❝ It is the prohibition that makes anything precious ❞ ~ Mark Twain
࿐ྂ࿐ྂ࿐ྂ
Prohibition, an international movement (Source: PBS)
IN the early decades of the 20th century a number of countries passed laws to restrict the domestic consumption of alcoholic beverages, most notably the US with its interwar Prohibition injunction. Typically the ban only lasted for limited periods of time in these countries before the laws were repealed. One country that was an exception to this was Iceland which established a countrywide “dry” era that lasted, officially at least, for over seven decades. Following advocacy from the country’s temperance and pro-independence movements1⃞ a referendum was held in 1908 in which adult male Icelanders2⃞ voted 60% in favour of outlawing alcohol, to take effect from 1915.
Denmark and Iceland
No to alcohol, no to Danish interdependence Part of the anti-alcohol drive emanated from political motives, prohibition coincided with the struggle of Icelanders to gain its independence, by rejecting alcohol they were distancing themselves from the parent, Denmark, and the Danish lifestyle (Danes have traditionally been among the heaviest drinkers of beer) (‘Why was Beer Banned in Iceland?’, Reykjavík Tourist Info, 27-Feb-2022, www.blog.rekyjaviktouristinfo.is).
The ban on wine was lifted in 1922, partly at least due to economic imperatives and the effect on Iceland’s GDP. Pressure came from its Iberian trading partners. The loss of their Icelandic market for red and rosé wines prompted Spain and Portugal to threaten to cease importing Iceland‘s salted cod. Lifting of the ban on spirits followed in 1935. Internally, a relaxing of the law was facilitated by the medical profession as doctors began prescribing the consumption of wine as a medicinal measure for the population. The banning of bjor (beer) however remained in force (‘Why Iceland Banned Beer’, Megan Lane, BBC, 01-Mar-2015, www.bbc.com).
Skál! (Photo: Scandification)
A ban on beer but not on all “beer products” Like what happened elsewhere, consumers of beer were still able to access and imbibe the frothy ale from several sources. The Icelandic war on beer was targeted at full-strength beer…beer (usually of the pilsner kind) which didn’t exceed 2.25% alcohol was not deemed illegal. The watered-down variety and “beer substitutes” were available, such as brennivin (distilled “beer-like” potato vodka). Home-brew (Landi) flourished, as did smuggling of the amber substance (fishermen could get their hands on a case or two easily enough). If you were a diplomat you could get access to beer as part of your official state duties.
The Prohibitionists’ reasoning The 20th century rolled on and the Icelanders’ ban on beer persisted. With beer less expensive than either wine or spirits, the authorities’ worry was that if cheap beer was freely available, this would lead to a contagion of heavy drinking in the community, especially among adolescents. By the 1970s there were signs of societal attitudinal change. Duty-free liquor could be purchased at airports by airline crews and foreign travellers, by the end of the decade this dispensation was extended to returning locals.
Icelandic White Ale 5.2% ABV (Photo: Muse on Booze)
End of the beer drought
Finally by 1988 more liberal attitudes towards the alcoholic brew’s place in modern Icelandic society prevailed. Polls in the 1980s showed that 6 in 10 citizens favoured beer’s legalisation…a groundswell of rising opinion against the ban’s continuance pushed the Althingi (Icelandic parliament’s) hand3⃞. The upper chamber of the national legislature voted (fairly narrowly, 13–8) to repeal the ban on beer, effective from 1 March 1989 (which henceforth became celebrated annually in Iceland as “Beer Day”).
Traditional sour Gose beer, Icelandic style (Photo: issuu.com)
Today the beer flows in Iceland, especially at this time in late January when Thorri Seasonal Beers are made available to the public4⃞. At any time of the year city locals can freely drink the latest Euro-fashionable craft beers infused with herbs and Arctic blueberries and just about anything else imaginable in microbreweries. Regulation of beer however has not entirely vanished…outside of airports citizens can only buy beer at the government-owned Vinbúdin stores and if you are under 20 the law still bars you from purchasing any grog in the stores or airports.
