KMT’s Historical Australasian Presence: Sydney and Melbourne Offices and the Chinese Diaspora

Posted on by E Curb Nottus
Built Environment, Heritage & Conservation, International Relations, Local history
KMT bldg in Sydney


 The above photo shows the well-worn, slightly scruffy and tarnished facade of an old building in the historic industrial inner city district of Sydney. The sign on the shopfront says ‘Chinese Ginsengs and Herbs Co’. Google Maps tells me the address is 4-10 Goulburn Street, although the sign above the entrance indicates the address is “75-77 Ultimo Road Haymarket”. I’m going to go with what the building says rather than what my iPhone indicates…the key point is that this building is within wok-tossing distance of Hay and Dixon Streets, the epicentre of Sydney’s traditional Chinatown.

The awning above the Ginseng shop gives the real clue to the building’s history – in faded blue and red (the colours of the Republic of China better known today as Taiwan or Chinese Taipei), are the words The Chinese Nationalist Party of Australasia. The letters ‘KMT’ and the building’s date, 1921′, at the top of the facade further emphasises its political association with China.

The Haymarket building was purchased in 1921 with funds raised by Chinese-Australian supporters of the KMT or Kuomintang, a Chinese nationalist party headed by Dr Sun-Yat-sen that gained prominence after the overthrow of the last Qing emperor and the transition to republican rule. The Australasian KMT had earlier evolved out of a grass-roots organisation in Sydney called the Young China League, the impetus for the emergence of YCL/Australian KMT came largely from Sino-Australian merchants James Ah Chuey and William Yinson Lee.

KMT Sydney’s regional leadership
Ultimo Road was KMT’s Australasian headquarters, from this building the local Party liaised with the KMT Central party in China and coordinated the activities of other regional KMT branch offices elsewhere in Australia, New Zealand and the wider Pacific Islands. The Sydney Office supervised seven branches – NSW, Victoria, WA, Wellington and Auckland (NZ), Fiji and New Guinea. It also directly administered Brisbane, Adelaide and Darwin and had jurisdiction over Tahiti. Melbourne office having to defer to Sydney’s seniority and hegemony provoked KMT membership tensions between Australia’s two largest cities.

KMT and the Chinese diaspora in Australia
KMT’s Sydney branch performed several functions on behalf of the Party. One of these involved an educational role for the local émigré Chinese. The KMT association fostered modern political ideas, promoting pro-republican values and the virtues of parliamentary democracy as an antidote to the gains made by Chinese communists in courting popular support in the Chinese countryside.

Recruiting new KMT members from among the community in Sydney was part of the Australasian association’s growth strategy. To bind Chinese emigrants to the Party and its objectives, the Sydney office organised dances, dinners, social gatherings, held screenings of Chinese movies. Recreational activities were another means of incorporating the Chinese locals – gyms and sporting teams were established to encourage physical exercise.

At crunch periods in the 20th century during conflicts the KMT were embroiled in on mainland China (the National Defence War against Japan, the Nationalists/Communists Civil War), the offices in Sydney and Melbourne had an instrumental role on the ground in Australia. The two associations maintained solidarity with and mobilised support for the struggles of the Chinese Nationalists headed by Chiang Kai-shek…the local Sydney branch coordinated the collection of donations❉ that were remitted back to Nanking (the Nationalists’ Chinese capital) to finance the war effort (equip the KMT Army, buy fighter planes for the Air Force, etc).

KMT Club (pre-war)

Concurrently with the establishment of the KMT headquarters in Sydney, the Chinese Nationalists with money from Chinese benefactors resident in Melbourne (above ↥) commissioned famous Chicagoan architect Walter Burley Griffin to convert a brick warehouse at 109 Little Bourke Street into the city’s KMT association premises. Griffin’s design of a new facade for the building in 1921 was financed by Canton-born, Melbourne social reformer, Cheok Hong Cheong. Cheong had a long association with Griffin as a client and was a shareholder in the Griffins’ Greater Sydney Development Association.

