Pat Mills and Anti-Racism and Anti-Nazism in British and American Comics

This week I’ve put up a number of articles about a couple of interviews I’ve found on YouTube with the long-time British comics creator, Pat Mills. Mills was one of the recidivist offenders, who revitalized a moribund British comics industry in the 1970s with a succession of groundbreaking new magazines the war comic, Battle, Action, and, of course, the mighty 2000AD. Mills is of Irish heritage and distinctly left-wing, so that his sympathies are always with the poor and the persecuted against the establishment, and there was more than a little element of subversion in his strips. Judge Dredd from the first was meant to be a symbol of the Fascistic elements in modern American policing, and J.D. is as much villain as he is hero. The mutant heroes of the Strontium Dog strip are second-class citizens in a future Britain which barely tolerates them. They can only live in ghettoes, and the only work they can do by law is bounty hunting. It’s an explicit comment on racism and anti-Semitism. Nemesis the Warlock was a similar attack on religious bigotry, set as it was in a devastated Earth of the far future, ruled by Tomas de Torquemada and his terminators. They were a military order of warriors, who had whipped up fear and hatred of intelligent aliens and embarked on a series of holy wars to exterminate them across the Galaxy. This was partly based on the medieval inquisition in Roman Catholic Europe, with elements of modern Fascism. For example, the robes adopted by the Terminators recalled Ku Klux Klan costumes.

Comics at the time were increasingly focused on the issue of racism and persecution, particularly in the case of Marvel Comic’s X-Men. The mutants in this strip, like those of Johnny Alpha’s nuclear-scarred Britain, were also persecuted. One of the recurring villains in the strip were the Sentinels, a race of giant robots created to hunt down and kill robots by the stock mad scientist in the belief that this would preserve humanity from the threat to their survival the super-powered mutants – Homo Superior – represented. Another of Mighty Marvel’s villains was the Hate Monger, dedicated to whipping up bigotry and strife. This character also wore a costume based on the Klan, and was revealed as Hitler, or a clone of him.

The American comics industry was founded by German Jews, who brought with them their former homeland’s tradition of telling a story through a series of pictures derived from Wilhelm Busch. I think many of them had also seen combat fighting against Nazism in the army during the War. It’s therefore not hard to see in strips such as the X-Men a metaphorical treatment of the persecution of the Jewish people, as well as other outsider groups. As well as being a metaphor for racism, the X-Men also had an large following of gay young people, possibly because the social hostility shown in the strips towards its mutant heroes mirrored their own experiences as marginalized outsiders.

And concerns over the threat of Fascism were also seen in other British comics. The British version of the Captain Britain strip, written by Dave Thorpe and then Alan Moore, was set in an alternative Britain in which a deranged, mutant aristocrat, Mad Jim Jaspers, had created a biomechanical creature to hunt down and exterminate all mutants. At the same time, he had encouraged a Fascist dictatorship to seize power, which then began the process of persecuting and exterminating mutants.

This was succeeded by Moore’s V for Vendetta in the adult comic, Warrior, which featured an anonymous guerilla, V, fighting a personal war against the Fascist authorities of a near-future Britain. It was filmed with Hugo Weaving as ‘V’, Natalie Portman as his companion, Evie, with Stephen Fry as a gay TV host and John Hurt as the dictator. Moore himself dislikes the movie, partly because the contract he signed with the studio meant that the character is now their property. But it is a powerful film, which accurately shows certain aspects of Nazism, such as the use of concentration camp inmates for medical experimentation.

Pat Mills also says in the interviews I posted about earlier this week that the strip Charley’s War was subversive in that it was anti-war strip in a war comic. Mills is disappointed by the way the strip wasn’t included in an exhibition on comics and subversion, and notes that in this, the centenary years of the First World War, there seems to be a deliberate policy amongst the British broadcasters of not showing anything with an anti-war content, such as Blackadder Goes Forth. Radio 4 have made shows about the great stage play and film, Oh, What a Lovely War!, but it wasn’t that long ago that Michael Gove, the Tory minister for education, opened his mouth to say that children were getting an entirely wrong view of the War based on Blackadder. Mike naturally wrote a very sharp reply to that piece of nonsense.

