement forged by common people in defence of their lives and livelihoods. Countering previous arguments that environmentalism began in post-World War II middle-class suburbs, Montrie redefines environmentalism as a grass-roots, working class response to industrialization and urbanization dating from the early 19th century.

From the start, this movement included workers’ resistance to elite attempts to control nature both for profit and for upper-class leisure. Montrie narrates the growth of working-class environmentalism and its successes and failures from the textile mills of New England, to the Chicago streets around Hull House, to automobile plants of New England, to the coal mines of Appalachia, and to the agricultural fields of California, with other stops along the way. This detailed by accessible book offers a forceful new interpretation of American environmentalism and rewrite the narrative of the modern environmental movement.

The Republicans and the corporate backers fear and despise the Green movement, denouncing it as a strategy for introducing redistributive taxation and Socialism by the back door. They hate the way Greens recommend that rich, polluting industries should be taxed, and clean, non-polluting energy sources – like solar, wind and wave energy – should be developed to replace fossil fuels. These have got to go, as the Republicans and Libertarians are funded and bought by the Koch brothers and other oil and fossil fuel magnates.

And when the Republicans and the corporate paymasters aren’t foaming at the mouth about environmentalist ‘socialism’, they’re claiming that it’s another form of Nazism, because the Nazis were very keen on protecting the German environment. Well, they were, and this had been a major part of the German racist, volkisch movement since the 19th century. But this doesn’t mean that environmental per se is simply Nazism under another form. Where it appeared in Britain and America, it was an attempt by working people and the authorities to protect the environment and allow ordinary people to live clean, healthier lives and enjoy the beauty of the countryside in which their ancestors had lived and worked.

Hitler would have liked the Nazis to have been a party of the working class, but he hated organized labour. The first thing the Nazis did when they seized power was smash the German trade unions. But as this book shows, after the War American trade unions played a major part in the Green movement in the US. Which also explains why the Republicans go bug-eyed about the Greens and Socialism. The environmental movement and its connections to organized labour and the American working people marked a challenge to capitalism and the power of big corporations, not just to exploit the environment, but also to exploit the blue-collar, working women and men, who claimed their rights at work and to enjoy America’s great scenic beauty.

Another strand of their ideological attack on the environmental movement is to claim that it’s pagan, and so Christians should have nothing to do with it. It is true that much modern, Neopaganism is centred on the worship of the earth mother, and that pagans have been particularly environmentally conscious since the emergence of Green movement in the 1960s. But Christian writers were describing the beauty of the natural worlds and the wonders of its creatures as evidence of God’s providential handiwork from at least the Middle Ages onwards, and I’ve seen absolutely nothing to suggest that caring for the environment in itself is at all antichristian. Indeed, some theologians have pointed to Jean Calvin’s belief that as God has given human stewardship of the Earth, they have a duty and responsibility to protect the environment.

I haven’t really had time to read the book properly yet, but I will have to. Trump and the big corporations which control him are a real, present threat to the environment, working people, and indeed the future of the Earth and humanity, just as the Tories and their paymasters are over this side of the Pond. We have to protect both in order to create a better future and preserve the planet.

Pat Mills Talks to Sasha Simic of the SWP about the Politics of 2000AD

September 15, 2017

This comes from the Socialist Workers’ Party, an organization of which I am not a member and which I don’t support. But this is another really great video, in which one of the great creators of the British comics for over forty years talks about politics, social class, the role of capitalism and women and feminism, not just in 2000AD, but also in comics and publishing generally, and the media.

Mills was speaking as part of annual four day convention the Socialist Workers hold on Marxism. Simic introduces himself as the person, who gets the annual geek slot. As well as a member of the party, he’s also a convener of USDAW. And he’s very happy in this, the centenary of the Russian Revolution, to have on Pat Mills.

Mills starts by saying that as he was growing up in the 50s and 60s, he read the same books everyone else did – John Buchan, Ian Fleming, Dennis Wheatley, Sherlock Holmes and the Scarlet Pimpernel. But there was something about it that made him angry, and it was only looking back on it that he came to realise that what infuriated him was the fact that these were all authors from the upper and middle classes, who created heroes from those class backgrounds. He makes the point that these were good writers, but that some of their work was very sinister the more you go into it. Like John Buchan. Buchan was the major propagandist of the First World War. Mills says that Alistair Campbell, Tony Blair’s infamous spin doctor, had nothing on him. He promoted the First world War, for which he was rewarded with the governorship of Canada.
He states that he doesn’t want to go too far into it as he’ll start ranting. Nevertheless, he’s glad to be able to talk to the people at the SWP’s convention, as it means they have a similar opinion to him, and he doesn’t have to censor himself.

He makes the point that there are very, very few working class heroes, and believes this is quite deliberate. It’s to deprive working people of a strong role. When the working people do appear, it’s as loyal batmen, or sidekicks, and there is an element of parody there. And it’s not just in comics and literature. In the 1980s he was contacted by the producers of Dr. Who to do a story. He wanted to have a working class spaceship captain. He was told by the script editor that they couldn’t. They also didn’t like his idea to have a working class family. It was only by looking back on where this hatred of the heroes of traditional literature came from, that he came to realise that it wasn’t just that he didn’t want to have any generals in his work.