KMT Club Melbourne – 1980s (Walter B Griffin design) ⬇️

Australasian Canton Club
The Australasian association role eventually extended to working for returning émigrés from Australasia and Oceania. This happened when the Australasian KMT Canton Club was set up in that southern Chinese city(office)◊…its purpose was to assist the émigrés who subsequently returned to China. This assistance took many forms such as advocacy in legal matters, providing board and lodging for members passing through Canton to and from Australia and NZ and advice on investments. The Canton office also produced the widely distributed official journal of the Australasian KMT.

Both 1920s KMT buildings, Sydney and Melbourne, are still standing (the Sydney one the recent beneficiary of a bright, fresh paint job – as can be seen below)…the two clubs continue to have social associations with the local Chinese-Australian community in their respective cities.

回÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷÷回
❉ this material support took on added significance and urgency for the KMT cause after imperial Japan invaded Manchuria in 1937
◊ the location was chosen mainly because of the pattern of past migration to Australia and New Zealand – most Chinese migrants had come from Canton (Guangzhou) or from the wider province of Guangdong

Sources:
Judith Brett & Mei-Fen Kuo, Unlocking the History of the Australasian Kuo-Min Tang 1911-2013, (2013)
John Fitzgerald, Big White Lie: Chinese Australians in White Australia (2012)
Kate Bagnall, ‘Picnics and Politics’, Inside Story, 24-Jan-2014, www.insidestory.org.au
‘Griffin’s Chinese Nationalist Party Building in Lt Bourke’ (Building & Architecture), www.walkingmelbourne.com

Cursed Movies III: Making Don Quixote, a Test of Adversity and Perseverance

Posted on by E Curb Nottus
Cinema, Literary & Linguistics

Cervantes‘ Don Quixote is without peer as the foremost work in Spanish literature…it is considered without question to be the most influential work in the entire Spanish language literary canon❉. The general consensus among authorities in the field is that it was the primary manifestation (first pub. Vol I 1605) of the novel as we understand the development of that emerging literary form.

DQ & Sancho Panza

The Spanish proudly extol Cervantes’ name in the same reverential tone as the English speaking world bestows on Shakespeare. When it came to adaptations of Don Quixote to the cinema screen however, Cervantes’ great novel has not experienced the same good fortune as screen productions of Shakespeare’s greatest plays have had. While the story of the ageing knight-errant’s folly-filled forays in the campo of La Mancha has been a popular source material for the theatre, opera and both the big and small screen, it has not proved a rewarding experience for some of the leading filmmakers! There have been a number of attempts to bring the book to the cinema that have ended either in disarray or as incomplete projects…the mildly suspicious among us might easily convince themselves that the subject of Don Quixote is jinxed!

Disney: the animated feature’s arrested development
One of the early US attempts to produce a film of Don Quixote was as a feature-length cartoon by Walt Disney. The Disney team laboured for six decades commencing in the 1930s to make an animated version of Don Quixote. Studio artist Ferdinand Horvath produced project sketches of the Spanish knight-errant for Disney as early as 1929. Preparatory work for a film project during WWII using concepts inspired by 17th century artistic titan Diego Velázquez was jettisoned after Disney had two commercial failures in a row with Pinocchio and Fantasia in 1940. The studio tried again, several times (1946, 1951, even as recent as the late 1990s). All of the projects were eventually aborted[1]. Don Quixote thus far has evaded all attempts at being ‘Disneyfied’✫.