But there were other strips in Battle, which also rose out of the mass of the usual gung-ho stories of courageous British squaddies winning against brutal and stupid Germans, and which did shock with their realism. Darkie’s Mob, which was about a mysterious commander, who takes over a failing British unit trapped behind Japanese lines in Burma was one of these. Another I remember which particularly shocked me was a short piece in Battle, in which British soldiers are fighting their way through Germany. I think it was a stand-alone strip, rather than part of a continuing storyline. The story ended when the squaddies reach a group of emaciated figures standing behind barbed wire, the inmates of one of the death camps. This was clearly about the Holocaust, and what it was really like, rather than the usual glamorous war stories, and I remember being shocked by the starved bodies of the inmates. As I doubtless was supposed to.

Battle, Action, 2000AD and Warrior were part of a trend that had emerged in American comics in the late 1960s, when they turned from simple escapism to dealing with real issues – such as racism and feminism. British comics up to the launch of Battle and Action had tended to avoid explicit politics, and in some cases had actually been very racist. And this tradition of commenting and attacking racism and bigotry continues in American comics today, and in 2000AD, now sadly nearly all that’s remaining of the British comics industry.

These are the type of strips, which Mike and I grew up reading, along with so many others of our age group. And they reflected the very real anxieties of the time. Left-wingers were worried about the rise of Maggie Thatcher, her links to the hard right and the violence and political threat posed by the BNP/NF. In the original comic strip version of V for Vendetta, the Fascists seize power in Britain after devastating nuclear war between America and the Soviet Union over the crisis in Poland. To many of us, the threat of nuclear annihilation in Maggie’s and Reagan’s New Cold War was only too real.

In his talk to the Socialist Workers’ Party, Mills reads out a letter he received from the CEO of a school, a former punk, who states that everything he learned about Fascism, he got from Judge Dredd; everything about racism, from Strontium Dog, and everything about feminism from Halo Jones. And he now considered it the most subversive thing he could do was to help produce open-minded, critical young people. And it isn’t just racism. When Thatcher tried to criminalise positive teaching of homosexuality in school – that it is perfectly natural – the British comics industry responded with the anti-homophobia anthology AWRGH!, whose initials stood for Artists and Writers Against Rampant Government Homophobia. Comics in the 1980s and ’90s sold much more than they do now, and so they made a very large number of young people aware and alert to these issues. It partly explains why British society has broadly become more tolerant, despite continuing bigotry in some areas. Like the right-wing of the Tories and UKIP.

This is also why I found Mills’ story of how the Board of Deputies of British Jews complained about a story in Crisis utterly amazing. Crisis was another adult comic, which dealt explicitly with contemporary issues of western imperialism, the power of the multinationals and the exploitation of the Developing World. The comic had featured a story about the beating of a Palestinian protester in Gaza, based on a real event told to Mills by a Palestinian. The Board complained because the lad’s broken body, left lying in the road, looked to them a bit like a swastika. As Mills himself said, it wasn’t there because comics creators aren’t that clever. But I was left amazed at the thought that anybody could accuse anyone in mainstream British comics at the time of racism or anti-Semitism, given how radical and anti-racist so many of them were.

It’s also why the accusation by the Campaign Against Anti-Semitism earlier this year against Mike is so outrageous. I’ve blogged before in Mike’s defence pointing out that he very definitely is not racist and not anti-Semitic, having both Black and Jewish friends and participating at College in a performance commemorating the victims of the Shoah. Mike read these comics, with the anti-racist and anti-bigotry message which they strove to impart to their readers. I realize that no doubt there were many people who read them, without really taking the anti-racist, anti-bigotry subtext onboard, but even so many people in the comics milieu were and are liberal in their attitudes towards tolerance of minority and marginalized groups.