He also talks about how it’s easier to get away with subversion in comics, as comics are treated as a trivial form of literature, which nobody really cares about. The profit motive also helps. So long as it’s making money, comics companies don’t care what’s going on. And this explains how he was able to get away with some of the things he did in Battle. He states that the way he works is by pretending to write something mainstream and inoffensive, and then subvert it from within. An example of that is Charley’s War in Battle. This looks like an ordinary war strip, but in fact was very anti-war. Even so, there were times when he had to be careful and know when to give up. One of these was about a story he wanted to run about the entry of the Americans into the War. In this story, a group of White American squaddies are members of the Klan, and try to lynch a Black soldier. Charley wades in to help the Black guy. The management rejected the story on the grounds that they didn’t want anything too controversial. Mills decided to draw in his horns and bite his tongue at that point, because he had a bigger story lined up about the British invasion of Russian in 1919, when we sent in 20-30,000 men. It was, he says, our Vietnam, and has been whitewashed out of the history books.

He also makes the point that subversion was also present in the girls’ comics. Even more so, as there was a psychological angle that wasn’t present in the boys’. For example, there was one story called ‘Ella in Easy Street’, where a young girl reacts against her aspirational family. They want to get on, and so the father has two jobs, and the mother is similarly working very hard to support their aspirations. But Ella herself is unhappy, as it’s destroying what they are as a family. And so she sets out to sabotage their yuppie dream. Mills says that it’s not all one-dimensional – he looks at the situation from both sides, pro and con, but the story makes the point that there are things that are more important that materialism and social advancement, like family, comradeship. He says that such a story could not be published now. It’s rather like The Loneliness of the Long Distance Runner, where the hero, in the end, throws the race as a way of giving the system the finger.

Mills reminds his audience just how massive girls’ comics were in the ’70s. They were bigger, much bigger, than the boys’. 2000AD sold 200,000 copies a week in its prime. But Tammy, one of the girls’ comics, sold 260,000. This is really surprising, as women read much more than we men. These comics have all disappeared. This, he says, is because the boys’ took over the sandpit. He has been trying to revive them, and so a couple of stories from Misty have been republished in an album.

This gets him onto the issue of reaching the audience, who really need it. In the case of the stories from Misty, this has meant that there are two serials on sale, both of which are very good, but in a book costing £17 – odd. The only people going to read that are the mothers of the present generation of girls, perhaps. To reach the girls, it needs to be set at a lower price they can afford. This is also a problem with the political material. If you write something subversive, it will receive glowing reviews but be bought by people, who already agree with you. He wants his message to get further out, and not to become a coffee table book for north London.

He talks about the way British comics have grown up with their readership, and the advantages and disadvantages this has brought. British comics has, with the exception of 2000AD, more or less disappeared, and the readership of that comic is in its 30s and 40s. People have put this down to demographics and the rise of computer games, saying that this was inevitable. It wasn’t. It was our fault, says Mills. We fumbled it. Games workshop still have young people amongst their audience, while the French also have computer games across the Channel, but their children are reading comics.

Mills goes on to say that it’s easier writing for adults. Writing for 9 and 10 year olds is much harder, because if they don’t like a story, they’ll say. He says to his audience that they may think the same way, but they’re much too polite to say it at conventions. And they had to respond to their young readers as well, as the kids voted on it every week. They’d tell you if they thought it was a bad story, even if you thought it was the best one so far, and asked yourself what was wrong with the little sh*ts.

He also talks about how difficult it is to break into comics. He has friends, who have been trying for decades to get into 2000AD, and have been unsuccessful. His advice to people trying to do so is: don’t bother. There’s nothing wrong with you, it’s 2000AD. And this also effects text publishing. All the publishers have now been bought up, so that HarperCollins have the fingers in everything, such as Hodder and Stoughton. And their politics aren’t ours.

The way round this is to get into web publishing. Here he digresses and talks about pulp fiction, which is a close relative of comics. He was talking to a guy at a convention, who writes pulp fiction and puts it on the net. It only costs a few pence. The man writes about a zombie apocalypse, but – and this is true, as he’s seen the payment slips – he’s pulling in £3,000 a month. Mills says that this is important as well. He wants to get his material out there, but he also wants to eat. This shows you how you can make money publishing it yourself. Later on in the video, after the questions and the comments from the audience, he goes further into this. He mentions some of the web publishers, one of which is subsidiary of Amazon, which will allow people to publish their own work. He also talks about self-publishing and chapbooks. He found out about these while writing Defoe, his story about Leveller zombie killer in an alternative 17th century England. Chapbooks were so called because they were cheap books, the cheap literature of the masses. And this is what comics should go back to. He says that everyone should produce comics, in the same way that everyone can also make music by picking up an instrument and playing a few chords.