Orson on the DQ set

Orson’s never-ending project: Less than awesome
Orson Welles’ efforts to make a film of Don Quixote was an incredibly drawn-out saga that failed to bear fruit. Financing (habitually a millstone around Welles’ cervix) was partly to blame but procrastination by the former “boy wonder” director was taken to a new level. Starting off with test footage as early as 1955, Welles was still intermittently working on the unfinished picture (which he described as his “own personal project”) when he died (1985). By which time Welles had 300,000 feet of shot film in the can! Eventually a version completed by a Spanish director saw the light of screen in the 1990s (described as a “Spanish restoration”). However according to James Clarke, the “print (was) impoverished…the film lacked clarity… (and) Welles’ commentary and dialogue was ineffectively dubbed into Spanish”[2].

The jinx again!
Dynamic Hollywood producer of the 1950s, Mike Todd, was riding high on the back of the blockbuster success of the star-studded Around the World in 80 Days. Todd chose “Don Quixote” as the follow-up project to ’80 Days’ based on the Jules Verne novel. Having cast his new, glamour wife Elizabeth Taylor to star in a lavish production of the Cervantes classic, the hard-headed Todd’s plans for “Don Quixote” perished in the airplane crash that took the producer’s life in 1958.

The doco on DQ the disaster movie!

Terry Gilliam, nearly 20 years worth of broken mirrors!
The award for the most ill-fated attempt to bring “Don Quixote” to the screen goes to Monty Python member and film director Terry Gilliam. Gilliam first conceptualised his project in 1991…pre-production got underway seven years later and production itself got rolling in 2000 in Navarre (Spain). Gilliam brought his own, very idiosyncratic take on the Man of La Mancha (very loosely based on the original story). He cast Johnny Depp as a 21st century time-traveller hurled back to engage with the perpetually confused 16th century “windmill-tilter”.

From the start obstacles and setbacks piled on top of each other – flash floods destroyed sets and equipment in the Spanish campo, as a result the filmmakers had problems securing insurance for the production; Jean Rochefort as Quixote took ill and had to leave the set and the movie altogether; it was discovered that one of the film sites was directly below a Spanish Air Force flight path; plus the production was hit with further financial problems – the net outcome was the cessation and cancellation of the production. Gilliam made several subsequent attempts to relaunch the movie, in all there were eight unsuccessful tilts at making “Don Quixote” over a period of 18-19 years with a succession of actors coming and going. In 2002 Gilliam, no doubt with cathartic intent, released a documentary Lost in La Mancha about the trials and tribulations of trying to realise the plagued ‘Quixote’ feature film[3].

Michael Palin was one of many actors lost in transit in the course of making Gilliam’s film!

The indefatigable American Python resurrected the project once more earlier this year with longtime collaborator Jonathan Pryce in the title role. Finally in June of this year Gilliam tweeted, rather sheepishly, that the filming was finally completed…The Man Who Killed Don Quixote is slated for release in 2018[4].

PostScript: ‘Don Quixote’, a mixed track record in the cinema
Notwithstanding the long trail of misfortunes and misadventures that has bedevilled the efforts of the above film-makers to make Don Quixote, it would be misleading to conclude that the subject has been universally cursed. A survey of Don Quixote’s cinematic history on the screen confirms that it has been far from unmakeable. First point to note is that there have been a considerable number of ‘DQ’ films churned out over the decades[5], many of which went through more or less without mishap, or at least with nothing like the obstacles and hurdles in the way of Gilliam and Welles and others.

From across the world of international cinema these productions include the 1957 Russian version filmed in the Crimea (Dir: Grigori Kozintsev); the 1972 Man of La Mancha (a musical/comedy with Peter O’Toole in the lead); a 2000 feature with John Lithgow as the chivalrous but hopelessly misguided hidalgo (country gentleman); Albert Serra’s modernised Spanish version, Honour of the Knights (2006); a 2015 version directed by James Franco’s USC students, Don Quixote: The Ingenuous Gentleman of La Mancha; and believe it or not, a 2007 Spanish/Italian computer animation comedy Donkey Xote (hee-haw!), a light-hearted retelling of the classic story from the perspective of his squire Sancho Panza’s Equus Africanus steed.