But the Campaign Against Anti-Semitism and the rest of the Zionist lobby have no qualms about smearing genuine anti-racists, and people who have written about and denounced anti-Semitism and other forms of racism and persecution, like Jackie Walker, Ken Livingstone and Tony Greenstein. And there is the real danger that by doing so, not only will they libel and smear decent people, but trivialize real anti-Semitism in doing so.

I’ve blogged earlier this evening about the fine job Richard Coughlan did in producing his videos debunking Holocaust denial. But British and American comics and their creators, like Pat Mills, Alan Moore and Stan Lee and Jack Kirby, the creators of the X-Men, and that strip’s writers and artists since, have also contributed greatly to attacking racism and bigotry in the strips they produced.

The Fictional Roots of the Anti-Semitism Allegations

Okay, a few minutes ago I put up a piece from RT’s Going Underground show, in which the Jewish anti-Zionist writer and activist, Max Blumenthal, said that he was struck by the similarity of the controversy surrounding supposed anti-Semitic comments from Ken Livingstone, Naz Shah and others in the Labour Party, and the plot of the book A Very British Coup by the former Labour MP, Chris Mullens. The book concerns the plot to undermine a left-wing Labour Prime Minister, the former steelworker, Harry Perkins, by the establishment, the Fleet Street press, the intelligence services and the right wing of the Party. Perkins is very popular, so his opponents unseat him by manufacturing anti-Semitic quotes attributed to him.

It actually wouldn’t surprise me if the current attacks on Corbyn and other Labour MPs weren’t based on the plot of Mullens’ book. I never read it, but friends of mine did watch the Channel 4 adaptation when it was screened in the 1980s. The book is very roughly based on fact. In the 1920s the British press and intelligence services attempted to stop Labour winning the election with the publication of the ‘Zinoviev letter’. This was a forged letter from Zinoviev, the Soviet foreign minister, to the leadership of the Labour party encouraging them to overthrow capitalism and turn Britain into a Soviet state. Labour subsequently lost the election, although there is some debate over whether this was due to the letter.

In the 1970s there were various forgeries and allegations that the-then Labour prime minister, Harold Wilson, was also a Soviet spy. There is considerable evidence to suggest that these were also cooked up by MI5, but this has been consistently denied by establishment historians.

I find it credible that the allegations may have been manufactured following the plot of Mullen’s book, because affairs like it have happened before. Frederick Forsythe’s novel, The Dogs of War, is supposed to have formed the blueprint for one of the coups led by mercenaries against one of the African states. Forsythe has always denied it, though this is contradicted somewhat by the fact that many of the mercenaries nevertheless carried it in their back pockets. Forsythe also wrote another book, essentially rehashing in fictional form the ‘Zinoviev letter’. Written during the new Cold War of the 1980s, this is about the intelligence services’ attempt to prevent another dastardly coup by the evil Soviets. The Communists have infiltrated the Labour party, which is set to win the general election. When this occurs, the Communists will take over, and Britain will be another Soviet client state.

It’s pure bilge, of course, and shows the attitude of Frederick Forsythe towards the Labour party as a bunch of potential subversives. It also shows Thatcher’s as well, as she declared it to be her favourite novel. I also recall the Scum running a similar campaign against the Labour Party, again claiming that Labour had been infiltrated by Communists, who ready to take over if Labour were voted into office.

The British secret state and the media have a long history of using fiction to smear Labour, and this seems to be another instance of the forces of conservatism and neo-liberalism, quite apart from the Zionist lobby, to hold on to power by smearing the Labour left.

The Anti-Semitism Allegations: A Very British Coup Against the Left

I was sent this clip from RT’s Going Underground by one of the great commenters on this blog. In this piece, the anchor Arshid Rattansi talks to Max Blumenthal about highly politicised nature of the anti-Semitism allegations. Blumenthal argues that they are being made to defend Israel from criticism, particularly after the Gaza conflict, and shows that those accused also include religious Jews, and those of Jewish descent, whose anti-racist beliefs and pride in their heritage should not be questioned.

