Showing posts by: funambulator@live.com
Hans Island “Whisky War”: Seemingly a Straw Quarrel Conducted with Restraint and Civility
With so many hotspots and tense border stand-offs across the world, the dispute over an obscure island in the Arctic region by two peaceful modern western democracies definitely flies under the international radar. The unlikely spot is Hans Island, a 1.3 square kilometre slab of rock situated in the middle of the Nares Strait separating Greenland from Canada’s Northeast periphery. Barren and uninhabited, devoid of natural resources, the island has been the object of claims on it by both Denmark (of which Greenland is a sovereign part) and Canada since the 1930s¹.
Initially, the League of Nations adjudged the dispute in Denmark’s favour in 1933². But given the ineffectiveness and eventually dissolution of the inaugural world body, the LoN’s ruling carried little weight.
Over the decades Denmark and Canada continued to disagree on who owns Hans Island – without either doing anything about it. Bilateral negotiations in 1973 completely sidestepped the issue of the island’s sovereignty – a maritime border with the vertical line drawn through Nares Strait conveniently left the island itself untouched, and thus still unresolved.
An assertion of sovereignty done with humour and good nature
The 1980s saw an escalation of the competing claims in a tit-for-tat exchange of flag-planting on the island. First there was the hoisting of the Canadian maple leaf (accompanied by an additional item, a trademark bottle of Canadian whisky). The Danes duly responded with their own flag and a bottle of Danish schnapps.
The issue threatened to flare-up again in 2005 when Canadian defense minister Bill Graham earned Copenhagen‘s ire with his unilateral visit of Hans Island. However common sense prevailed and both sides committed to enter into a process to resolve the matter…since then though little headway has been made towards this goal.
A proposal for Inuit authority on the ground
In 2002 academics proposed that Canada and Denmark share control of Tartupaluk (the Greenlandic name for Hans Island), with hands-on management devolving to Inuit control. So far nothing has come of this.
Postscript: A straw prize on the surface but potentially a promising long-term prospect?
Though never getting remotely close to a military confrontation, the periodic posturing and grandstanding by Canada and Denmark reflects the desire of both governments to secure possession of Hans Island. Two material considerations seem to inform the disputants‘ commitment to the cause – the possibility of oil and gas reserves in the seabed around Hans Island and the potential of the (Nares) strait as a future international shipping route.
End-note: A third claimant to Hans Island has emerged in recent years, Russia, filing its claim through the orthodox UN channels
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¹ “a bizarre sliver of territory for two countries to fight over” as one observer depicted it (Bender)
² a tricky matter to adjudicate on as the island technically lies in both countries’ waters, falling within the 12 mile-territorial limit under international law
❖ ❖ ❖🇩🇰 🇨🇦
Referenced websites and sources:
‘Analysis: Hans Island – and the endless dispute over its sovereignty’, (Martin Breum), High North News, 24-Oct-2018, www.highnorthnews.com
‘2 countries have been fighting over an uninhabited island by leaving each other bottles of alcohol for over 3 decades’, (Jeremy Bender), Business Insider, 10-Jan-2016, www.businessinsider.com
‘Canada and Denmark Fight Over Island With Whisky and Schnapps’, (Dan Levin), New York Times, 07-Nov-2016, www.nytimes.com
‘Hans Island Case – A territorial dispute in the Arctic’, (Master Thesis), (Nikoleta Maria Hornackova), Aalborg University, May 2018, www.projekter.aau.dk
Late Communist Era Capitalist Cravings: The Pepsi Swap
During the Cold War not many people outside of the USSR knew of the Russian penchant for it’s ideological rival’s second most popular cola drink. The Soviet Union’s love affair with Pepsi-Cola started with a meeting between Premier Khrushchev and US Vice-President Nixon in 1959. As part of what was a rare cultural exchange for the time, Khrushchev was introduced to the sugary, carbonated beverage, the taste apparently meeting with the Soviet premier’s approval.
⏏️ Pepsi’s role in the Nixon-Khrushchev Kitchen Debate
So began a novel bilateral trade. With Russian rubles not valued outside of the USSR, a barter system was forged. The Russian and other Soviet people got to drink Pepsi, in return vodka (in the form of the state-owned brand Stolichnaya) was made available in the US market.
Things went smoothly enough until 1980…the Soviet invasion of Afghanistan threatened the Pepsi deal. Americans boycotted Soviet goods including Stolichnaya…the popular vodka’s sales plummeted in the US. In the late 1980s the Pepsi company—mindful that seven billion Russians were drinking Pepsi each year—hit upon a new and more unorthodox US/Soviet exchange deal.
