French Guiana and Devil’s Island – Bagne le plus diabolique

Inter-ethnic relations, International Relations, Popular Culture, Racial politics, Regional History, Social History

France’s penal colony network in New Caledonia (see preceding post) was not exactly a summer camp for delinquents, it was a brutal, unforgiving and unrelenting environment for existing rather than living. Comparatively though, it pales into lesser significant when stacked up against the unimaginable inferno of its South American equivalent in the colonies pénitentiaires of French Guiana (Guyane française).

The Napoleonic manoeuvre
In 1851 Napoleon’s nephew Louis-Napoleon, elected president of the French Republic, staged a coup from above. With army backing he neutralised the national parliament and enacted a new constitution giving himself sweeping new dictatorial powers, a hefty step on the road to emulating his uncle by declaring himself emperor, Napoleon III, in 1852. With France’s jails and hulks overflowing with the incarcerated multitudes, swollen further by the emperor’s defeated opponents, much of the surplus prison population was transported to France’s Algerian colony. At the same time Louis-Napoleon took the opportunity to establish a new penal colony in French Guiana and send out the first lot of transportés. Transportation to penal colonies, especially to Guyane, to New Caledonia and to Algeria, allowed France to rid itself of dangerous and incorrigible offenders at home, and to punish them for their sins by subjecting them to a life of hard labour [Jean-Lucien Sanchez. ‘The French Empire, 1542–1976’. Clare Anderson. A Global History of Convicts and Penal Colonies , Bloomsbury, 2018. hal-01813392.HAL Id: hal-01813392].

Economies of labour
Aside from cleansing France of the criminal element, transportation served another purpose for Napoleon III. Slavery had been the engine of growth for France’s colonial empire, but France’s abolition of the institution in 1848 resulted in a massive shortage of cheap labour. Turning French Guiana (FG) and other French colonies into penitentiaries—replacing the lost plantation workers, the freed black African slaves (known as Maroons) with convicts in FG—neatly solved the problem [‘France’s “dry guillotine” a hell on earth for convicts’, (Marea Donnelly), Daily Telegraph, 22-Aug-2018, www.dailytelegraph.com.au].

Bagne le plus diabolique
The penal system in Guyane française revolved around two principal locations, one was the Prison of Saint-Laurent-du-Maroni which functioned as the destination of first arrival for transportés (and usually only a temporary home for the majority). From here, the worst of the bagnards (convicts), the recaptured escapees and the relégués (recidivists), were relocated down the coast to the other Guyane penitentiary, Bagne de Cayenne. Here, a small group of off-shore islands, Îles du Salut  (Salvation Islands) comprised the penal colony on which French Guiana’s dark reputation hangs. Better known as Devil’s Island, a collective descriptor for three distinct islands, the farthest away and most inaccessible of which, Île du Diable, was reserved for a select group of prisoners⦿.

(Image: www.thevintagenews.com)

The history of Devil’s Island is one of notoriety and longevity (operating from 1852 to 1946). Conditions for inmates were horrendous… hard labour from six in the morning to six at night (including being assigned to endlessly building roads that were never intended to be finished); working and living in a malarial coast and tropical jungle environment; susceptibility to a host of diseases including yellow fever, typhus, cholera and malaria; the more dangerous prisoners solitarily confined to tiny cells 1.8m x 2m indefinitely, and often exposed to the elements [‘French Guiana Prison That Inspired “Papillon”, (Karin-Marijke Vis), Atlas Obscura, 11-Aug-2015, www.atlasobscura.com].

Île du Diablo (Photo: Romain Veillon / www.thespaces.com)

A tropical death camp  
A sense of mortality in the penal colony was ever-present – convicts fought and murdered each other, punishment by execution (by guillotine) was regularly meted outFor those who could no longer stand the psychological and physical torture of incarceration in such a sub-human hell hole, driven to near-insanity, the urge to escape (“Chercher la belle”) exerted a powerful pull. This however was virtually a suicidal course of action as would-be escapees faced shark-infested waters and jungles teeming with jaguars, snakes and other deadly beasts [‘The story of the world’s most infamous penal system – ever?’, (Robert Walsh), History is Now Magazine, www.historyisnowmagazine.com]. In the first 14 years of the Guyane prisons’ operation, two-thirds of the convicts perished (Sanchez) At its worst point Devil’s Island had a 75% death-rate.