Max Blumenthal describes himself in the clip as ‘an anti-Zionist’ Jew. He’s the author, according to a pop-up text in the show, of Life and Loathing in the Greater Israel. He says he was struck by the strong similarity between the accusations of anti-Semitism, directed at Jeremy Corbyn and the plot of the book, A Very British Coup, by the former Labour MP, Chris Mullens. In Mullens’ book, a former steelworker, Harry Perkins, becomes the British Prime Minister, and embarks on a very left-wing, Marxist programme, nationalising industry and setting up anti-nuclear zones. Perkins is very popular, and to topple him from power, the British establishment, the press and the right-wing of the Labour party, aided by the security agencies, manufacture quotes smearing him as an anti-Semite.

Blumenthal states that this is what is being done to Jeremy Corbyn, including groups within the Labour party that are close to the Zionist lobby. These are the Blairites in the Progress party-within-the-party and Labour Friends of Israel. Corbyn himself has said nothing anti-Semitic and has attended a meeting of the Labour Friends of Israel. On the other hand, he has embraced much of the programme of the BDS campaign – Boycott, Divest and Sanction movement, which seeks to persuade firms and consumers from dealing with firms or purchasing goods made in the occupied West Bank. He has also opened his office to anti-Zionist Jews, including Blumenthal himself. Blumenthal also makes the point that this started two years ago in 2014 when Ed Milliband, who was also Jewish, criticised the Israeli attack on Gaza. Mark Regev, the Israeli ambassador, who has joined in these allegations, was previously one of the spokesmen for Likud regime defending Israel’s actions during the attack. The definition of anti-Semitism used to justify these actions is highly partisan and politicised. It is not the definition used by some Jewish journalists and philosophers, which is that it is hatred of ‘Jews simply as Jews’, but hatred of the state of Israel. Regev even falsely accused Corbyn’s spokesman, Seaumas Milne in an interview, of saying that he wanted Israel’s destruction, before having to take that back 35 minutes later.

Some of those accused of anti-Semitism include Jews, and people of Jewish descent, whose character should be beyond reproach. In Britain, these include Jacqui Walker. Walker is a black woman of Jewish heritage, who is an anti-racist activist. She was suspended on these charges for a tweet she made saying that slavery was the Black equivalent of the Holocaust. Rattansi states that this isn’t anti-Semitic, just a very strong statement condemning slavery. In America, Bernie Sanders, also Jewish, has been attacked for being anti-Semitic for being critical about Israel. He was also forced to sack his ‘Jewish Outreach Officer’, Simone Zimmerman. Zimmerman is a very religious Jew, who is active in her community. But she also committed the heinous sin of objecting to Israel. Blumenthal states that Sanders and Corbyn have had some contact, but that criticism of Israel is far more muted in America, because AIPAC, the Zionist lobby in America is much more powerful than BICOM, its British equivalent. Blumenthal mentions an awkward moment during an interview Bernie Sanders gave to Rachel Maddow on MSNBC. Sanders’ raised the point that Comcast, the parent company, was owned by someone, who donated to AIPAC, and that one of its leading journalists, Wolf Blitzer, was also a leading journo and researcher for the lobbyists, and that therefore the show would not broadcast any material critical of Israel. Blumenthal makes the point, however, that there is a grassroots movement in the Democrats away from supporting Israel. This is largely from younger people, who are more secular, and because the country has become much more diverse.

The show has a caveat at the end, stating that they tried to get into contact with Comcast, who made the statement that they do not interfere in the editorial contents of their shows.

Here’s the interview:

CounterPunch have also published a series of articles about the anti-Semitism allegations, pointing out that these are all about the Zionist lobby trying to protect its own interests and Israel against what are perfectly legitimate criticisms. Blumenthal mentions that some of the allegations were made against people, who have criticised the Israeli premier, Benjamin Netanyahu. There’s nothing anti-Semitic about this. I can remember going to a science talk given by a British scientist, who was a staunch supporter of multiculturalism and who had clearly worked in Israel. He had nothing but contempt for the man, whom he described as ‘That b*stard Netanyahu’. There was no condemnation of Israel qua Israel, and certainly no condemnation of the Jewish people. Just a fair comment about the brutal thug governing the country.