To keep the Pepsi flowing to Russian consumers, Pepsi accepted a flotilla of ageing Soviet warships in lieu. Taking possession of 17 rusty Soviet warships plus a few other auxiliary naval vessels. The fleet was far from being in A1 shipshape condition, but it enabled the soft drink giant to boast that it possessed the world 6th most powerful navy at the time – on paper if not on water!
(Source: www.naval-encylopedia.com)
Pepsi’s move earned the displeasure of the US military but the company CEO’s slightly disingenuous rejoinder to the Pentagon was that it was dismantling the Soviet fleet faster than they were!*
Pepsi didn’t hang on to the decidedly decrepit Russian fleet for long, selling the warships to a Swedish scrap-recycling business in the early 1990s. A few years later Coca-Cola usurped it’s place in the Russian market.
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* undoubtedly Pepsi’s billion-dollar stake in the USSR remained it’s primary motive
Sites/works consulted: 👁🗨👁🗨👁🗨
’When the Soviet Union Paid Pepsi in Warships’, (Anne Ewbank), Atlas Obscura, 12-Jan-2018, www.atlasobscura.com)
‘ How Pepsi became the 6th largest military in the world‘, (Tom Kirkpatrick, We Are The Mighty, 28-Jan-2019, www.wearethemighty.com
‘Pepsi Navy: When the Soviets Traded Warships for Soft Drinks’, Sandboxx, 06-Nov-2020, www.sandboxx.com
Caedmon to Audible: From Spoken-Word LPs to Audio Book Bonanza
The “Groundhog Day” existence of coronavirus, with people ‘sentenced’ to indeterminable periods of isolation and lockdown inside four square walls, has been a boon to the pursuit of leisure activities※. Social media platforms have gone “gang-busters” – Twitter, Instagram, Facebook, Zoom, and Snapchat and TikTok (for the Gen-Zs) among others. Streaming services like Netflix, Amazon Prime and Stan, ditto. In this year like no other, Audible tell us that audio books are more popular than ever – a trend promoted undoubtedly by Audible’s own deft marketing (eg, during Covid-19 they are streaming a selection of children’s stories free to the public). The uptake of Borrow Box loan activity in 2020 underscores this assertion.
Cohen & Roney 1952: taking the 1st steps for audio booksellers (Photo: Lib of Congress Blogs)
𖠜 𖠜 𖠜
Audio books (ABs) in one form or another have been around a long time, arguably the pioneer in the area of spoken-word records was Caedmon Records, the first to hit the mark with a mainstream audience. The Caedmon company evolved out of the initiatives in 1952 of two 22-year-old female college graduates (Barbara Cohen and Marianne Roney) in the US to record a poetry reading by Welsh poet Dylan Thomas. The popularity of the poetry album which included A Child’s Christmas in Wales laid the groundwork for today’s AB industry. The development of technology assisted the progression of “spoken books”… from the first LPs (Long-playing records), emerging in the 1930s, which gave way to tape cassettes in the 1960s and 70s, which in turn lead later still to compact discs [‘Caedmon Records and Audiobooks, (HarperCollins), www.200.hc.com].
My own personal history as a consumer of spoken-word records begins with the aforementioned Caedmon, circa 1977. In the mid-Seventies I had watched several films in a series of commercial releases under the title “American Film Theatre”, film adaptations of a number of well-known plays…the series which utilised Lord Olivier as its promotional face included Galileo (Brecht), Rhinoceros (Ionesco), Luther (Osborne), The Homecoming (Pinter) and The Iceman Cometh (O’Neill).
At the time I came across vinyl 78s of two of the plays-to-films in the series—Butley (Simon Gray) and A Delicate Balance (Edward Albee)—in a tiny spoken-word section of a second-hand record shop. Snapping them up, this marked my first foray into the (at that time) still embryonic world of collecting ABs.
Audio books then were pretty much unknown in retail record departments and shops… major book retailers were yet to cotton on to the potentiality of thus broadening the market for their products, and online goliaths like Amazon were yet to come into existence. I remember that I got my first spoken-word cassette by (pre-online) mail order from the Royal Blind Society in 1978. The RBS had more incentive than anyone else to embrace “talking books”⋓, an innovation which opened up a whole new world of leisure for the visually-impaired. The first (double cassette) AB that I purchased was a BBC recording of Rosencrantz and Guildenstern Are Dead by Tom Stoppard.