He also praises some of the other subversive literature people have self-produced. Like one piece satirizing the British army’s recruitment posters. ‘Join the army’, it says, ‘- like prison, but with more fighting’. Mills is fairly sure he knows who wrote that as well. It was another guy he met at a convention, who was probably responsible for the anti-war film on YouTube Action Man: Battlefield Casualties. He enormously admires this film, and is envious of the people, who made it.

He also talks about some of the fan letters he’s had. One was from the CEO of a school, he talks about the way reading 2000AD opened up his mind and changed his moral compass. The man says that everything he learned about Fascism, he learned from Judge Dredd, everything about racism from Strontium Dog, and feminism from Halo Jones. He and his headmaster, whom he names, were both punks and he’s now opened a school in Doncaster. The most subversive thing you can do now is to try to create an open-minded and questioning generation of young people. The letter is signed, yours, from a company director, but not an evil one, and then the gentleman’s name.

He concludes this part of the talk by describing the career of James Clarke, a member of the Socialist Labour Party, the Communist Party, a lion tamer and conscientious objector. During the War he ran escape lines for British squaddies in France. And people say that pacifists are cowards, Mills jokes. How much braver can you be than sticking your head in a lion’s mouth. He wrote a pamphlet defending a group of comrades, who tried to start the revolution by following the example of the Irish Nationalists and blow things up with a bomb. The pamphlet argued that this was wrong, and that if the working class wanted to gain power, they should concentrate on confronting capitalism through direct action. He also wrote poetry. Mills describes Clark as being a kind of Scots Tom Baker. One of these is a biting satire of Kipling’s If. The poem begins by asking if the reader can wake up every morning at 5 O’clock, or 4.30, and then labour at their machines, and see their wives and children suffer deprivation while those, who haven’t earned it take it all the profits, and describes the backbreaking grind of hard working life for the capitalist class in several stanzas. It ends with the statement that if you can do all that, and still be complacent, then go out, buy a gun and blow your brains out.

Clearly, I don’t recommend any actually do this, but it is a witty and funny response to Kipling’s poem. I found it hugely funny, and I do think it’s a great response to what was voted Britain’s favourite poem by the Beeb’s viewers and readers a few years ago. Can you imagine the sheer Tory rage that would erupt if someone dared to recite it on television!

Many of the comments are from people thanking Mills for opening their eyes and for writing such great stories. They include a man, who describes how Mills’ works are on his shelf next to his copy of Das Kapital. Another man describes how he used to buy 2000AD just after going to church on Sunday. So after listening to some very boring sermons, he came back from Baptist chapel to read all this subversion. One young woman says that the zines – the small press magazines, that appeared in the 1990s – seem to be still around, as she has seen them at punk concerts. Another young woman says that although comics are seen as a boys’ thing, when she goes into Forbidden Planet near her, there are always three girls in there and two boys. She also talks about how many young women read Japanese manga. Mills states in reply that manga stories generally are light and frothy, and so not the kind of stories he wants to write. But as for women in comics, he says that he spoken several times to students on graphic novel courses, and each time about 75 per cent of them have been women, which is good.

He also talks about Crisis and Action. The Third World War strip in Crisis was about the politics of food, and was set in a world where food production was dominated by a vast multinational formed by the merger of two of today’s megacorporations. Mills states that when the strip covered what was going on in South America, that was acceptable. However, at one point he moved the story to Brixton, finding a Black co-writer to help with the story. At that point, the White Guardian-reading liberals started to be uncomfortable with it. There was also a story in which Britain leaves the EU. This results in the rise of a Fascist dictatorship, and the EU responds by invading Britain. Mills says that he’s been trying to get Crisis relaunched, but the company are stringing him along with excuses, probably because it’s easier than arguing with him.

Mills obviously did the right thing by finding a Black co-writer. Marvel suffered a barrage of criticism with some of their attempts to launch a series of Black superheroes, like the Black Panther as part of the Blaxploitation wave of the 1970s. The Black Panther was particularly criticized. The creators were old, White dudes, who didn’t understand urban Black culture, even if the comics themselves were sincere in presenting a sympathetic view of Black Americans and combating racism.

He also talks briefly about Action, and the controversy that caused. What really upset Mary Whitehouse and the rest was ‘Kid’s Rule UK’, a strip in which a disease killed everyone over 16, and Britain was inhabited solely by warring street gangs. Mills used to take the same train from where he was living at the time with Mary Whitehouse. He said he was editing a Hookjaw script at the time, and notice Whitehouse over the other side of the carriage looking daggers at him. So he put in more carnage and more arms and legs being bitten off.