___________________________________________________________________
❉ its literary influence goes far beyond the Hispanic world…extending to his English contemporary Shakespeare who is widely thought to have collaborated with John Fletcher on a play (now lost), Cardenio, believed to be based on an episode in the Cervantes novel
✫ Disney still haven’t entirely let it go…the phenomenal box office triumph of the Pirates of the Caribbean series has prompted Disney to engage ‘gun’ screenwriter Billy Ray to write something similar in tone for Don Quixote, ‘Disney Developing a Don Quixote Movie’, (J Kroll) Variety, 13-Oct-2016, www.variety.com

[1] James Clarke, ‘The troubled history of Don Quixote on film’, BFI: Film Forever, 26-Apr-2016, www.bfi.org.uk
[2] ibid. ; ”Don Quixote (unfinished film), Wikipedia, http://en.m.wikipedia.org
[3] ‘The Man Who Killed Don Quixote’, Wikipedia, http://en.m.wikipedia.org; ‘My latest is a disaster movie’, The Guardian, 04-Feb-2001, www.theguardian.com
[4] “Sorry for the long silence…” (@TerryGilliam, tweeted 04-Jun-2017)
[5] in fact the tale of the muddled hidalgo with a penchant for charging at windmills has been a movie subject just about from the first dawn of the moving picture – as early as 1903 a silent film of Don Quixote was made by the French, ‘Don Quixote de La Mancha: DQ and Film’, (Barbara Robinson), USC Libraries (Research Guides), www.libguides.usc.edu

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From Marginalised Malcontents to Micronation Monarchs: The Australian Experience

Posted on by E Curb Nottus
Local history, Popular Culture, Regional History

Within the world of macropolitics, the realm of large-scale political entities, the urge by some within the whole to secede has always been a recognisable element of those societies. During the last half century Australia as elsewhere has witnessed the emergence of individuals or small groups of people wanting to break away, for varying reasons, and go it alone.

The actions of micronations✻ or “would-be” micronations (sometimes called “model countries”) have been motivated by a host of varying reasons. These include genuine secessionist aspirations, environmental protests, a sense of grievance and financial motives. Quite a few seem to be specifically humorous in intent. Some micronations are just left-field wacky, like Asgardia, a Russian initiative which seeks to launch satellites into space to found a “real nation” recognised by the UN (and therefore, it claims, protect Earth from the threat of asteroids, solar storms and space junk)[1].

▲ The ‘border’ bridge between Vilnius & Užupis

Reactions of the periphery to the metropolitan centre have prompted the rise of quasi-anarchist communities purporting (seriously or less seriously) to be outside the jurisdiction of that same central authority…two such European instances of this are Freetown Christiana in Copenhagen whose advocates proclaimed autonomy over a small district of the city in 1971 and an established open drug trade (tolerated by the Danish authorities until 2004); and Užupis (Užupio Res Publika), a tiny enclave within Vilnius, described perhaps somewhat romantically as a “modern manifestation of a bohemian Free State”[2]. Whereas Freetown strove for a kind of anarchist autonomy, the unrecognised “Republic of Užupis” adopted all the trappings of a sovereign state (flag, currency, politicians, anthem, etc) but uncertainty remains whether the Užupis entity is “intended to be serious, tongue-in-cheek, or a combination of both”[3].

▲ The Prince of Hutt R Province

His Royal Hutt River Highness
One recurring theme of micronationhood including in Australia has been the singular protest against the state (or against the local authority). Leading the way in this (chronologically at least) is Prince Leonard and his self-declared Principality of Hutt River. Leonard Casley was an unremarkable wheat farmer in rural Western Australia in 1970 when a dispute with the state of WA over the wheat production quota set him on a course of (declaring) succession from Australia. ‘Prince’ Leonard adopted royal titles and garb for himself and his family and the Hutt River Principality grew into a tourist attraction. Casley’s failure to comply with his taxation requirements resulted in a Commonwealth prosecution in 1977 which the prince, increasingly behaving like Count Rupert of Mountjoy✪, responded by declaring war on Australia![4].