Since that time the audio book industry has exploded with heavyweights like Hachette Audio, HarperCollins, Macmillan, Penguin Random House and Simon and Schuster, all with significant “skin in the game”. Lording over all these competitors is Audible (Amazon), unchallenged as the dominant market leader. Even before the pandemic the global AB market was valued at US$2.67 Bn in 2019 (wwwgrandviewresearchcom/]. The coronavirus is sending that worldwide sales trajectory even higher (US audio unit sales are up 16% dwarfing the book market growth of the industry as a whole (wwwthenewpublishingstandardcom/)).
The success of audio books has been welcomed by the book industry as a positive addition (cf. the advent of Kindle and e-books which raised fears of ‘cannibalisation’ of the main product)⊞. The takeaway from the AB phenomena is that the aural experience is a different one, and that ABs (according to a Deloitte report) tend to attract a younger demographic that is less inclined to read print books [‘A word in your ear…why the rise of audiobooks is a story worth celebrating’, (Alex Preston), The Guardian, 02-Aug-2020, www.theguardian.com].
The versatility of audio books is behind its blossoming into an integral part of the literature landscape for ‘readers’. ABs can be integrated easily into one’s life in all manner of ways that are not confined to a sedentary or stationary state – while exercising, walking, jogging, cycling, in the gym, while cooking, doing housework, driving a car, commuting, etc [‘Audiobooks: The rise and rise of the books you don’t read’, (Clare Thorp), BBC, 06-Jan-2020, www.bbc.com].
For many buyers of audio books a factor in choosing a title is the reader itself. Having “A-list talent” and the “dulcet tones of a familiar voice” as reader certainly can add value to the product✦, but big names only work if they have a genuine connexion with the material (Thorp). Some ABs work better when the author doubles as reader, this particularly applies to memoirs and non-fiction titles. Having this can convey to the listener a more authentic experience of the subject’s journey. For myself, the AB experience that I most enjoyed was John Lithgow’s brilliant reading of Tom Wolfe’s Bonfire of the Vanities. Character actor Lithgow brought such an energy to the reading, greatly enhancing the flavour and tone of Wolfe’s biting satire on greed and status in NYC (in marked contrast to the disappointing Tom Hanks movie version), probably my all-time favourite AB.
Another memorable audio book collection I would place high on my AB order of merit are the recordings of Samuel Pepys’ Diaries (readings by Kenneth Branagh and a BBC dramatisation). From both sets of recordings I got a real “living history” insight into Pepys’ thought processes and compromised behaviour—flaws and virtues, so redolent of that of the modern bureaucrat—and of the everyday life of an event-filled London in late Stuart Britain.
One of the reasons I took to audio books is that it offered me a way into critically acclaimed works of fiction that in print form I had found Sphinx-like and impenetrable. Back in the 1970s I made several attempts at reading the 754 abstruse and puzzling pages of Joyce’s Ulysses before raising the white flag in defeat. Ulysses’ emergence in the AB format in the, must be late Eighties/early Nineties (albeit in an abridged four-CD form) was the key I needed to unlock the stylistic labyrinth of Joyce’s prose. ABs also let me get a handle on that other Irish author of literary complexity Flann O’Brien, and his convoluted metafiction maze The Third Policeman.
Ftnote: Cædmon Caedmon, the name chosen by Cohen and Roney for their revolutionary business enterprise, was the name of the first known English poet (flourished late Seventh century AD), a Northumbrian cowherd turned exponent of Old English (Anglo-Saxon) verse poetry.
※ another pastime, gaining impetus in the lockdown and perhaps capturing the zeitgeist of 2020 is doomscrolling – the social media practice of continuing to read long streams of news feeds which are disheartening in content
⋓ the term as I recall more in currency at the time than audio books
⊞ print books managed to repulse the challenge from e-books in part due to pricing strategies which disincentivised e-book purchasing [Amazon’s Audiobook Boom’, (Alex Shepard), The New Republic, O3-Jul-2018, www.newrepublic.com]
✦ the rise of ABs has provided a source of peripheral work for some actors, a very welcome and in some cases lucrative sideline
Odysseus Beyond Antiquity: Myth, Hero and Anti-Hero, a Literary Archetype for Contemporary Story-Telling
For scholar and layperson alike, the dawn of story-telling in the West if not the earliest literary text, coincides with Homer and his two epic poems the Iliad and the Odyssey. Dating very roughly from somewhere around 700 BCE, Homer (traditionally thought to be a blind Ionian poet – see PostScript) composed his two (very) long poems in hexameter form to be read aloud at festivals and such public events. The Homeric epics were spread throughout the Greek world and beyond by professional reciters of poetry called rhapsodes (sort of travelling bards) [Beaty Rubens & Oliver Taplin, An Odyssey Round Odysseus: The Man and His Story Traced Through Time and Place, (1989)].