One of the most interesting questions is about the politics and morality of Judge Dredd. Dredd is a fascist, and in one of the strips it seemed to take the side of authority over subversion with no irony. This was in a story about the punks taking over Megacity 1. At the end of the strip, Dredd gets hold of the leader, and makes him say, ‘I’m a dirty punk.’ Mills actually agrees with the speaker, and says that there are people, who take Dredd as a role-model. He’s had letters from them, which he doesn’t like. He doesn’t know what these people do. Perhaps they have their own chapterhouse somewhere. He went cold inside when he heard about the story. It wasn’t one of his. It was by John Wagner, who isn’t at all political, but is very cynical, so this has some of the same effects of politics. But 75 per cent of Dredd comes from Mills. Mills states that it’s a flawed character, and that can be seen in why the two Dredd films never did well at the box office. Dredd was based on a particular teacher at his old school, as was Torquemada, the Grand Master of Termight, a genocidally racist Fascist military feudal order ruling Earth thousands of years in the future. They were both two sides of the same coin. That was why he enjoyed humiliating Torquemada. But it isn’t done with Dredd. Yet it could have been different, and there could be instances where people have their revenge on Dredd without losing the power of the character. He states that it was because Chopper did this in the story ‘Unamerican Graffiti’, that this became the favourite Dredd story of all time.

It’s a fascinating insight into the politics of the comics industry. The zines and other self-published small magazines he describes were a product of the Punk scene, where people did start putting together their own fanzines in their bedrooms. It was part of the mass creativity that punk at its height unleashed. As for the web comics, he talks about a couple that he finds particularly impressive, including those by the author of the dystopian science fiction story Y – the Last Man, set in a future in which all the men in the world have been killed by another disease. A number of my friends used to publish their own small press magazines in the 1990s, as did Mike. Mike started his own, small press comic, Violent, as an homage to Action when it was that comics anniversary. Mike was helped by some of the artists and writers from 2000AD, and so some of the tales are very professional. But probably not for delicate, gentle souls.

Amongst SF fandom, chapbooks are small books which another publishes himself. And they have been the route some professionally published authors have taken into print. Stephen Baxter is one of them. I think his Xelee stories first appeared in a chapbook he sold at one of the SF conventions.

Looking back at Kids Rule UK, this was my least favourite strip in Action. I was bullied at school, and so the idea of a Britain, where everything had broken down and there was nothing but bullying and juvenile violence really scared me. Action took many of its strips from the popular culture of the time. Hookjaw was basically Jaws. One-Eyed Jack seemed based very much on the type of hard-boiled American cop shows, if not actually Dirty Harry. One of the SF movies of the late sixties was about an America in which teenagers had seized power, and put all the adults in concentration camps were they were force-fed LSD. One of the four Star Trek stories that were banned on British television until the 1980s was ‘Miri’. In this tale, Kirk, Spock and the others beam down to a planet occupied entirely by children, as all the ‘grups’ – the adults – have been killed by disease. Kids Rule UK seems very much in the same vein as these stories.

Mills’ story about Dr. Who not wanting to show a working class family, let alone a spaceship captain, shows how far the series has come when it was relaunched by Russell T. Davis. Christopher Eccleston basically played the Doctor as northern and working class, wile Rose Tyler’s family and friends were ordinary people in a London tower block. As for not wanting to show a working class spaceship captain, that probably comes from very ingrained class attitudes in the aviation industry. A friend of mine trained as a pilot. When he was studying, their tutor told the class that the British exam included a question no other country in the world required, and which was particularly difficult. He stated that it was put there to weed out people from working or lower middle class backgrounds, as they would fail and not be able to retake the exam, as their competitors from the upper classes could.

It’s great to hear Mills encourage people try to produce their own work, and not be disheartened if they are rejected by mainstream publishers. I’m also saddened by the absence of any comics for children. They offered me when I was a lad an escape into a whole world of fun and imagination. And at their best, they do encourage children to take an interest in real issues like racism, sexism, bigotry and exploitation. I hope some way can be found to reverse their disappearance.

Credo! Pat Mills on 40 Years of Thrillpower!

September 14, 2017

Pat Mills is one of the great creators of the British comics industry. In this video from 2000 AD on YouTube, he talks to host Tony Esmond about his career in the comics industry, politics and his determination to give readers working class heroes. The interview was at the 40 Years of Thrillpower convention earlier this year (2017).

Mills is best known as one of the creative forces who seriously upset the establishment with Action before going on to reoffend with 2000AD. Before then he started off writing for the 1970s children’s comics, like Corr! The experience of writing for them was not happy for him. He states that the people behind them had no particular interest in them and very much had a production-line mentality to their creation. He describes how one writer once asked him how many stories he could write in a day. When he said about one every two or three days, the other writer boasted that he wrote three in a day. And then went on to say, probably quite truthfully, that he was making more money than the prime minister. Mills states that the writers at IPC were able to do this because they wrote very much to a formula. He preferred the stories their competitors at DC Thompson produced. Although their comics were also stuck in the past, the stories were better crafted. He describes one strip about a man going around the country having adventures with a horse. As a concept, he says it wasn’t even at the level of afternoon television. But it was well done. The IPC comics, on the other hand, were soulless. It depressed him so much, that, when he and John Wagner, who also later went on to become one of the founders of 2000AD, were writing in a garden shed, he wrote all his scripts on a roll of wallpaper so they formed a continuous strip and he wouldn’t have to go back and read them all again.