The sentencing regime was particularly harsh…bagnards transported to FG were subjected to the penalty of ‘doubleage’. This meant that on the expiration of a prisoner’s sentence, he or she had to remain working in the colony for an additional period that was equivalent to the original sentence. And if prisoners were sentenced to terms of more than eight years, this automatically became a life sentence (Donnelly). 

the Dreyfus Tower

Dreyfus Affair puts the spotlight on Devil’s Island Among the over 52,000 déportés sent to Devil’s Island/Cayenne from its inception to 1936, its most famous inmate was Alfred Dreyfus, who had been wrongful arrested on a trumped-up charge of selling military secrets to Germany. Dreyfus endured over fours years on solitary Île du Diable before his case became a cause célèbre taken up by prominent citizens like novelist Emile Zola. Protests forced the French government—in a convoluted set of developments—to reopen Dreyfus’ case, retry him, re-convict him then free him and eventually exonerate him. The Dreyfus affair exposed entrenched anti-Semitism in the French military and in society [‘Devil’s Island Prison History and Facts’, Prison History, www.prisonhistory.net/].

the Devil’s Island story became widely known after ex-inmate Henri Charriere’s published account of his escape, ‘Papillon’, was made into a Hollywood movie in the early 70s

An anachronism of incarceration history The penitentiaries at Cayenne and Saint-Laurent-du-Maroni persisted for an inordinately long time, considering that apart from absorbing the overflow from the prison system in Metropolitan France they didn’t achieve all that much that was positive. The penal colonies were not only a humanitarian catastrophe, but an economic disaster…the planted crops failed badly and self-sufficiently was never achieved, signalling a complete failure in the objective of transforming the bagnards into settlers. In one year alone, 1865, the soaring cost of the FG enterprise reached in excess of 3.75 million francs! (Sanchez). After Salvation Army adjutant Charles Péan exposed the horrors, the utter inhumanity, of France’s Devil’s Island in a damning investigation, the French authorities dragged their feet for another 25 years before they finally drew the curtain on this shameful chapter of their penal history [‘Devil’s Island’, Wikipedia, http://en.m.wikipedia.org].

(Map: BBC News)

Endnote: These days France calls Guyane française an overseas department rather than a colony, and the colonial prisons are barely a distant memory. Instead today FP hosts the Guiana Space Centre (close to the town of Kourou), a Spaceport run in conjunction with the European Space Agency.

Changing pattern of deportations from metropole to colonies
1852-1866: majority of deportees sent to French Guiana
From 1866: deportees from Europe sent to New Caledonia
From 1866: deportees from North Africa, Asia and the Caribbean sent to French Guiana

§§ a rider to the system was that the ultimate destination of deportees could also depend on whether they were common or political prisoners

         .     

 while lightening the burden on the government for domestic prison expenditure  

 plus a scattering of sub-camps of convicts located around different parts of French Guiana

⦿ mainly traitors (or accused ones like Dreyfus) and political dissidents. In WWI it housed spies and deserters (Donnelly). Others falling foul of French colonial justice ended up in Caribbean penal holdings on islands such as Guadalupe and Martinique

the macabre pet name of inmates for Devil’s Island was the “Dry Guillotine” (“it kills it’s victims more slowly than the actual guillotine but kills them just as certainly”)

 women convicts were transported to FG, but there were only just shy of 400 deported in the duration of the penal colony  

 in 1928 duty of care was still non-existent: the prison administrators’ gross negligence was still resulting in 400 inmates dying each year and 2,400 freed prisoners left to fend for themselves

Sifting the Devil from the Dragon: Dracula versus Vlad Ţepeş

Biographical, Cinema, Creative Writing, Literary & Linguistics, Popular Culture, Regional History

(Image: Lonely Planet)

Romanians, especially those from the region of Transylvania, must view Bram Stoker’s 1897 novel Dracula with at best mixed feelings. On the one hand, the immense popularity of Stoker’s imaginative work of fiction helped put Transylvania on the international tourist map…on the other hand, its dark and ghoulish tale of chilling evil with its genesis in the mountains and forests of trans-silvae (“the land beyond the forest”), projects a negative and deceptively gloomy picture of the country. The association of one of the greatest heroes in Romanian history and a defender of Christianity, the Medieval ruler Vlad Ţepeş III, with the fictional Dracula, would be displeasing to many patriotic Romanians.

Dracula’s transformation into a classic of the Gothic horror genre captured the imagination of film-makers, inspiring numerous silver-screen interpretations of Dracula – from the silent German feature Nosferatu to countless Western film versions which made actors such as Bela Lugosi and Christopher Lee famous – and typecast. The Dracula character’s pervasion of especially American popular culture has seen the trope extend to parody cartoon versions on TV (Duckula), to female teen “vampire-slayers” (Buffy) and even to “blaxploitation” movies asserting the emergence of a self-conscious black culture in the US (eg, Blacula).