Endnote: government monopolies on consumer items are a bit of a thing in Iceland. Between 1910 and 1977 the only outlet where you could buy that staple of domestic sustenance, milk, was the Mjólkurbúò, a state-owned milk store (‘Fun facts about Iceland — Strange customs, weird laws and interesting facts’, Reykjavik Excursions, 15-Aug-2022, www.re.is). Tobacco sales are also regulated by the same state monopoly company as alcohol, Vinbúdin.
1⃞ at the time Iceland was in a “Personal Union” with Denmark, not securing full sovereignty and independence until 1944
2⃞ women were not permitted to vote in the poll although overwhelmingly they were in support of the liquor ban
3⃞ legislators were also persuaded by the tax revenue boost that legalisation of the popular brew would bring
4⃞ during Thorrabjór Icelanders can drink traditional beer brews flavoured with, for instance, smoked whale testicles (5.1% alcohol) – a drop decidedly NOT popular with conservationists though!
“The year is 50BC. Gaul is entirely occupied by the Romans. Well, not entirely . . . One small village of indomitable Gauls still holds out against the invaders.”
𓆸✱✝✱✝✱✝✱✝𓆸
The “indomitable Gauls” in question are the tribe of Astérix, pint-sized Gallic hero of the long-running eponymous French comic strip with its legion of dedicated fans. Like all classic literary modes, be they of a pop cultural kind or more highbrow, the Astérix comic can be read on more than one level. On the surface the impossible but highly comical escapades of its principal cartoon characters (Astérix and his sidekick Obélix) are much loved and savoured by aficionados across the globe. On another level some observers have detected various allegorical meanings delving within the cartoon series.
Astérix’s debut, 1959 ࿏
The Astérix comic strip (in France known as a bande dessinée – literally “drawn strip”) made its debut in 1959 in the Franco-Belgian comic magazine Pilote under the the strip title Les aventures d’astérix. The Astérix phenomenon that followed that unassuming beginning was the result of a long and harmonious collaboration between writer René Goscinny and illustrator Albert Uderzo.
Getafix, Druid & grandmaven ࿏
What a Gaul! The basic plot of the comic is that Astérix and his XXL-sized friend Obelix reside in the sole remaining village in Gaul which has not been conquered by the might of the Roman war machine. The reason enabling its continued freedom is that Astérix has access to a magic potion supplied by the village’s Druid Panoramix (in English translations: Getafix) which gives him temporary, superhuman strength (Obelix is already endowed with extraordinary strength courtesy of having fallen into the cauldron of magic potion as a baby). The two companions, usually accompanied by Obelix’s little dog, Idéfix (English: Dogmatix), spend their time roaming around the countryside of Armorica (modern-day Brittany) bashing countless numbers of heads, mostly of the hapless and unsuspecting Roman legionnaires. In many of the books the magic potion-fuelled duo venture out on escapades to lands both far and near from Gaul.
Dubbleosix in ‘The Black Gold’ ࿏
Undisguised punnery Much of the humour in Astérix revolves around Goscinny’s and translator Bell’s (see below) use of puns and in-jokes which abound in the character names, Astérix, the comic’s central protagonist is of course “the star” (for which “asterisk” is another word); the monolithic-like Obelix is a carter and shaper of menhirs which are also known as “obelisks”; Bell translated Obelix’s dog’s name as…Dogmatix – what else! A spy Druid in Astérix and the Black Gold with more than a passing resemblance to Sean Connery is given the name Dubbelosix.
Nomenclature of the dramatis personae When sketching out the framework of their fictional First century BC Gaul Goscinny and Uderzo decided on a formula for the names of each of the groups of characters. The Gauls’ men’s names would end in -ix (the inspiration for this was the real-life Gallic chieftain Vercingetorix who revolted against Julius Caesar’s Rome in 52BC), so we have Vitalstatistix (chief of Astérix’s tribe) and his brother Doublehelix; Assurancetourixൠ (English: Cacofonix) (bard and scapegoat of the village); Geriatrix (oldest member of the village); Unhygienix (village fishmonger); Cétautomatix (village smith) (Eng: Fulliautomatix); Saingésix (wine merchant) (Eng: Alcoholix), etc. etc. The Romans mostly are identified by names with the suffix “-us” (although “Julius Caesar” (Fr: Jules César) appears as a fictional character under his own name)…as the “bad guys” the Romans all tend to have derogatory or demeaning names, eg, Pamplemus (Arteriosclerosus); Cadaverus; Caius Fatuous; Caius Flebitus …you get the idea!