British comics in this period were very much stuck in the past, even as British society changed. This was a time when the German experience of the war was appearing in the books of Sven Hassel, reflected in Action’s strip, Hellmann of Hammer Force. But yet Mills found it impossible to launch a strip whose hero was Black. This was to be a strip about a Black boxer. He was told that it wouldn’t work. People would not accept a Black hero. They’d accept a Black supporting character or friend. But as the central character, never. He also thought of introducing one about a Black football player, and that would have been even more controversial. There was a Black football player in one of the London clubs at the time, and he had been treated with racist abuse from the balconies.

Politics and satire have always been an important element of Mills’ work. He says that at one point he became dissatisfied writing for 2000AD, as the management were trying to shift the comic away from its traditional satirical stance, and this very much went against Mills’ own nature. He and Esmond discuss at one point Mills’ memory that, when they launched 2000AD, the management told him that they should imagine a future that they would actually live in. And now, he states, they’re living in it with Donald Trump’s presidency of the US, which Mills compares to the infamous Judge Cal. Cal was the mad Chief Judge in Judge Dredd, modelled on Caligula, who appointed his pet fish as a judge, called in the alien Kleggs to suppress any opposition in Mega City 1, and had another judge pickled. Perhaps we need to be very glad that NASA hasn’t made contact with intelligent aliens yet.

Mills remarks on how very many of the heroes of British literature, from Sherlock Holmes to John Buchan’s Hannay, have been members of the upper and upper middle classes. There are too many of them, and too few working class heroes. He’s been actively trying to redress this imbalance in his strips. It’s why Marshal Law, in his alter ego, used to be unemployed, but is now a hospital orderly. He’s not even a nurse.

He states that as he grew up in the ’50s and ’60s, he read many the authors that were around then, like Dennis Wheatley and John Buchan, all of whom were members of the upper classes. And with some of them, it was actually quite sinister. Buchan was a major propagandist for the First World War, in return for which he was rewarded with the governorship of Canada. And he did it very well. Later on in the video, in response to a question from the audience he remarks on how there is a very definite campaign in this country to suppress anything with an anti-war message. He was asked what the research was for his story in Charley’s War about the British invasion of Russia in 1918-19. He states that there were only two books he was able to get hold of at the time, but since then he got hold of a very good book, which is a much fuller description. This describes how the British officers sent in to overturn the Russian Revolution behaved like absolute animals. This episode has largely been airbrushed from British history. He contrasts with the British media’s refusal to publicise anti-war stories with that of our cousins across le manche. Attitudes there are much different, and Charley’s War, which ran in Battle and was about the experiences of a working-class Tommy in the First World War, is more popular in France even than Britain. This bias against anti-war stories is why you didn’t see Blackadder Goes Forth repeated in the centenary year of the War’s outbreak.

Mills is also critical of the way the indigenous mythology and legend of the British Isles has been suppressed in favour of myths from further south – Greece and Rome, and ancient Egypt. Mills’ background, like Kevin O’Neill, was Irish, and his family were very patriotic. He grew up knowing all about Michael Collins, and his middle name is Eamon after the first president of Eire, Eamon de Valera. Yet it wasn’t until he started researching the Irish, as well as the Scots and Welsh legends, that he learned about any of those stories, and was shocked. Why didn’t he know about the warpspasm – the ultra-berserker rage that transforms the Celtic hero Slaine as he goes into battle? He also talks about how, in legend, London was founded by the Trojans as New Troy, and briefly mentions his treatment of this in the story he is or was currently writing for the Slaine strip. He states he wanted to produce a barbarian strip that was set in this country, complete with its grey skies and rain.

Mills has a deep admiration for these Celtic legends, but remarks on how they differ considerably from the other mythological tales. They don’t share their structure. If you read the Norse tales or Beowulf, there’s a structure there. But the Irish – which he uses to include also the Scots and Welsh stories – read like they’re on acid. He’s particularly impressed with the Tain, otherwise known as the Tain Bo Cualnge, or in English, The Cattle Raid of Cooley, and recommends the translation by Kinsella. He’s also particularly interested in finding the bits that were suppressed by the Christian clergy who wrote them down in the Middle Ages. He gleefully quotes one clerical writer, who says that the stories contain much that is true, much that is false, some lies, and some devilish invention, and some which is only fit to be read by idiots. Yeah! he shouts, that’s me!

He has the same mischievous joy when telling how he came to be persuaded to write the Invasion strip, in which Britain was invaded by a thinly disguised Soviet Russia. The management asked him if he wanted to write it. He said he couldn’t get up much enthusiasm. They urged him to read Alexander Solzhenitsyn’s The Gulag Archipelago. So he worked his way as best he could through that. He still wasn’t enthusiastic. Then they asked him if he’d like to write a scene with Maggie Thatcher being shot by the Russians on the steps of St. Paul’s. His response: Yeahhh!

He also talks about how the brutal education he received at a school run by the De Lazare order inspired him to write the Nemesis the Warlock strip. The Terminators, and to a lesser extent Judge Dredd, were modelled on them. They were fanatical, and were quite sinister. He remarks that if you go on the internet you can find all sorts of tales about them.