Vlad’s signature punishment
In some screen interpretations of the novel, like the 1992 Francis Ford Coppola movie Bram Stoker’s Dracula, the identities of Dracula and Vlad Ţepeş are presented as if they are one and the same person! (see also PostScript). Entirely fanciful of course but Stoker’s character did draw inspiration from the real-life Vlad Ţepeş III (or Vlad Împalatul). Vlad was the voivode of Wallachia in the mid-15th century, infamous for impaling victims such as his own troublesome boyars or foreigners captured in conflicts (Ottomans, Bulgarians, Saxons, Hungarians). Such an horrific torture technique earned him the nickname “the Impaler”.

1499 woodcut, Vlad the Impaler

Vlad Ţepeş, voivode and resident of Wallachia, not Transylvania
Stoker did get the name ‘Dracula’ from the Medieval Romanian prince, or at least from his family. Vlad’s father—Wallachian voivode before him—was Vlad II, also known as Vlad Drâcul…Drâcul (or Drâc) was a word for ‘dragon’ in the 15th century, today in Modern Romanian it means “the devil” – something noted by Stoker in his research for the book as an apt descriptor for his fictional arch-nemesis. There is however a great deal of the character of Count Dracula that Stoker didn’t derive from the circumstance of Vlad Ţepeş. The Impaler had nothing to do with vampires or any supernatural beings and his associations with Transylvania were largely peripheral and tenuous. Vlad was supposedly born within Transylvania in Sighişoara although there are some doubts about this (an alternative view has his birthplace in Wallachia). Bran Castle, a Transylvanian tourist attraction identified with Stoker’s Dracula, has no connection with Vlad at all [Florin Curta, referenced in ‘The Real Dracula: Vlad the Impaler’, (Marc Lallanilla), Live Science, (2017), www.livescience.com].

Bran Castle (Photo: Daniel Mihailescu/AFP/Getty Images)

Constructing the Ur-vampire
Transylvania, being to outsiders, “a mysterious land of vampires and other supernatural things”, handed down a long tradition of folklore and legends, it’s not surprising that Stoker drew on this source for inspire and inform his vampire story. Superstitions and beliefs of Romanian peasants in Stoker’s time fuelled a plentiful supply of tales about vampiri (vampires), vârcolaci (werewolves) and other supernatural monstri. Stoker’s library research would also have acquainted him with the strigol, a Romanian figure of legend—“a reckless spirit that returns to suck the lifeblood from his relatives”—the type of vampirish “undead souls” that would find a place in Stoker’s horror novel [‘The Use of History in Dracula Tourism in Romania’, (Tuomas Hovi), www.folklore.ee].

Whitby, England (Image credit: www.visitwhitby.com)

Non-Romanian influences on Dracula
In the Dracula novel the undead Count travels to Britain in search of more victims, journeying to Whitby in Yorkshire. This echoes Stoker’s own earlier visit to Whitby in which the author was reportedly quite taken with the town, its colony of bats circling round the churches, its whole creepy atmosphere, all of which he would have found good material for a Gothic novel [‘How Dracula Came to Whitby’, English Heritage, www.english-heritage.org.uk]. Stoker apparently found more inspiration in Port Erroll (these days, Cruden Bay) in Aberdeenshire – Slains Castle with its “fang-like rocks” is thought to have also inspired the Transylvanian Dracula castle home in the book [‘Slains Castle’, www.visitabdn.com].

Vampires: not the exclusive preserve of Transylvania⦿
Bram Stoker was Irish and never visited Romania in his lifetime, prompting some to speculate that the Dracula story may equally have been influenced by the author’s own experiences growing up in Ireland. Stoker would have been exposed to homegrown myths of the supernatural (such as those involving the sidhe, the fairy people of Irish folklore), as well as to the nightmarish ordeal of living through a cholera epidemic [‘How Bram Stoker creates Dracula with the aid of Irish Folklore’, (Leonie O’Hara), Irish Central, 04-Oct-2020, www.irishcentral.com].

PostScript: Vampire tourism
Vampire tourism in Transylvania has not been waylaid by coronavirus, tourist operators in Romania are still offering up a raft of tour packages—with titles like “7-Day Dracula Highlights Tour” and “Fun With Fangs: Vampire Tours in Romania”—to lure the “vampire-curious”. The tours, tend to wallow in all the predictable cliches and stereotypes, milking the prevailing craze for all things vampire, staying in Dracula-themed hotels, etc. Vampire tourism is an intriguing admixture of history, tradition and fiction…taking a leaf from Hollywood some of the tours indulge in considerable conflating of the historic Vlad Ţepeş with the fictional Count Dracula (Hovi).

↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↜↝↜↝↜

ruler, a sort of military governor of a region

Prince Vlad’s political fortunes generally hovered in the vacuum between the two regional powerhouses Hungary and the Ottomans, who he fought both with and against at different times

 Drâculeşti is the patronymic – Vlad Ţepeş was also known as Drâculea, “son of the dragon”

descendants of Saxon (German) merchants and craftsmen who migrated to Romania, commencing in the 12th century

⦿ though the tradition is a strong one in the Balkans and Eastern Europe, eg, Greece vrykolakas, Albania shtriga

Inspiring the Creation of Secret Agent 007: The Template of a World War 2 Yugoslav Spy

Biographical, Cinema, Creative Writing, Literary & Linguistics, Popular Culture


The James Bond film series, is the world’s most successful and enduring movie franchise, since 1962, 24 completed feature films and with another currently cooling it’s post-production heels in Covid lockdown…a franchise that seemingly has not yet run out of steam. The 007 phenomenon has inspired countless imitations in cinema and television. This has ranged from blatant rip-off imitators trying to capitalise on its impetus in the Sixties (“Matt Helm”, “Our Man Flint”, “The Man From U.N.C.L.E.”, etc.) to playing it for laughs parodies (“Get Smart”, “Austin Powers”, “Johnny English”).

(Photo: Britannica)

But where did the original creator of the James Bond novels, Ian Fleming, get his inspiration for the iconic character from? We know that Fleming’s own lived experience and background—as a British naval intelligence officer in WWII—made him an insider in the world of espionage, double deceptions and counter-agents. Obviously when the Caribbean-domiciled Fleming came to put pen to paper and create the fictional James Bond in the early Fifties, he drew on many of the real-life acquaintances he had met in the ‘workplace’❋.

In his lifetime Fleming never said definitively who the principal model for 007 was, but the consensus seems to gravitate towards a Serbian double agent Dušan (‘Duško) Popov, someone Fleming came across in the course of his own intelligence career. A famous scene in Casino Royale (Fleming’s first James Bond novel) further advances the association of the world’s most celebrated fictional spy with Popov. Bond’s besting of a powerful Russian criminal at the baccarat table in Casino Estoril (Portugal) in the book/film mirrors an exchange Fleming observed first-hand when the real-life spy spectacularly called the bluff of a boastful Lithuanian gambler in a baccarat game at the same location.

Popov stumbled into the espionage game after being arrested by the Gestapo. To get out of that pickle Popov agreed to spy for the Abwehr (German intelligence agency). While in England he was recruited by MI6 and turned double agent✫. During the war Popov managed to feed a steady stream of misinformation to the Nazis about the Allies’ movements, strength, etc. Most productive for the Allies was his role in Operation Fortitude – Popov helped to convince German military planners that the D-Day invasion of France would occur in Pas de Calais, not Normandy, the actual landing point. As a consequence of Popov’s disinformation, when Operation Overlord was launched in 1944 there were seven German divisions stuck in Calais and unavailable to the Reichswehr in Normandy [‘My name is Popov, Duran Popov’, (Marta Levai), www.0011info.com].

(Image: Getty)

The Serbian counter-spy also tried in August 1941 to alert the US military as to high-level Nazi and Japanese interest in Pearl Harbor, however the critical information which could have averted the military disaster on 7th December was blocked from reaching its target by CIA director Hoover. Hoover distrusted Popov as a double agent, an attitude not allayed by Popov’s reputation as a womaniser and playboy.

(Source: www.newspapers.com)

After the war Popov’s services were rewarded by the Brits with an OBE, but it wasn’t until 1974 that Popov himself lifted the cover on his war-time espionage activities when he published his autobiography. When asked about comparisons between himself and 007, Popov was dismissive of the hedonistic, jet-setting spy as portrayed on the big screen, remarking that “a spy who drank like Bond would be drunk the first night and dead the second” [‘From the archive: the real James Bond, 1973’, (Observer archive), (Chris Hall), The Guardian, 22-Mar-2020, www.theguardian.com].

_____________________________________________
❋ and on those Fleming only knew of, such as the legendary master spy Sidney Reilly [‘Novel Man’, (William Cook), New Statesman, 28-Jun-2004]

✫ at one point Popov was also spying for the Yugoslav intelligence service, making him a triple agent

Wonder Woman’s Oscillating History in Comics

Cinema, Creative Writing, Gender wars, Memorabilia, Popular Culture, Society & Culture

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 [‘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).

❋ in other Fifties comics Wonder Woman or her alter ego Diana Prince appears as a model and a film star

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