‘Astérix and the Normans’
Goscinny employed suffix-identifiers for other national groups in the books. For instance, the names of the fearsome Norman tribesmen were all given -af endings, so we get lots of joke names like Psychopaf, Riffraf, Autograf, Nescaf and Toocleverbyhaf, ad tedium…basically anything preposterous enough Goscinny and Bell could think of that would raise a laugh. The device extends to Britons (-ax)(usually puns on taxation, eg, “Valueaddedtax”), Germans (-ic), Greeks (-os) and Egyptians (-is).
‘Astérix and Cleopatra‘ ࿏
Stereotyping and racial tropes
One of the preoccupations of the Astérix comics and the source of much of its humour is ethnic stereotyping. Uderzo and Goscinny delight in lampooning the perceived national traits of different groups of Europeans. The English are depicted as phlegmatic, love to drink lukewarm beer and tend to speak in a chipper, upper-class way. The Iberians (Spanish) are displayed as being full of pride and tend to have choleric tempers. The Normans (Vikings) drink endlessly and fear nothing. Goths (the Germanic tribes) are disciplined and militaristic, but are not unified and fight among themselves. This all reads as a bit problematic especially in this age of political correctness. In the case of the Spanish the generalisations are compounded by Uderzo’s unflattering drawings of them. But the most disturbing element of the books’ stereotyping of races exposing the creators to considerable criticism relates to the bigoted portrayal of Black Africans. Slaves in the series are always Black and sometimes they have have bones through their hair and other cliches (eg, Astérix and Cleopatra). Uderzo also introduced the character of a caricatured Black pirate (Baba)—notoriously depicted with exaggerated racial features, enormous, full red lips—who appears in several books including Astérix in Corsica and Astérix and Obélix All At Sea. For this reason American cartoonist Ronald Wimberly has described the Astérix comics as “blatantly white supremacist” in nature and thus unsuitable for children (’Race and Representation: Relaunching Astérix in America’, Brigid Alverson & Calvin Reid, PW, 19-Aug-2020, www.publishersweekly.com). In recent versions of the comic edited for the US market the overt racialist profiling has been toned down a bit (‘Asterix Comes to America‘, Jo Livingstone, Critical Mass, 17-Jun-2020, www.newrepublic.com).
Black pirate lookout in ‘Astérix in Corsica’ Bravura and the village women in revolt ࿏
Uderzo v feminism Similarly, Astérix has attracted criticism for its negative portrayal of women in the strips. Asterix and the Secret Weapon for instance introduces a female bard Bravura from Lutetia (Paris) who incites the women of the village to revolt against their husbands and the patriarchy. ’Secret Weapon’ unsubtly parodies feminism and gender equality. By 1991 when the album was published it might have been hoped that Uderzo would have expressed a more enlightened and nuanced perspective on sexual politics, but he and Goscinny were very much products of their time so it probably shouldn’t surprise that the artist/storyteller was still implacably fastened on to his old ideals of male chauvinism and hegemony.
The ludicrous amount of violence dished out in Astérix—the heroic Gallic duo are constantly bashing Roman skulls senselessდ—has also opened the comic strips up to criticism from some quarters. In 2007 the Swiss-based organisation Defence for Children International echoed Wimberly’s sentiments, saying that Astérix, Obélix & Co set a bad example for the young by constantly fighting with everyone, never at peace with their neighbours…adding that the comic series was “too monocultural” in its obsession with “invaders” (The Guardian).
‘Astérix and the Great Crossing’: Astérix & Obélix tango with native Americans – more sterotyping of ”the other”࿏࿏࿏
With Goscinny’s untimely early death in 1977 Uderzo took on responsibility for the Astérix scripts as well as the artwork. Uderzo solo added another nine comic books to the Asterix oeuvre, although he retained the late M Goscinny’s name on the covers as co-creator. The Astérix‘s scripts written by Uderzo were not in the same class of storytelling as Goscinny’s—lacking René’s incisive wit and punchiness—but even so, the Uderzo-penned comic albums still proved bestsellers, such was the lustre of the Astérix brand.