He also talks about an abortive crossover story planned for Marshal Law and Batman. Marshal Law was a bitterly satirical, extremely violent and very funny strip published in the 1990s about a superhero in the devastated San Francisco of the early 21st century, who hates other superheroes. The superheroes in the strip were created for a Vietnam-like war in South America, and have come back disillusioned and traumatized by the conflict. As a result, they form violent street gangs, and Marshal Law is recruited by the police to clean them up. It was a very dark comic that relentlessly parodied superhero comics from a left-wing, feminist perspective. When DC announced they wanted to make the crossover, Mills thought that they weren’t really serious. But they were. So he and O’Neill decided that for the cover, they’d have the Marshal standing on a pile of bodies of the different versions of Batman from all across the alternative Earths of the Multiverse. Then DC’s management changed, and their story policy did too, and the idea was dropped.

Mills also discusses the various ways comics have been launched, only to be merged with other comics. With 2000AD the comic was merged with Tornado and then Starlord. It was a very cynical policy, as from the first these comics were intended to fail, but by merging them with 2000AD and other comics, the management presented it as giving their readers something new, even though it wasn’t, and they felt it was an intrusion. He also responds to another question about which comic he felt folded before its time. The obvious answer to this was Action, which upset the establishment so much that it was banned, before being sanitized and relaunched. Mills said that they knew the comic was doomed. The new editor, who was given control of it had previously edited – and this is almost unbelievable – Bobo the Rabbit – and so didn’t know what he was doing. Mills said that before then they had skated over what was just about unacceptable and knew just how far you could go. Because this new editor hadn’t had that experience, he didn’t, and the comic folded.

The comic that he really feels shouldn’t have folded, and could still have carried on today, was Battle. As for which comic he’d now be working on instead of 2000AD, if it had proved more successful, these were the girls’ comics, like Misty. They vastly outsold the boys’ comics, but ultimately folded because ‘the boys took over the sandbox’. The video ends with his answer to the question, ‘What is his favourite strip, that he wrote for?’ He thinks for a moment, before replying Nemesis the Warlock to massive cheering.

It’s a very interesting perspective on the British comics industry by one of its masters. Regarding Slaine, Mills has said before in his introduction to the Titan book, Slaine the King: Special Edition, that the achievements of our ancestors, the Celtic peoples, has been rubbed out of history in favour of the ‘stern but fair proto-Thatcherite Romans, who built the roads and made the chariots run on time’. I think part of the problem is that the legends Mills draws on – that of Gaelic Ireland and Scotland, and Brythonic Wales – are those of the Celtic peoples, who were defeated by the expanding Anglo-Normans, who made a concerted attempt to suppress their culture. As for the very frank admiration for the Romans, that partly comes from the classics-based education offered by the British public schools.

As for the very staid attitude of British comics in the 1970s, this was a problem. It was actually a period of crisis, when many of the comics were folding because they hadn’t moved with the times. Mills’ idea for a strip about a Black boxer is clearly modelled on Mohammed Ali, the great African-American athlete of the ring. Everyone knew Ali, and he was universally admired, even by kids like me, who didn’t understand or know much about the racial politics behind Ali’s superstardom. Ali said that he wanted to give his people a hero.

Even so, the idea of having a sympathetic Black supporting character was an improvement. Roger Sabin, in his book Comics, Comix and Graphic Novels: A History of Comic Art, published by Phaidon, notes just how racist British comics were in the 1960s. This was very controversial, as Black people naturally objected. Sabin cites one strip, in which the White hero uses two racial slurs for Blacks, and another abusive term for Gypsies. And showing the type of strips that appeared in the 1920s, there’s an illustration which shows the Black characters from a strip in one of D.C. Thompson’s comics, either the Dandy or Beano at the time. This was The Colony N*gs. Only they don’t use an asterisk to try to disguise the term.

As for his experiences with the monks running his school, unfortunately he’s not the only one, who suffered in this way. I’ve met a number of former Roman Catholics, who were turned off religion, and in some cases became bitterly against it, because of their experience being taught by monks and nuns. Several of Britain’s most beloved broadcasters from the Emerald Isle were also turned off religion because of this. Dave Allen, who regularly poked fun at religion, and particularly the Roman Catholic church, said that he became an atheist because of the cruelty and the way the priests tried to scare their young charges at his old school. And that mainstay of British radio, Terry Wogan, in a series he presented about Ireland and his life there, said exactly the same about the effect the hard attitude of the teachers at his old Roman Catholic school had on him.

The Roman Catholic church does not have the monopoly on the abuse of children, and I’ve heard some horrifying tales of the brutal behavior of some of the teaching staff – and prefects – in some of the British grammar schools. Dad has told me about the very harsh regime of some of the teachers at his old school – not Roman Catholic – in Somerset. He describes the teachers as sadists, and has a story about how one of the teachers, when one of the boys couldn’t answer a question, threw the lad out of window. Brutality seems to have been built into the British educational system, leaving mental scars and bitter memories.