The Hutt River WA prince, after easing himself into the unfamiliar mantle, like other Micronation ‘monarchs’ enthusiastically set about establishing the tourism potentiality of the novel enclave in the Western Australian bush…HR Province began issuing ‘royal’ stamps, ‘legal'(sic) currency and passports (described by the Council of Europe dismissively as “fantasy passports”)[5]. In 2017 Prince Leonard now a nonagenarian ‘abdicated’ in favour of his son, the altogether less regally sounding ‘Prince’ Graeme.

▲ King Paul with his court (Source: News Ltd)

The principality of the suburban quarter-acre block
Some breakaway entities and would-be sovereign states have arisen from the most trivial of domestic matters, eg, Mosman artist and art school principal Paul Delprat founded the Principality of Wy as a consequence of his local Sydney council’s refusal to grant permission for a residential driveway (a dispute lasting over 20 years!)[6]. Presiding over his ‘kingdom’ which comprised in area one suburban block, ‘King’ Paul, possessed of a theatrical bent and a large supply of whimsy, has warmed to his new status, naturally going the “whole hog” with full regal fancy dress, pomp and ceremony!

Global open borders orchestrated from the NSW South West Slopes
George Cruikshank together with his cousins started up his own micronation whilst still a schoolboy in Sydney. Known as the Empire of Atlantium ‘Emperor George II runs it from Reids Flat¤, 344km inland from Sydney…the 0.76 square kilometre province has its own post office, government buildings, currency, national anthem and monuments (ie, a small white pyramid and obelisk in the micronation’s Lilliputian-sized capital). What marks Atlantium out from other micronations is its espousal of liberal, progressive values – described by the Lonely Planet Guide to Home-Made Nations as serious in its aims and “a refreshing antidote to the reactionary self-aggrandisement of so many micronations”…a “secular humanist utopia”[7] George is also a bit atypical as ‘micronationals’ go as his separatist impulse derives not from a specific beef with local authority but from genuine idealism. Emperor George advocates the international freedom of movement and other socially progressive goals. The Empire claims in excess of 3,000 ‘citizens’ hailing from various parts of the globe – all signed up online.

▲ A Great Britain strawberry patch in Sth Australia!

The strawberry fields United Kingdom
One of the more exotic if not outright wacky secessionists in Australia was Alec Brackstone. English migrant Brackstone, alarmed at the prospect (as he saw it) of Australia’s drift toward republicanism, founded the Province of Bumbunga in rural South Australia in the 1970s. The ultra-monarchist, self-appointed governor-general of the breakaway mini-state, planted thousands of strawberry plants in the pattern of a huge scale model of Great Britain (A++ for loyalty/subservience to the Crown!) The Bunbunga Province also issued Cinderella stamps honouring the royals, but the province dissolved in the late 1990s after the “G-G” was charged with possession of illegal firearms and repatriated to the UK[8].

PostScript: Micro-states of mind?
Wy and the self-styled Hutt River and Bumbunga provinces conform with RT Reid’s characterisation of the ethos of contemporary micronations …”mock sovereign states fuelled by local disputes, utopian idealism and the imaginations of a few eccentric individuals”[9]. Ultimately it is that eccentricity, together with their isolation and the fact that they pose no real inconvenience or harm to the greater (macro) political entity✦, explains why they tend to be tolerated (but not encouraged) by the central authority of the state in which they reside.

﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏
✻ defined as an entity claiming to be an independent nation or state but not recognised by world governments or major international or supranational organisations, ‘Micronations’, Wikipedia, http://en.m.wikipedia.org
✪ leader of the fictional minuscule tinpot state of Grand Fenwick which declares war on the USA in the 1959 comedy/satire The Mouse That Roared
¤ Cruickshank’s Atlantium had two prior “spiritual homes” in Sydney, a house in suburban Narwee and a flat in inner city Potts Point
✦ the ‘Principality’ of Seborga in the Italian Riviera is a good case in point: despite a 98.7% vote in favour of independence from Italy in 1995, the tiny town (pop: <400) still pays its civic taxes to Rome

[1] ‘Space oddity: Group claims to have created nation in space’, Science, 12-Oct-2016, www.sciencemag.org
[2] J Crabb, ‘Gabriele D’Annunzio And The Free State of Fiume’, (Culture Trip), 12-Jul-2017, www.theculturetrip.com
[3] ‘The Republic of Užupis’ (Užupis Everywhere), www.uzhupisembassy.eu . Some of the more absurd sounding clauses of the Užupis Constitution evoke a suggestion of whimsical hippiedom, eg, 12. A dog has the right to be a dog.
[4] ‘Micronations: The Lonely Planet Guide to Home-Made Nations’, (J Ryan, G Dunford & S Sellars, (2006)
[5] ‘Principality of Hutt River’, Wikipedia, http://en.m.wikipedia.org
[6] ‘Prince of Wy Paul Delprat loses driveway court battle’,
(Simone Roberts), Mosman Daily, 17-Jul-2013
[7] Lonely Planet, op.cit.
[8] ‘Province of Bumbunga’, Wikipedia, http://en.m.wikipedia.org. Hutt River, Atlantium and Bumbunga are only three of the estimated 35 Australian micro-nations in existence at one time or other, according to ‘A quick tour of some of the many, many Micronations Australia has to offer’, (Joseph Earp, Mashable Australia, www.mashable.com
[9] RT Reid, ‘Micronations of the World’, Smithsonian, 23-Aug-2009, www.smithsonianmag.com
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Grawlixes/Obscenicons – Unutterable Graphics and the Universal Interjection!

Posted on by Sloane Snodgrasse
Literary & Linguistics, Media & Communications, Popular Culture

Grawlixes or Obscenicons

Grawlix: a spiral-shaped graphic used to indicate swearing in comic strips (comprising typographical symbols, non-letter graphic characters which are encased in a word-free balloon)

~ Wiktionary, http://wiktionary.org

Etymology of the Grawlix
The term Grawlix itself comes from veteran American cartoonist Addison Morton Walker. The sprightly nonagenarian better known to the world as Mort Walker has gleaned lifelong fame in the US (and elsewhere where his comics are treasured) from two of his creations, Beetle Bailey and a spin-off of sorts, Hi and Lois. Beetle Bailey is especially beloved of seriously rusted-on US comic aficionados. Beetle, a private (zero-class!) in an unnamed US Army military post, has been described as “a feckless, shirking, perpetual goof-off and straggler known for his chronic laziness and generally insubordinate attitude”. Debuting in September 1950 Beetle Bailey is among the oldest comic strips still being produced by the original creator [‘Beetle Bailey’, Wikipedia, http://en.m.wikipedia.org].

Copycat grawlixing!

Walker apparently coined the term ‘grawlix’ around 1964…it appears in a tongue-in-cheek article he penned called “Let’s Get Down to Grawlixes”. A nonsense word, grawlix is the descriptor that Walker came up with to depict a cartoonist’s standard device: to show that one of his or her’s characters was uttering a “four-letter” word or words in the strip without infringing any moral codes, the cartoonist would draw a combination of typographical symbols and insert them in the dialogue balloon in place of the actual profane words. Commonly but not uniformly, the symbols used are @#$%&! or slight variations on this (whichever typographics are used, the grawlix always ends with an exclamation mark [Nordquist]). And as a way of expressing powerful, earthy emotions without having to call in the censors, it caught on within the realm of popular graphic art!”❉

Mort Walker’s catalogue of neologisms
In his Lexicon of Comicana (1980) Walker in his jocular fashion elaborates on his personal vocabulary of neologisms from the world of the cartoonist (with mock grandness he called these his Symbolia)…so in addition to grawlix the Lexicon contains many of Walker’s trademark neologisms, words coined for his own amusement, some with strange-sounding onomatopoeic names – a few of which are listed below.

In addition to grawlix, Walker devised and named three other sets of symbols and squiggles representing graphic euphemisms for the unspeakable and very taboo swear words – Quimps, Jarns and Nittles (basically hard to distinguish from grawlixes but something very similar by another name!) [World Wide Words].

Moving away the topic of obscenities Mort came up with other words to describe some of the graphics representing the range of feelings and emotions experienced by his comic personae – such as squean – squeans are starbursts and little circles above the character’s head to indicate a state of intoxication, dizziness or unwellness¤.

Other logo-inventions in the idiosyncratic Walker Lexicon are variations on the same theme – such as:
Emanate – lines drawn around the head to show shock or surprise
Plewds – flying sweat droplets that appear around a character’s head to indicate working hard, stressed, etc.

An indotherm – as opposed to a wafteron!

Another neologism in Walker’s ‘cartoonucopia’ is Indotherm – wavy, rising lines used to represent steam or heat; when the same shape is used to denote smell, it is called a wafteron.

Before the grawlix was the unnamed ‘grawlix’
Mort Walker gave the world a recognisable name to identify what is today a standard cartoonist’s device for representing profanity in a non-verbal way, but the use of @#$%&! wrapped in a speech bubble far predates modern comic strip practitioners like Walker. Ben Zimmer has researched early US comic strip history to find that the device features in comics goes as far back as 1902 – the work of Rudolph Dirks employed the grawlix in his strip (he just didn’t it that, or anything!). In Dirk”s “Katzenjammer Kids” for the New York Journal… the pioneering cartoonist “initiat(ed) the use of both speech balloons and…symbolic swearing”. This was emulated by a contemporary cartoonist of Dirks, Gene Carr, at about the same time (1903). Zimmer himself eschews the random ‘Grawlix’, preferring the term Obscenicon💢[Zimmer].

Grawlixes and other such graphic devices are the indispensable tools of cartoonists and comic artists looking for a way to economise with words and convey an emotion succinctly. They are non-verbal and thus all about visual cues…they can convey obscenities without recourse to the offending words themselves, or they can summarise an action or reaction instantly with an image that obviates the need for words and a lengthy explanatory sentence.

❆∺❆∺❆∺❆∺❆∺❆ ❆∺❆∺❆∺❆∺❆∺❆ ❆∺❆

Interjections

Interjection: is a part of speech using words solely designed to convey (often strong) emotions (reinforcing meaning or feeling). It conveys the emotion, sentiment or feelings of its speaker [‘What is An Interjection?’, (Your Dictionary), www.grammar.yourdictionary.com].

Another way of characterising the interjection is through its syntactic position. It is “an exclamation inserted into an utterance without grammatical connection to it” [ibid.]. Interjections are the tools of casual or creative communication, they have an informality to them, and in many cases an outright ‘slanginess’ to them (eg, ‘Jeez’, ‘Holy cow!’ (or ‘mackerel’), ‘Fiddlesticks!’, ‘Baloney!’, ‘Bingo!’, ‘Mama-Mia!’).

All contemporary engagers in social media are (over)familiar with exclamations like ‘LOL’ and ‘OMG’ (case optional) or ‘Ha-ha’ which infest the online world of communications like locusts at harvest season⊛. Interjections are exhaustive in number and heterogeneous in nature. They can be used to communicate a broad spectrum of different feelings – from anger and frustration (Argh) to sadness or sentimentality (Aw) to confusion (Huh!) to disgust (Yuck!) to mockery (Whoop-de-doo⊡) to indifference (Meh) to surprise (Wow!) to excitement (Woo-hoo!) to triumph (Yay!) not to be confused with the affirmative ‘Yea!’ [Fleming].

Interjections are usually positioned at the start of the sentence, occasionally at the end (the purpose being to maximise the message’s impact or effect). And like the sound themselves, most interjections can be strengthened by elongating them [Vidarholen] – adding one or more extra w’s to Aw gives weight to the degree of empathy you want to convey to your interlocutor; similarly using more than one Ha-ha is interjector code for turning up the laughter gauge! Putting an exclamation mark after the interjection is not mandatory but is often employed in the spirit of the lack of restraint that characterises this part of speech. After all, interjections are at their core exclamations – the appended ! goes with the territory!(Image credit: www.7esl.com)

PostScript 1: “Onomatopoeic interjections”
Onomatopoeic words or phrases are ones that imitate the sound of a thing or action, splash! is therefore onomatopoeic, it is also an interjection. Interjections represent emotion and can usually be distinguished from onomatopoeia which represents sounds, although there is clearly some overlap between the two. Another point of difference is that an interjection is syntactically isolated, it has no grammatical connection with the rest of the sentence⌽.

PostScript 2: Batman – Holy interjections with graphics!
The cult 1960s television series Batman is a veritable feast of interjections…in just about every episode Boy Wonder Robin, with excruciating monotony, specialises in uttering interjections of the “Holy ……” kind. Robin would pick the opportune moment to breathlessly interject with “Holy Switch-a-Roo”, “Holy Superlatives”, “Holy Cliche” or whatever other topical word pertaining to the “Dynamic Duo’s” particular predicament de jour [Oxford Dictionaries Blog].

The sublimely ridiculous Bat Fight scenes in the TV show are replete with interjections…as Batman and the arch-villains land thunderous blows on each other, corny graphics flash up with words representing the pugilistic action (SOCK! AIMEE! BIFF! WHAMM! KAPOW! THUNK! BANG!). Interestingly Batman’s art department incorporated some comic strip style graphics into the flashing word cards (eg, stars within the word SOCK! signifying the effects of being ‘socked’, ie, dazed, dizzy – akin to a kind of squean? KAPOW! with a bulls-eye target inside the O)

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❉ placed in dialogue boxes above the characters’ heads (Walker calls these “Maledicta balloons”)
¤ a character with both a squean and a spurl (a vertical upward-spiralling coil) above his or her head is more than a little drunk, they’ve had a ‘skinful’ in fact! [Brownlee]
⊛ its unquantifiable definitively, but an empirical survey of the various avenues of social media would confirm an upsurge in interjection usage in everyday communications
💢 Urban Dictionary describes ‘oscenicons’ as “like a emoticon, but for profane words”
⊡ especially mocking someone who is trying to impress
⌽ the Onomatopoeia Dictionary lists a number of words that can represent both forms of expression, eg, wham, phew, shoo, shush, ha-ha, geez

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References:
J Brownlee, ‘Quimps, Plewds, And Grawlixes: The Secret Language Of Comic Strips’, (Co. Design), 15-Jul-2013, www.fastcodesign.com
Grace Fleming, ‘Interjections’, Thought Co, 23-Apr-2015, www.thoughtco.com
Richard Nordquist, ‘What the @#$%&! Is a Grawlix?’ (Thought Co), 02-May-2017, www.thoughtco.com
B Zimmer, ‘How did @#$%&! come to represent profanity?’, Slate, 09-Oct-2013, www.slate.com
‘Grawlixes’, (World Wide Words), www.worldwidewords.org
The lexicon of comicana’, Wikipedia, http://en.m.wikipedia.org
‘Dictionary of Interjections’, www.vidarholen.net
‘From “Gadzooks” to “Cowabunga”: some episodes in the life of the interjection’, Oxford Dictionaries, www.blog.oxforddictionaries.com
Onomatopoeia Dictionary A-Z, (Written Sound), www.writtensound.com
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