Homer’s works are generally considered the foundation point of what is commonly referred to as the Western canon※, though the Iliad and the Odyssey are predated by other foundation texts emanating from the earlier Sumerian civilisation, particularly the Epic of Gilgamesh (ca 2,100 BCE), comprising poems and tales, the first known work of fiction [‘What is the oldest known piece of literature?’, (Evan Andrews), History, 22-Aug-2018, www.history.com].
The second of the epic poems, the Odyssey, deals with the perilous and action-packed 10-year journey of its eponymous hero Odysseus back to his home in Ithaca after the Trojan War (the Iliad). In 2018 a poll by the BBC of over 100 international authors, academics, journalists and critics chose the Odyssey as the most influential work in Western literature. Some of the reasons given for making the Odyssey primus inter pares in such a vast array of august literary texts include: it is “one of the great foundation myths of Western culture…asking what it means to be a hero”; it is “properly epic”; it has “great female characters”; it “forces us to question the assumptions we might have about quests, war, and what it means to return home” (repatriation); it endorses a “streak of individualism”, etc [Homer’s Odyssey is Officially the World’s Most Influential Story’, (Tasso Kokkinidis), Greece. Greek Reporter,(2018), www.greece.greekreporter.com✪.
That the Odyssey has been massively influential in the arts ever since it first emerged in the rocky hillsides of Ionian Greece is indisputable. Other ancient Greek playwrights and poets who followed Homer, like Sophocles, produced their own versions of the iconic tale (and their own take on the elusive character of Odysseus). It has been suggested that the character of Jesus in the Gospel of Markspan class=”s2″ style=”font-size: 19.73px”> draws from Odysseus and his adventures, eg, the “feeding of the 500”, Jesus was a carpenter like Odysseus, who was the builder of the “Wooden Horse” [‘The Odyssey : An Overview, No Sweat Shakespeare, www.nosweatshakespeare.com].
⍐ 2nd century AD Tunisian mosaic of the Sirens (Book 12)
The Bard’s debt to Homer
It’s widely known that Shakespeare borrowed freely from many sources – plots, devices and imagery from the Bible, Plutarch, Seneca, Chaucer, from Holinshed’s Chronicles, from Boccaccio’s Decameron, etc. [‘Shakespeare’s Source Material’, (J.M. Pressley), Shakespeare’s Resource Center, www.bardnet.net/]. Like any educated Tudor man of the day Shakespeare voraciously absorbed the classics and Homeric influences are discernible in his plays – Odyssean themes like the phenomena of homecoming (Shakespeare’s Romances); the recognition theme from Odysseus’ reappearance in disguise in Ithaca (King Lear); the renewal theme (The Winter’s Tale) (No Sweat Shakespeare)⦿.
The Odysseus-Hamlet connexion
The Odyssey’s imprint on Shakespeare is most noticeable in the Bard’s most famous tragedy Hamlet. Several patterns emerge. Both literary opuses share a preoccupation with a troubled father-son relationship (Odysseus/Telemachus, King Hamlet/Prince Hamlet). Moreover, the Odyssey and Hamlet possess striking thematic similarities. Prince Hamlet and King Odysseus both employ deception to their advantage—the former dissembling madness and the latter physical disguises—to exact retribution against those who have wronged them. Both protagonists reveal a fatal flaw (hamartia)⊞ in the course of their trials and tribulations [‘Hamlet v. Odyssey’, (William Sheng), 12-Apr-2012, http://docs.google.com/].