I’ve very mixed feelings about the British force sent against revolutionary Russia. Perhaps if we’d succeeded, the forty million Soviet citizens butchered by Stalin would have been able to live out their lives, and the peoples of the Russian Federation free of the shadow of the KGB and gulags.

But that’s with hindsight. That’s not why British troops were sent in. The Bolsheviks were anti-democratic and determined to suppress all other parties and factions except their own, even when these were Socialist or anarchist, like the Mensheviks, the Trudoviks, the Socialist Revolutionaries the Left Communists, Anarcho-Communists and syndicalists. But we sent in troops because Britain and the rest of the capitalist world felt threatened by the emergence of a working class, aggressively socialist state. Britain had many commercial contacts with pre-Revolutionary Russia, and Lenin had argued in his pamphlet Imperialism: The Highest Stage of Capitalism that global capitalism depended on European imperial expansion. These nations enslaved and exploited developing nations like Russia. A socialist revolution in these countries threatened international capitalism, as it was here that the capitalist system was weakest. Hence the Bolshevik slogan, ‘Smash capitalism at its weakest link!’

Ordinary Russians, let alone the conquered nations of the Russian Empire, were oppressed and exploited. If you want an idea how much, and what ordinary Russians endured and struggled to overthrow, read Lionel Kochan’s book, The Russian Revolution, published by Paladin. This was the grotty system British troops were sent in to restore.

On a more positive note, one member of the audience in the video thanks Mills for encouraging him to read. The man says he was dyslexic, but it was the comics he consumed as a child that got him reading. He is now a teacher, who specializes in helping children with reading difficulties, and uses comics in his teaching.

This is really inspiring. Martin Barks in Comics, Ideology and Power, discusses how comics have always been regarded with suspicion and contempt by the establishment. They were regarded as rubbish, at best. At worst they were seen as positively subversive. I can remember how one of the text books we used in English at school included a piece of journalism roundly condemning comics as rubbish literature with bad artwork. And this was reprinted in the 1980s! My mother, on the other hand, was in favour of comics because they did get children reading, and used to encourage the parents of the children she taught to buy them when they asked her advice on how they could get their children to read if they wouldn’t read books. This shows how far comics have come, so that they are now respectable and admired.

Yesterday’s Science Fiction as Today’s Reality: Bruce Sterling’s ‘Heavy Weather’

September 13, 2017

Bruce Sterling was, with William Gibson, one of the leading members of the ‘Mirrorshades’ group of SF writers, who launched cyberpunk in the 1980s. This is the SF genre set in dystopian, corporate futures, whose streetwise picaresque heroes entire a VR cyberspace through jacking into the Web. If you want an idea what the genre’s like, see the film Blade Runner, although the film actually came out while Gibson was writing his groundbreaking novel, Neuromancer.

This week the news has been dominated by hurricane Harvey and the other storms that are wreaking such havoc in Florida, Bermuda and other parts of the Caribbean. In a previous article I put up this evening about Trump’s appointment of Jim Bridenstine, a scientific illiterate, who doesn’t believe in climate change as head of NASA, I discussed how Jimmy Dore and his co-host Steffi Zamorano and Ron Placone had said that these storms bear out the continuing decline of the Earth’s climate. Way back in the early part of this century, after several heatwaves, climate scientists warned that climate change meant that the weather would become more extreme.

And Bruce Sterling wrote an entire book about the superstorms that would arise due to climate change in his 1994 SF novel, Heavy Weather (London: Millennium).

This was set in the devastated Texas of the early 21st century, where the aquifers have dried up. It’s a state wracked by violent storms, where thousands have been left homeless and forced into refugee camps by the unstable climate. The blurb for the book reads

2031 – the atmosphere’s wrecked. The Storm Troupers – media unit, scientists, techno-freaks – get their kicks from weather. Hooked up to drones through virtual-reality rigs, they can plunge like maddened darts into the eye of a storm and surf a ride from hell.

Their Holy Grail: the F6, a tornado so intense it’s off the scale. Dangerous in the extreme. Also dangerous: certain people’s sick dreams, full of tornado trails, shining insane paths of endless howling destruction.

The high-tech wonders of a decaying world … and a bunch of wild nomads longing to be blown away.

I think the book was a response by literary SF to the film Twister, about a group of meteorologists chasing tornadoes across the southern US, starring Piers Brosnan. I don’t think we’ve quite reached the level where masses of Americans are being left homeless in refugee camps, nor are their groups quite like the Storm Troupers. But these violent storms are becoming a reality, and will become ever worse as the climate deteriorates.

As Max Headroom used to say in his trailers for Channel 4: ‘The future…is now’.

And it’s disgusting that Trump’s trying to close down climate research, and put in charge of NASA someone who knows precious little about science, and doesn’t believe in climate change.

More Anti-Science from Trump: Climate Denier to Head NASA

September 13, 2017

This is absolutely incredible. It really is like something from dystopian Science Fiction, but unfortunately it’s true. In this clip from the Jimmy Dore Show, the American comedian and his co-hosts, Ron Placone and Steffi Zamorano comment on a report from Democracy Now! that Trump has decide to appoint Jim Bridenstine as the new head of NASA. Bridenstine has no scientific credentials, and doesn’t believe in climate change. In fact, in 2013 he stood on the floor of the senate and demanded that Barak Obama apologise for promoting it.