Enter the new generation of Astérix comic artists By 2011 Uderzo in his eighties was ready to pass the Astérix baton on to two cartoonists who he had been mentoring. The new team, Jean-Yves Ferri (writer) and Didier Conrad (illustrator), having got the master’s nod of approval, produced Astérix and the Picts in 2013, followed by four more Astérix albums thus far. Ferri and Conrad have even introduced new characters with contemporary and topical resonance, eg, Confoundtheirpolitix, a muckraking journalist, spoofing Julian Assange (Astérix and the Missing Scroll). Unfortunately, since becoming custodians of the world’s most famous cartoon Gaul, Messieurs Conrad and Ferri have missed the opportunity to redress the earlier derogatory depiction of Africans drawn by Uderzo. Instead Conrad tactlessly reprised Uderzo’s Black pirate lookout character in 2015 in ‘Missing Scroll’) with the same racist depiction of Baba with bulbous red lips.
‘Astérix en Bretagne‘ ࿏
Astérix for Anglos Translations into English of the iconic comic books began in 1969. Anthea Bell, in collaboration with Derek Hockridge, was the gifted translator who worked with the full sequence of Astérix creators. Bell’s distinctly English expressions and puns as translated won much praise “for keeping the original French spirit intact” (‘Anthea Bell’, Wikipedia, http://en.m.wikipedia.org). Bell also shared with Goscinny a delight in the humour of historical anachronisms which filter through the various books.
The Astérix industry As at 2021, with the publication of the 38th Astérix comic book Astérix and the Griffin, the books have sold a staggering combined total of 385 million copies worldwide. They have been translated into 111 languages and dialects including Afrikaans, Welsh, Hebrew, Occitan, Arabic, Urdu and even Latin. Astérix adaptation to the screen comprise 10 animated films and four live action films (of which only Mission Cleopatra merits any accolades at all). There’s the usual accompaniment of merchandising of course and even a theme park, Le Parc Astérix, north of Paris. The comic books’ following spans the globe, in their heartland, France and Belgium, in Germany, Britain, just about everywhere they have been in vogue with the notable exception of the US.
What’s the secret of the Asterix comics’ success? To M Uderzo the endearing nature of Astérix’s popularity remained a puzzle that he couldn’t fathom, best left to others of which there has been no shortage of opinions aired over the years. Clearly, the character of Astérix is deeply rooted in French popular culture. Two-thirds of the French population had read at least one Astérix books according to a 1969 national survey (‘Going for Gaul: Mary Beard on 40 years of Astérix’, The Guardian, 15-Feb-2002, www.amp.theguardian.com . Some observers put the appeal down to the escapism the comics represented – providing “a world of joyful innocence born in the aftermath of (world) war” ‘My hero: Asterix by Tom Holland‘, The Guardian, 26-Oct-2013, www.amp.theguardian.com . This sentiment is echoed by those who have called the series ”the most brilliant antidote to (the catastrophe of) Vichy in French literature”. Many French people identify with the petit Gaul as a symbol of rebellion, standing up for the “little guy“ against Goliath. To them Astérix’s steely determination to defy the juggernaut of Roman power mirrors the impulse in the hearts of many modern-day French citizens to hold out and not succumb to the all-conquering globalisation driven by the United States⚘. While the French feel an inextinguishable pride in Astérix (“simply French”), to many outsiders the comics personify what they take to be the French character, such as the trait of “infuriating, occasionally endearing contradictions” (John Thornhill, Lunch with the FT: Asterix the national treasure’, Financial Times, 24-Dec-2005, www.financialtimes.com). Another take on Astérix’s popularity beyond the borders of France is that the idea of an heroic “native freedom-fighter” defying Rome struck a resonant tone in countries which had once been subjected to the tyranny of the Roman Empire (Beard).
Footnote: In Astérix in Belgium, the 24th volume in the series໒꒰, village chief Vitalstatistix, Astérix and Obélix head off to Belgae to tangle with an equally fierce tribe of Belgian Gauls. As usual, the comic is saturated with cultural references, Goscinny weaves in a series of gently digs at the Belgians, spoofing famous national celebrities like Walloon actress/singer Annie Cordy and cyclist Eddie Merckx. The comic’s battle scene is a riff on the historical Battle of Waterloo and Uderzo draws in a cameo appearance by fictional detectives Thomson and Thompson from Belgium’s most honoured cartoon strip Tintin (‘Asterix v24: “ Asterix in Belgium”’, Augie De Blieck Jr, Pipeline Comics , 25-Jul-2018, www.pipelinecomics.com).