⍐ Odyssey-lite Homer (Simpson)
Retelling the Odysseus myth anew
The influence of the Odyssey on various media has been recurring and pervasive, including on novels (Don Quixote: Quixote, like Odysseus, embarks on a ‘epic’ journey and inflates (or distorts) his tales of heroism and survival) or The Penelopiad (Margaret Atwood’s feminist remaking of the myth as told from the point of view of Penelope, Odysseus’ long-suffering wife); on television animation (The Simpsons “Tales from the Public Domain” episode – a satirical travesty of the Odyssey, Homer (Simpson) as Odysseus on a decidedly unheroic journey [‘8 Novels Inspired by the Odyssey’, (Jessica Ferri), Early Bird Books, www.earlybirdbooks.com ; Economou Green, Mary. “The Odyssey and Its Odyssey in Contemporary Texts: Re-visions in Star Trek, The Time Traveler’s Wife,and The Penelopiad.” Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy. 1.1 (2014). Web.]; in poetry (Tennyson’s Ulysses (the Latinised form of ‘Odysseus’) is a kind of pessimistic postscript to the Odyssey with the aged hero unhappily stuck in his island kingdom lamenting the loss of his life of travel and adventure).
Odysseus by the River Liffey
Easily the most famous literary reinterpretation of the Odyssey is James Joyce’s “stream of consciousness✠ novel Ulysses, a work which tore up the handbook for writing novels in the modern age. T S Eliot summarised the revolutionary impact of Ulysses’ thus: “(Joyce) has made the novel obsolete by replacing the narrative method with the mythical method” [quoted in ‘James Joyce’s Ulysses: Remixing the Homeric Myth’, (James AW Heffernan), The Great Courses Daily, 02-Apr-2017,www.thegreatcoursesdaily.com].Joyce adapts the framework of Homer’s classic to 1904 Dublin, condensing the original’s 10-year journey into a single day, in which the protagonist, the “mock-heroic” and cod-ordinary Leopold Bloom, wanders around his various haunts in the city. In every chapter of Ulysses Joyce matches or parallels the actions of his characters with that of the Odyssey but presents them as banal and mundane. The scene in Homer where a lovely princess Nausikaa assists the shipwrecked Odysseus on the island of Scheria is reworked by Joyce to show the married cuckold Bloom as voyeur, spying on an attractive girl at Sandymount Strand while relieving his frustrations by masturbating [David Norris & Carl Flint, Joyce For Beginners, (1994)].
⍗ the 1967 film version of ‘Ulysses‘
Sci-Fi Odysseus: Trekking with Homer
Science-Fiction depictions on the screen, big and small, have mined an abundant seam of inspiration from the Odyssey. Kubrick’s and Arthur C Clarke’s 2001: A Space Odyssey repositions the story in the Solar System with a supercomputer named HAL-9000 filling the role of the Cyclops imperilling the life of Odysseus/Dave Bowman. Another cult classic that owes inestimably to Homer’s Odyssey is the long-running Star Trek TV series. The Odyssey parallels are more than translucent – Star Trek is replete with alien locations and weird and unworldly characters. Captain Kirk is “an intelligent, strong and charismatic leader, struggling to keep his crew together as they sail through the depths of space” [‘Greek Myth and Science Fiction’, www.greekmythandscifi.wordpress.com]. Kirk & Co leave the known world (Earth) to journey into the unknown (the Galaxy)❂, they “go beyond”, they problem-solve, they vanish aliens and monsters and “re-emerge into the world victorious in quest purpose and with knowledge to better the plight of humankind” (Economou Green).
Odysseus as anti-hero precursor?
Odysseus exhibits qualities that make him seem to our eyes very modern (or even post-modern). He heroically and valiantly combats the monstrous creatures which block his path, but there is another, deeply problematic side to his personality. Odysseus, the personification of guile and cunning (polumetis in the Greek), routinely acts in both the Iliad and the Odyssey without honour or noble intention – a trickster, a dissembler and “con man”, a cheat, a liar, Among his many misdeeds, he sleeps with Circe; he murders innocent maids; he displays arrogance such as in his encounter with Polyphemus (the Cyclops); he misappropriates the armour of the dead Achilles (causing Ajax to take his own life); he fails to protect his crew on the voyage home resulting in them all perishing. You can discern in the ‘complicated’ and ‘ambiguous’◪ character of Odysseus a model for the ascendency of the anti-hero in modern cinema since the 1960s (Clint Eastwood, Al Pacino, Robert DeNiro, etc) [Cook, E. (1999). “Active” and “Passive” Heroics in the “Odyssey”. The Classical World, 93(2), 149-167. doi: 10.2307/4352390].
Footnote: Odyssey, the prototype road movie
Homer’s classic is of course one of if not the principal fount of all subsequent travel/road stories in Western culture. This has proved nowhere more fecund than in modern cinema in films such as Easy Rider, Mad Max and countless others. Other road movies have been even more overt in referencing their debt to Odyssey and Homer – Paris, Texas, where the Odyssean protagonist charts a hazardous course which takes him from ruin and desperation to redemption [‘Wander Forever Between The Wind: A Tribute To PARIS, TEXAS’, (Priscilla Page), Birth, Movies, Death, 23-Sep-2017, www.birthmoviesdeath.com]. The Coen brothers’ O Brother, Where Art Thou is unequivocally transparent in its pilferings from the Odyssey…the movie is variously peopled by a “Ulysses/Everett”, a “Penny”, a figurative “Cyclops”, “Lotus Eaters”, “Trojans/Ku Klux Klan”, a “Cattle of the Sun God”, “Sirens/laundry ladies”, a “Poseidon/county sheriff” and assorted other Homeric entities – all transposed to a 1930s Great Depression, Deep South setting.
PostScript: Authorship issue
Some scholars over the years have sought to debunk the custom of attributing the Iliad and the Odyssey to someone called ‘Homer’, about who there is virtually zero factual information, no biography to recount. Rather than a knowable or identifiable author this view attributes authorship to the whole Hellenic culture, tracing its genesis in fragments created before the supposed dates that ‘Homer’ flourished [‘Author Says a Whole Culture—Not a Single ‘Homer’—Wrote ‘Iliad,’ ‘Odyssey’’, (Simon Worrall), National Geographic, 03-Jan-2015, www.nationalgeographic.com].
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＊＊ the books, films, etc referred to above are only a selection of the total works—literary, the arts, music, cinema—informed and influenced by the Odyssey
𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪
※ ‘classic’ works of literature, philosophy, music and art elevated into a band of select ‘membership’ in the firmament of high culture
✪ the claim of ‘official’ recognition should be tempered by the fact that if a different set of experts were asked, they might not necessarily agree with the choice
⊞ in Hamlet it is prevarication and indecision, failing to act when he should, in Odysseus it is hubris, by which Odysseus offends Poseidon with “god-like” arrogance
⦿ Shakespeare’s borrowings from the Iliad are more overt in Troilus and Cressida, he is indebted to Homer’s tale of Troy for the storyline and the entire Dramatis personae
✠ a method of narration in a literary work that describes happenings in the flow of thoughts in the minds of the characters [www.literarydevices.net/]
❂ cf. Odysseus – the Underworld
◪ Emily Wilson/Erwin Cook
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Coronavirus 2.0: Déja Vu Europe – Post-Summer Fallout, Relaxing of Controls and Self-Control, Emerging New Hotspots
Late September, COVID-19 has reached the inevitable, undesired milestone of the one millionth death worldwide from the disease. With the summer holidays behind them, Europeans on a trajectory to winter are facing the backlash of a resurgence of the coronavirus. Many countries in Europe are already in the grip of what is to all intents and purposes the second wave of the 2020 pandemic. In early September infection rates in Europe as a whole passed that of the season benchmark, the USA [‘Europe overtakes U.S. as COVID-19 hotspot as infections surge’, (Thomas Mulier & Bloomberg), Fortune, 10-Sep-2020, www.fortune.com].
Pop-up statue honouring Madrid health care workers (Photo: Getty Images)
The familiar patterns are there and yet inconsistencies exist from country to country. Several countries such as Montenegro❋, North Macedonia, Albania, the Czech Republic and Bulgaria are seeing higher case numbers now than they experienced early on in the outbreak. This shouldn’t be altogether surprising as one clear explanation for such a jump simply points to the increased levels of testing now being conducted. [‘Coronavirus second wave: Which countries in Europe are experiencing a fresh spike in COVID-19 cases?’, Euronews, 29-Sep-2020, www.euronews.com].
Daily case numbers in Europe and the UK are spiking again in cities with high urban density—especially Madrid, Paris, Marseille, Brussels, Amsterdam and The Hague—leading the way◰ [Netherlands among Western Europe’s biggest Covid hot spots’, (Jasper Bunskoek), NL Times, 28-Sep-2020, www.nltimes.nl].
Paris Central (Photo: AP: Kamil Zihnioglu)
Authorities have put the recent surge down to a general relaxation over summer of measures to curb infection. Workers returning to work in many European cities after the break are suspected of dropping their guard against the pandemic. Health officials have also pinpointed young people being a significant factor in flouting the rules (noting the existence of a recorded spike in new European cases for those aged 25 to 49)[‘Coronavirus: How it all went wrong (again) in Europe as 2nd wave grips continent’, (CNN) (via 9 News), 30-Sep-2020, www.nine.com.au].