The trio begin the clip by remarking on the evidence from the hurricanes to hit America that climate change is real. Before storm Harvey, only three magnitude 5 storms had hit America. They then show how ludicrous the decision is by stating that as Trump has appointed someone, who doesn’t believe in a scientific fact to head a scientific agency, then Richard Dawkins should be appointed to head the national prayer breakfast. Dore jokes that there hasn’t been a government this anti-science since Galileo. And the Pope has apologized for him. The papacy also acknowledges climate change. Which means the world’s most religious Roman Catholic is more progressive than Trump and his minions.

There’s no way this is anything other than an attempt by the Republicans and their paymasters, the Koch brothers, and the other big polluting industries, to hobble and silence research into climate change in America. One of the functions satellites carry out is weather and climate monitoring. Space research generally has also led to greater understanding of weather systems on Earth. For example, the massive storms that rage across Jupiter are driven by the same laws and forces as those, which generate similar storm systems on Earth. Countries like India have invested in their space industry for the promise it offers of monitoring the weather and the progress of crop diseases, which can be disastrous for a developing nation, much of whose population are subsistence farmers.

Dore’s wrong about the Pope’s treatment of Galileo, however. Yes, it was scandalous, but at the time Galileo’s own research was actually undersupported. And he didn’t help himself in his book, the Dialogue of the Two World Systems. He knew the pope was an Aristotelian, but deliberately made the Aristotelian speaker in the book appear as stupid as possible. Even so, the Church was not uniformly against him. He did have supporters within the church and amongst the cardinals. See James Hannan’s God’s Philosophers: Science in the Middle Ages.

But this is like something from Science Fiction. Stephen Baxter’s Titan is an alternative history, in which a rabidly anti-science senator becomes president of the US and closes down NASA. It’s because he’s a Creationist, and doesn’t believe in the Copernican heliocentric system, or the discoveries revealed by Galileo. What isn’t shut down, is given to the USAF and given over to defence instead, while the agency’s museum is shut, except for its museum. This is then altered to stress the religious experiences many of the astronauts had when exploring space.

This isn’t quite fair on the Creationists. Those I knew did not reject Galileo and they didn’t reject heliocentrism, although I’ve since come across people, who do on the Net. But there are still clear parallels between Baxter’s book and Trump and those who back him.

Yesterday I found an interview with the veteran comics creator, Pat Mills on YouTube. I’m going to have to write a piece about it, because Mills is very left-wing and a fierce critic of capitalism and Britain’s class system. In the video, he states that when he started writing for 2000 AD, he and the others were told to create futures, which people would live in. And now we are. He pointed out that there really were robots, which looked like Robusters, and we also now had Donald Trump, who was very much like something from 2000 AD’s often bleak view of the future.

And he’s right. Trump’s appointment of a scientific ignoramus like Bridenstine is almost exactly like something from Science Fiction. And Mills compared Trump himself to Judge Cal, the deranged Chief Judge of Mega City 1, who behaved like Caligula. He appointed his pet fish as judge, and had one of the other judges pickled. Oh yes, and he called in the alien Kleggs to keep the human population of Mega City 1 under control. Trump hasn’t made contact with an evil alien life forms yet, but the nepotism and corruption is all there. Even if he hasn’t made his goldfish senator. But given the fictional parallel drawn by Mills, Bannon, Kelly-Anne Conway and the others he’s got rid of should be glad he just had them sacked. The real trouble’s going to start when he starts ordering human-sized pickled jars.

Website for Late SF Artist Peter Elson

September 13, 2017

Going through the Net the other day, I found a website dedicated to the work of the late SF artist and illustrator, Peter Elson. Steve Holland in his Sci-Fi Art: A Graphic History (New York: HarperCollins 2009) notes that Elson was one of the school of artists that was influenced by Chris Foss’ work in the 1970s. Elson was apparently unable to adapt after that style of SF illustration fell out of favour, and spent the last years of his life working on theatre illustration.

An example of Elson’s work, from Holland’s Sci-Fi Art: A Graphic History.

He’s still one of my favourite SF artists.

The site’s Peter Elson Science Fiction Illustrator, and it’s at
http://www.peterelson.co.uk/index.php

The brief biography notes that he was a fan of the original Eagle comic, and has a suitable tribute by his friend, Carol Butfoy, who met him at Ealing School of Art, and formed a management agency with him, partly to handle his work. She concludes

The kind of cover art that Peter and many of his contemporaries produced will probably not be seen again. It was a golden age of SF and Fantasy illustration. You can still find the covers, sometimes in reprints, mostly as second hand copies at boot sales. They shine out for their magical ability to take you into a world you can scarcely imagine. It’s what great art always used to do, and Peter was a great artist.

If you want to see more of his work, including landscapes, vehicles and illustrations for Dr. Who, then go to the above site.