◔◡◔◔◡◔◔◡◔◔◡◔◔◡◔◔◡◔◔◡◔◔◡◔ ൠ some sort of pun on “insurance” დ although it should be noted that no one is actually killed in the comics ⚘ shared by Uderzo himself who said in 2005, “the more we are under the sway of globalisation, the more people feel the need to rediscover their roots”, which is what he hoped connecting with France’s ancient Gallic past via his cartoon creation might help achieve ໒꒰ Goscinny died during the comic’s production and this was also the last Astérix that Albert Uderzo’s artist brother, Marcel, worked on
〝 The principle of preventing the spread of infectious disease by which people, baggage…likely to be infected or coming form an infected place are isolated at frontiers or ports until their harmlessness has been proven…〞 ~ Port Nepean Q-Station‘s definition of ’Quarantine‘
Since the initial strains of Covid-19 turned the world upside down and inside out early last year, the word ‘quarantine’ has found a renewed vigour in the lexicon. In a previous blog the history of Sydney’s early animal quarantine station for imported livestock was outlined – ‘Sydney Foreshore’s Animal House of Detention and Segregation on Hen and Chicken Bay’, 21-Apr-2018. Human quarantine in Sydney has a much longer history. The story starts with governor of the colony of New South Wales Ralph Darling. In response to the cholera pandemic sweeping Europe and the risks of ship-borne disease being transported on vessels coming to the colony, Darling initiated a Quarantine Act in 1832 “subjecting Vessels coming to New South Wales from certain places to the performance of Quarantine”❅.
(Source: researchgate.net / Peter Freeman Pty. 2000)
Darling set aside the entire North Head peninsula (277 hectares)—on indigenous Gayamagal country in Manly on Sydney’s northern beaches—for the grounds of the quarantine processing centre. The exact site chosen for the Q-station, Spring Cove, overlooking Sydney Harbour, was already housing an infected and quarantined merchant ship, the Bussorah Merchant.
In the early years of the station’s operation, the practice was to keep sick passengers on board the vessels on arrival at Spring Cove. After complaints from the merchants about the delay and cost of keeping the ships tied up at North Head, the authorities started bringing the sick onshore to free up the transport ships, this required the construction of more substantial permanent accommodation and storage facilities at the Q-Station to replace the original makeshift buildings [‘North Head Quarantine Station’, Wikipedia, http://en.m.wikipedia.org].
Passengers disembarking at North Head Q-Station, 1940s (Photo: State Library of NSW)
Q-Station longevity
The old Quarantine Station enjoyed a surprisingly long lifespan at the North Head site, surviving albeit with decreasing utilisation until 1984⌖, this despite periodical calls for its closure…as far back as 1923 Manly Council alderman and later mayor Percy Nolan was advocating for the Q-Station’s removal in favour of open public space [Sydney Morning Herald, ‘Quarantine Station. Proposed Removal’, 31-May-1923 (Trove)].
Slabs of cut sandstone near the station’s wharf bear the markings of passengers detailing the dates and ship names of their journey to North Head
First class expectations
Conditions and facilities at the Q-station were regularly under scrutiny from the better-off passengers. First class passengers were not slow in bringing deficiencies in housing to the attention of the authorities, leading in the 1870s to the building of a new section of Q-Station passenger accommodation in what was known as “the Healthy Grounds” (Wiki).
A 1881 smallpox epidemic resulting in a large number of internee deaths❧ at North Head facility exposed major shortcomings in the management of the Q-Station, including the lack ofa medical superintendent with a grasp of infection control; no clean linen and towels, soap or medical supplies for patients isolated with smallpox [Allen, Raelene, Smallpox epidemic 1881, Dictionary of Sydney, 2008, http://dictionaryofsydney.org/entry/smallpox_epidemic_1881, viewed 06 Sep 2021].