The current upward trend of infections has placed governments in a dilemma. To try to rein in the burgeoning case numbers, the unwelcome prospect facing them is the need to reintroduce unpopular restrictions on communities and gatherings. In this light one thing governments are desperate to avoid at all costs is to go back to a national (or even sectional) lockdown scenario and expose their country to a redux of the crippling effects on the economy. In Madrid the Castilian authorities have already relented and opted to introduce selective lockdowns in certain urban districts [‘Europe’s coronavirus hot spot Spain to introduce selective lockdowns in Madrid’, Daily Sabah, 16-Sep-2020, www.dailysabah.com].
On the positive side mortality rates from COVID-19 being recorded now in Europe are a fraction of the death tolls of six months ago, weekly averages in September are around 13% of the peaks recorded during April (CNN/Johns Hopkins University). Having long ago parked the idea of eradication until the emergence of an effective vaccine, governments and health authorities plumped for suppression…a reality check in this “second wave” is an understanding of just how difficult it is to keep a lid on community outbreaks, let alone stamp it out entirely (Mulier/Bloomberg).
Odessa (freepik.com)
Endnote: Odessa – beautiful one minute … hot spot the next
As summer was ushered in at this much-in-demand Ukrainian resort spot on the Black Sea, people flocked to the sanatoriums and beaches. Similarly, nightclubs and restaurants in the city were packed with vacationers. The folly of flagrantly disregarding social distancing and mask-wearing guidelines resulted in an entirely foreseeable outcome – over 12,000 virus cases erupting in the city, ⅔ of which are tourists and visitors, some of these compounding the predicament by then carrying the virus back with them to their home cities and towns [‘In Ukraine’s Odessa, summer crowds ditched their masks. It’s now a hot spot in Europe’s “second wave”’, (Natalie Gryvnyak and Robyn Dixon), Washington Post, 28-Sep-2020, www.washingtonpost.com].
𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪
❋ Montenegro catapulted to the top of hotspots on the continent with 305.4 cases per 100,000 people infected in the week of 14-20 September [‘Coronavirus: Where are Europe’s infection hotspots?’, Sky News, 24-Sep-2020, www.news.sky.com]
◰ right through this month France and Spain have vied with each other for the ‘gong’ of worst-performing country in Europe for virus hot spots. Italy conversely is one country that has managed to buck this trend, so far resisting the pandemic’s resurgence – attributed to a more concerted adherence to government health guidelines this time [‘As Covid-19 Fatigue Fuels Infections in Europe, Italy Resists Second Wave’, (Eric Sylvers & Margherita Stancati), Wall Street Journal, 22-Sep-2020, www.wsj.com]
Wonder Woman’s Oscillating History in Comics
After Wonder Woman’s creator Bill Marston dies in 1947, Robert Kanigher takes over the writing duties, the first of many subsequent writers to take on pop culture’s most famous female superhero. DC Comics wastes little time in ringing the changes with Wonder Woman, both to her physical appearance and to her abilities, disposition and purpose.
There are several reasons for the change. One motive is simply commercial, Wonder Woman like her male superhero counterparts, experiences a fall-off in popularity after the war. Another relates to expectations of gender roles in America. So much of America’s manhood is away during the world war on the front line engaging the enemy. Born of necessity, American women move into the work force, invading traditional male domains of employment as never before. With the war’s end, men return to their jobs relegating thousands of women back to unpaid work in the home. There is a re-solidifying of the traditional gender roles. A casualty of this is Wonder Woman herself. In Marston’s hands she reflects empowerment, ie, freedom from male domination. The feminist overtones she embodies are a challenge as the US attempts to re-establish the status quo ante order [‘The Fitful Evolution of Wonder Woman’s Look’, (Diana Martinez), The Atlantic, 07-Jun-2017, www.theatlantic.com].
Superhero Nazi hunters Wonder Woman’s superhuman exertions and physicality—as with everyone else in the superhero comic universe—have an aptness during WWII. The superheroes in the comics spearhead the fight against the Nazis, promoting a patriotic agenda and helping to boost morale. When the war is won, this agenda loses its relevance for the American readership [‘Women of Comics: Objectified, Sexualize and Disempowered’, (Nia Aiysha), Wild Black Orchids, 07-May-2016, www.wildblackorchids.wordpress.com].