As for the extension of the definition of anti-Semitism from its accepted meaning ‘hatred of Jewish as Jews’ to ‘hatred of the state of Israel’, this also won’t wash. Those on the left, who object to Israel, do so because they see it as a White, colonialist settler state, like apartheid South Africa, or indeed the USA. They do not object to it, because its people are Jews.

Moreover, the accepted definition of anti-Semitism, as hatred of Jews simply because of their ethnicity, is that of the person, who first invented the term, Julius Marr. Marr was the founder and leader of one of 19th century Germany’s leading anti-Jewish groups, the League of Anti-Semites. Marr coined the term to describe hatred of Jews based on their racial heritage, rather than their religion. Again, his definition doesn’t have anything to do with the state of Israel. The only way an anti-Semitism allegation against someone based on their opposition to Israel would be correct by that definition, would be if their objection to it was purely or mainly because Israelis were Jewish. This doesn’t appear to be the case in most of these allegations, if any.

As for the suspension of Jacqui Walker for commenting that ‘Slavery was Black people’s Holocaust’, it’s extreme and highly emotive, but it’s one that has certainly been said before. I think it was first made by the highly respected civil rights pioneer, W.E.B. DuBois, after he became a citizen of Ghana after the War. He compared the treatment of Blacks under slavery to the atrocities against the Jews by the Third Reich. In 1994 Bristol’s involvement in the slave trade came under the spotlight once again with the TV adaptation of Philippa Gregory’s A Respectable Trade, and the exhibition of the same name at the City Museum. One particular point of controversy is the statue to Edward Colson on the city centre. Many Black Bristolians wish to see the statue removed. Colson was a wealth patron, who donated generously to charity for the people of Bristol. It was with money donated by him that Colston girls’ school was set up, which still continues today. He made his money from the slave trade, however, and that’s the reason why his statue is so controversial. Gregory presented a feature on Bristol’s legacy from the slave trade during which she interviewed Paul Stephenson, a Black civil rights activist in the city. Stephenson, obviously, had nothing but hatred and contempt for Colson, saying that he was responsible for ‘a holocaust in Africa’. As far as I know, no allegations were made of anti-Semitism against Stephenson for his remarks.

And their people’s experience of persecution and exile from their ancestral homeland through slavery and its aftermath has led some Black writers to identify with the Jewish people. Also back in the 1990s the Black British writer, Caryl Philips, that the historical experiences of Blacks and Jews in this fashion were so close, that sometimes he believed he was Jewish. This caused a little controversy, with Hilary Mantel, the Jewish author of Wolf Hall, writing in reply that Phillips shouldn’t be so daft, as the Jewish experience was unique to Jews. Phillips might be mistaken about the identity of Black and Jewish historical suffering, but he was not anti-Semitic. Far from it.

However, underlying these accusations is a renewed feeling of insecurity amongst Britain’s Jews. There have been reports that anti-Semitic attacks have gone up, especially after the Israeli attack on Gaza. A few years ago there were a couple of festivals celebrating the Jewish contribution to British culture. There was a festival of Jewish literature, which was a general festival of books by Jews. Non-Jews were welcome to come, and the writers speaking at this event included, I believe Howard Jacobson and Hilary Mantel. There was also a festival of Jewish comedy, which was featured on the One Show. It was also covered on Radio 4. The blurb for the radio programme about it stated that one of the reasons it was being staged was because Jews were facing competition as comedians from other ethnic groups. There has thus been some insecurity amongst British Jews about their place in Britain, partly caused by the growth of other ethnic groups in Britain’s changing diverse society. The allegations of anti-Semitism made by the Zionist lobby against Jeremy Corbyn and the Labour party reflect and draw on this insecurity. Of course, attacking Jews because of the actions of the Israelis is wrong, and should be condemned as anti-Semitic. But this does not make condemnation of Israel for its actions and treatment of the Palestinians anti-Semitic.