Aerial view of Nth Head Q-Station – c.1930 (Image: Office of Environment & Heritage)
Bulwark against plagues, viruses, bacteria, etc.
Over the decades the Q-Station at Manly has housed the victims of numerous diseases including smallpox, typhus, scarlet fever, measles and the bubonic plague, as well as victims of natural disasters. The Q-Station provided a refuge for returning WWI veterans suffering from TB and VD. At war’s end it served as the frontline defence against the lethal assault of the Spanish Flu.
(Photo: environment.
nsw.gov.au)
Gradual obsolescence
Post-WWII, as air travel gradually replaced passenger ships, the Q-Station’s role diminished in importance. In its final decades of operation the quarantine station was put to diverse use…housing the unvaccinated (eg, pregnant immigrants), accommodating Vietnamese orphans and as a temporary abode for women and children evacuated from Darwin after Cyclone Tracy decimated that city in 1974 [‘The plague, smallpox and Spanish flu: How Sydney quarantined sick travellers throughout history’, Sarah Swain, 9 News, 2020, www.9news.com.au; ’Q Station on Manly’s North Head echoes with history of pandemics past’, Kathy Sharpe, Mandurah Mail, 21-Jul-2021, www.mandurahmail.com.au].
The stairway (connecting the wharf with the housing) replaced the funicular in use during Q-Station period (Photo: Sydney Coast Walks)
No longer a quarantine station, the surviving 65 heritage buildings are set against the beautiful natural bush land of the Sydney Harbour National Park. Today the old Q-station is converted into a hotel complex (104 rooms including nine self-contained cottages, managed by Accor) with all the tourist trappings, including sleepovers and nocturnal “Ghost and Paranormal tours”.
Pt Nepean Q-Station (Photo: Parks Vic)
Footnote: Port Nepean, North Head’s counterpart In Melbourne, that city’s historic quarantine station can be found on the Heads of Port Phillip Bay. Port Nepean Quarantine Station can point to a similar eventful history to that of the North Head facility. Like it, the Melbourne Q-Station owes it’s existence to an infected immigrant ship…the arrival of the SS Ticonderoga in 1852 with 300 passengers stricken from disease, necessitating the ship’s quarantining at Port Nepean, which led to it’s establishment as a Quarantine Station (originally called “the Sanitary Station”). By the 20th century Port Nepean Q-Station had developed a number of innovative processing features including the memorably named “Foul Luggage Receiving Store”. The station’s Disinfectant and Boiler buildings also became models for other quarantine stations in Australia [‘Quarantine Station’, Parks Victoria, www.parks.vic.gov.au]. At one point animals were also quarantined at the location. By 1978 Port Nepean had ceased operating as a quarantine facility and was closed in 1980. Subsequent uses of the site and holdings include a military encampment and a temporary refuge for 400 Kosovar refugees fleeing the Bosnian War in the early 1990s.
➿➿➿➿➿➿➿➿➿➿➿➿➿➿
❅ “to prevent the introduction of the disease called the malignant Cholera and other infectious disease”
⌖ during that one-and-a-half centuries the Q-Station was the initial home in Sydney for an estimated 13,000 passengers
❧ and the need to build a third Q-Station cemetery to accommodate the rise in mortality
As Europe moves through Autumn, a number of countries are reporting new records for coronavirus infections. This month Italy recorded a 24-hour total of over 10,000 new cases for three consecutive days, while France recorded its highest ever total of new cases for a single day, 32,427. Similarly, the Czech Republic broke the 10,000 barrier for the first time (1,105 cases). Even in Germany, virus cases for a single day reached a pandemic high of 7,830 [‘Italy steps up coronavirus restrictions as Europe fights second wave’, Euronews, 18-Oct-2020, www.euronews.com].