Making the iconic feminist warrior a bit less super In wanting to rein in Wonder Woman’s powerful persona DC Comics are responding to prevailing (male) society’s anxieties about women’s independence. By 1950, the toning down is well underway, WW’s crime-fighting exploits are taking second fiddle – in Sensation Comics #97 she is the editor of a newspaper lonely hearts column❋. During the decade WW becomes a reluctant superheroine, love-struck and longing to settle down with her beau Steve Trevor [‘Publication history of Wonder Woman’, Wikipedia, http://en.m.wikipedia.org; Wonder Woman Unbound: The Curious History of the World’s Most Famous Heroine, Tim Hanley (2014)].
Wonder Woman is not just a feminist, she’s also a sexy feminist! Accordingly, there is a lot of scrutiny on her salacious attire as well by the “morally self-appointed” in society. Eventually, the raunchy bathing suit and sexually-confident red boots will be traded in for a more demure look. Psychologist Fredric Wertham’s full-on crusade against the deleterious effects of comics on children in the early 1950s includes WW in its cross-hairs. WW’s sexually provocative bondage fetish (involving herself or other females) leads Wertham to ‘blacklist’ the depicted character as a promoter of lesbianism (which he took as evidence of misandry)(Martinez), pressuring DC Comics to remove Marston’s message of WW as a harbinger of matriarchy (Hanley).
The Amazonian princess returns to ‘civies’ – “Emma Peeled”
In the 1960s other comic book action heroines come forward such as secret agent Modesty Blaise. Reflecting the early rumblings of what would evolve into the second wave feminism of the Seventies, Blaise exhibits Wonder Woman-like “badass fighting capabilities” to triumph in a male world. At this time however WW loses that same original verve✪, getting a Sixties ‘mod’ makeover which transforms her into an Emma Peel clone (from the cult British TV series The Avengers), complete with martial arts moves, jumpsuits and Carnaby Street attire〥 [‘Four-Colour Yesteryears: Wonder Woman – the Emma Peel Years’, (Rob N), Paradox Comics Group, 22-Aug-2009, www.paradoxcomicsgroup.com; Hanley].
1970s, the women’s movement and empowerment Gloria Steinem and the burgeoning women’s movement comes into the story at this time. Steinem, dismayed at DC Comics’ relegation of Wonder Woman to a “powerless 1950s car hop”, lobbies DC to restore WW’s superheroine stature. Steinem puts WW on the cover of the first edition of Ms. magazine in 1972, tagging it “Wonder Woman for President”. [‘How Gloria Steinem Saved Wonder Woman’, (Yohana Desta), Vanity Fair, 10-Oct-2017, www.vanityfair.com]. WW in Ms. becomes a kind of masthead to promote sisterhood and equality among women (the magazine depicts WW confronting store owners who deny their female employees equal pay and defending abortion clinics against male thugs [‘How A Magazine Cover From The 1970s Helped Wonder Woman Win Over Feminists’, (Katie Kilkenny), Pacific Standard, 21-Jun-2017, www.psmag.com]. Steinem and Ms.’ agitation on behalf of WW forces DC to restore her special powers including the “Lasso of Truth” and re-draw her in her original voluptuous form.
With the critical spotlight turned on DC’s portrayal of Wonder Woman, DC made further concessions to the comic. Diversity was introduced —a nod to the Black Power Movement in the US and perhaps belated recognition of a lack of ethnic diversity in its comics—with the inclusion of Nubia, WW’s African half-sister (Martinez). The perception of Wonder Woman as a feminist icon is given a further boost along by the cult success of the 1975-79 television series. WW, played by Lynda Carter, embodies the qualities of strength, fearlessness, wisdom and determination, restored in the comics post-1972✧.
PostScript: The Wonder Woman comic books over the past 40 years has seen the WW character and image undergo sundry transitions, a procession of “conflicting and seemingly incompatible versions” of WW – alternating between ramped-up raunchiness and less overt sexuality, between a muscular Amazonian physicality and a “heroin chic” fashion model (Martinez).
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❋ in other Fifties comics Wonder Woman or her alter ego Diana Prince appears as a model and a film star
〥 WW becomes younger and thinner too. She also gets labelled as a “female James Bond” during this period
✪ DC Comics’s hegemony in the superhero comic popularity stakes in the late Sixties is seriously being challenged by Marvel Comics, a factor in the decision to revamp WW along with the entire ‘stable’ (Rob N)
✧ subsequent interpretations of Wonder Woman on the screen follow, the most recent in 2017 (with a sequel slated for release this year) sees WW reconnect with her Amazonian roots