October 4 2020 (Image: WELT)
Not withstanding this current setback in the fight against the pandemic, Germany has easily been the stand-out performer among the larger countries trying to combat Covid-19 in Europe. A raft of factors have been advanced to explain Germany’s success. Obviously, it hinges ultimately on a collective effort by the government, medical authorities and experts, and compliance by the nation. A lot of the credit for steering the ship into relatively safe waters (fingers crossed) goes to the leadership of Chancellor Angela Merkel. Almost from day one she did a number of things right. Projecting a visage of calm and composure, she was upfront with the German people. Honestly and transparently, she was prepared to admit when the government didn’t always have the answer at a given time. Building trust requires candour and elicits consent and compliance. From when the pandemic hit, she was proactive and decisive. There was no “coronavirus denying” by the leadership (unlike the errant course charted initially by the US and UK governments), but an immediate marshalling of efforts to tackle the problem facing it※ [‘The secret of Germany’s COVID-19 success: Angela Merkel Is a Scientist’, (Saskia Miller), The Atlantic, 20-Apr-2020, www.theatlantic.com].
There were other factors relating to demographics and the public health response that were vital—average age of coronavirus patients was lower than elsewhere; better delivery of testing than many countries; careful and comprehensive tracking of cases (>90%); modern, maintained public health system;local responses—but in a sense everything flowed from the chancellor who has been at the helm of the German state since 2005. With a science background (PhD in quantum chemistry), Merkel knew to listen to the scientists, the public health experts, like the celebrated virologist Christian Drosten. As a scientist herself she respected their views, knew that this was essential to finding out what was needed⚡. Drawing on the well-funded scientific-research organisations and university medical departments that she had maintained, she was able to coordinate these into a single, effective coronavirus task force (Miller).
(Photo: Getty Images)
One observer has attributed Germany’s (and Merkel’s) success to the “Four L’s” which may in the event of a new wave of Covid be integral to “bending the curve quickly once again – luck, learning, local responses and listening. The ‘luck’ amounted in part to being in the right place at the right time…having acquired and readied the coronavirus PCR tests in advance so they were “available in Munich when the first tests showed up there”, but this could arguably be equally attributable to due diligence and preparedness, and an instinctual willingness to follow hunches. Learning from the experiences of other countries who had prior exposure to coronavirus also played a key part – in this Germany was fortunate to have had a delayed arrival of the disease. The German authorities were able to look at the strategies of countries such as South Korea, Taiwan and Japan, see what was working well there, and cherry-pick. Germany’s political structure, emphasising localised divisions of authority (government by lander), permitted a decentralised approach to the pandemic which allowed the bureaucratic response to the crisis to be speeded up. The fourth ‘L’, listening to the scientific experts, was not just what Merkel, but what politicians at the local level in Germany◔ did assiduously [‘The four simple reasons Germany is managing Covid-19 better than its neighbors’, (Julia Belluz), Vox, 15-Oct-2020, www.vox.com].
(Source: www.dw.de/)
Of course Chancellor Merkel’s policies in the crisis have had their detractors—business lockdowns and restrictions that go on for lengthy periods are sure to draw displeasure—her measured approach however has been demonstrably unifying and has resulted in overwhelming support from the electorate rallying behind her (approval ratings for the chancellor during the pandemic have been as high as 86%).
PostScript: Denialists and Bunglers Inc Last month British PM Boris Johnson, in an all-too characteristically ham-fisted way, tried to deflect criticism of his government’s abysmal handling of the pandemic vis-vís (especially)Germany by putting the UK’s worse handling of the crisis down to the ‘fact’ that the UK is “a freedom loving” country [‘Why is Germany doing better than the UK at fighting a resurgence of Covid-19?’, The Local – De, 26-Sep-2020, www.thelocal.de/].
Prohibition, an international movement (Source: PBS)
Denmark and Iceland
Skál! (Photo: Scandification)
Icelandic White Ale 5.2% ABV (Photo: Muse on Booze)
Traditional sour Gose beer, Icelandic style (Photo: issuu.com)
Iceland: Whale testicle beer (Source: au.whales.org)
As Europe moves through Autumn, a number of countries are reporting new records for coronavirus infections. This month Italy recorded a 24-hour total of over 10,000 new cases for three consecutive days, while France recorded its highest ever total of new cases for a single day, 32,427. Similarly, the Czech Republic broke the 10,000 barrier for the first time (1,105 cases). Even in Germany, virus cases for a single day reached a pandemic high of 7,830 [‘Italy steps up coronavirus restrictions as Europe fights second wave’, Euronews, 18-Oct-2020, www.euronews.com].
(Photo: Getty Images) 
(Source: