Showing posts with label austria. Show all posts
Showing posts with label austria. Show all posts

Tuesday, 18 January 2011

A stain on the wall


Photo by Ayman Mohyeldin: “in govt office on the wall was a stain from picture that was recently removed Guess whose #tunisia”.

From Erich Kästner’s wartime diary, Notabene ’45, an excerpt (translated by Mr Verstappen) describing a town in Austria immediately after the Nazis’ defeat:
Everywhere the swastika was torn from the Hitler flag. Everywhere white bed sheets were cut up. Everywhere the farmers’ wives stitched the red and white bars trimly together on their sewing machines.

[...] Darker patches on the walls told us how easily wallpaper fades and how large Hitler’s portrait had been. In some living rooms the father of the family stood in front of the mirror, made strange faces and shaved, without any feelings of piety, his tertiary sex characteristic, the Hitler moustache, from his upper lip. [...] Now that the light shines out again, there is also light shining in.

Photo copyright © Ayman Mohyeldin 2011.

Monday, 27 September 2010

Radio in a bottle


I only recently came across the Speechification radio blog, via a post by illustrator Stephen Kroninger on the case of The Gorbals Vampire, a story of children, comics, and censorship, that began in a Glasgow graveyard in 1954, and led to the Children and Young Persons (Harmful Publications) Act 1955, a law that is still in force. A BBC Radio 4 documentary on these bizarre events is preserved at Speechification.

UPDATE 19th October: Speechification has gone off the air, along with its archive. I’m leaving the dead links in place in case of some future change of heart. You might also find cached copies of the blog via Google useful.
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Debunking the Islamisation Myth is a substantial attempt by Edmund Standing to distinguish between rational concern about radical Islamist movements, and irrational fears of Britain or other European countries being somehow conquered by political Islam, either via immigration or via conversion. Edmund Standing’s writings are mainly about the extremists of Britain’s racist far right, but he has also written on the extremism of political Islamism, and the interactions between political Islamism and the kitsch element on the left.

In the past I’ve disagreed with Standing’s views on immigration. I don’t know if his thoughts on that have now changed, but this current effort is a good attempt to tackle the problem of the racist right using concern over the extremist Islamist right to gain support for their divisive politics. Some reactions to it here.

Edmund Standing is a frequent contributor to Harry’s Place, a blog which has itself often been criticised for failing to adequately distance itself from racism and religious bigotry in its ongoing effort to cover extremist Islamism in the UK, this criticism being mainly in relation to the commenters it attracts. More on that topic by Flesh is GrassMarko Attila Hoare, and Poumista.

Speechification has two BBC documentaries that complement the above particularly well: from Archive on 4, Hate against Hope, on the struggle against racist extremists in London’s East End in the 1970s and ’80s, and Turkey in Europe, on migration and Islam in Austria and in the Balkans.
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After that, a break for some music. Speechification is not just talk, here’s a Radio 3 documentary on outsider composer Moondog. There’s hours more Moondog radio with Irwin Chusid on WFMU here and here, and Mr Chusid blogs Moondog here.
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More recently on the WFMU blog, The Comedy Writer That Helped Elect Richard M Nixon, on the superficially counter-culture TV show Rowan and Martin’s Laugh-In, its head writer Paul Keyes, and the media team of TV and ad men he worked with on Nixon’s campaign. (Spotted by Paul.)

The post details a substantial bit of American political and media history, and reading it is not easy in the WFMU blog format of white text on black. I printed the whole thing out, and it was worth the effort.

The post also goes into the Nixon White House campaign against another TV comedy show, The Smothers Brothers Comedy Hour. If, like me, you were unfamiliar with them, may I recommend the following clips in order of ascending madness: Boil That Cabbage Down, a folk song from Israel, and My Old Man.

And to wash that down, one last item from Speechification, The Life and Crimes of Lenny Bruce, a BBC Radio 3 documentary from 1996.
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The illustration for this post is a detail from my cover art for The Chesterfield Arrangements, music by Raymond Scott performed by The Metropole Orchestra with The Beau Hunks.

Sunday, 16 August 2009

Dublin-Munich-Thessaloniki-Athens


From Dorothy Ann Walsh:

My visit to Greece started in a train in Munich. The roofs of the sleeping carriages belonging to the Greek railways were covered in ice which hung in thick, compact garlands down the sides and coated the windows. It was the last day of February 1988.


Inside, the carriage was dirty and the whole train was overheated by a system which could not be operated manually. Luckily, departure was delayed as I was late due to heavy, snowbound traffic. In our journey south, we did not leave the heavy snows until southern Austria and even then saw snow-powdered fields on our way through Yugoslavia.

There was no food or water available on the train - The Acropolis Express to Athens - and nothing available at most stations where the water taps were also frozen.

A couple, mother and son, joined me in the compartment at Villach, Austria, who were on their way to Israel. The woman asked me if the compartment had been so dirty in Munich. I, the sole occupant, answered yes, only slowly working out the implications of an answer in the negative.

She was a very bossy lady which had its positive side in that she kept the swarms of people who joined the train at every stop in Yugoslavia from entering the compartment, got us extra supplies of thin blankets for the night and requisitioned a cup of coffee for us from the conductor in the morning.

At around 6 a.m. we were standing at some remote place in Yugoslavia where nothing was visible except the station. I was woken by the sound of stones rustling as if we were at a beach where the pebbles were being moved to and fro by the tide. When I looked outside there was no beach in sight, we were obviously inland; the sound was being made by children who ran up and down the railway line crunching the rockfill underfoot as they begged for food from the passengers. They were poorly clad in a motley assortment of clothes and shivered from the early morning cold.

After Skopje wild flowers started to appear, then trees in blossom, and people planted what looked like lettuce plants in the fields. A teddy bear was hoisted over a vineyard, stick in hand to ward off invaders.

We crossed the border into Greece after Georgelija. The air had become warmer, the fields now seemed bigger and the clutches of houses did not seem to be as noticably crumbling as heretofore. We arrived at Thessaloniki at 3.00 p.m. and I put on my pack and went room searching.

I found a room with mice for the night and the next day took the bus to Pella. I was the only visitor on the site. The day was sunny but a cold wind swept down from the mountains in the north west. The museum across the road from the site was officially closed but the keeper let me in. There was not much to see as they were in the process of packing the exhibits for removal to Thessaloniki - why I don’t know. However the floor mosaics from the site were still intact on display on the walls: the Staghunt and the Dionysos mosaic.


The next day I visited the Archaeological Museum in Thessaloniki and saw the treasures from Derveni, Vergina and Stavrolis (4th century B.C.) and Sindos (6th and 5th centuries B.C.) besides Roman portraiture sculpture from 2nd and 3rd centuries A.D. The Museum also gave me a wonderful introduction to Macedonian tomb architecture of the 4th century B.C., notably from Aghia Paraskevi, Potidaea and the most elaborate example from Lefkadia. Unfortunately the section on Greek sculpture was closed due to staff shortage I was told and I only got to see some 4th century B.C. models from the doorway. I took slides of these for reference. In the basement of the museum there was a wealth of Etruscan ware. Here, amongst others, there was a krater S60, showing a Greek killing a Persian in a composition similar to that of Achilles killing the Queen of the Amazons.


In Thessaloniki itself of course there was the Arch of Galerius (3rd century A.D.), the Roman Agora and Markets to be seen besides a number of other sites including the many Byzantine churches and sites.

The next day I left for Athens leaving the mice in sole control of the room. The train was of a lovely old well-polished type of wood and metal and probably plastic-covered seating which was called an express. As far as I could see during our journey this meant that the train didn’t stop at all the little towns and villages, it stopped between them. The other notable thing about the journey was the wealth of sites and places one was passing without seeing. However passing and seeing Mount Olympus with Dion nestling at its foot was a thrill.

At 4 p.m. that evening we reached the capital. Athens was superb. The weather was pleasant for excursions and the rich abundance of sites and artefacts gave tremendous satisfaction.

Finding my way round was greatly facilitated by meeting Rev. Prof. Gerry Watson of Maynooth at the Gennadion who introduced me to Prof. George Huxley of the American Library and to Mr. Guy Sanders of the British School. Through the recommendation of Prof.Watson, the kind assistance of Prof. Mitchell at Trinity and the helpfulness of the staff at the British School, I became a member and moved into the School, where I made my base for archaeological excursions for visual documentation in Athens and was delighted to make use of the wonderful, unrestricted library facilities in my chosen research of figures of Aphrodite in the round in Greek sculpture of the 4th century B.C. The Director of the School Sir Hector Catling was most kind with helpful advice, and open in his invitation that I should use the facilities in the future.

My trip to Greece was curtailed when I fell on the site at Corinth on the first day of my tour of the Peleponnese, pulling the ligaments in my foot. I did get some more, helpful library work done, but my movement was too restricted for museum or site visits and therefore I returned to Germany for treatment for my foot.

The trip, which was aided by the Stanford Travelling Scholarship, was a worthwhile extension to my study at the Institute of Classical Archaeology in Munich for both library and visual work and I am grateful to Trinity for having given me the opportunity to enjoy the experience of a worthwhile and rewarding visit to Greece.

As a postscript I might add that before I moved into the British School, I stayed at a small, clean, comfortable and very reasonable hotel in Plaka named Hotel Ideal, Odos Eolu & Voreou 2, Athens, Tel. 32 13 195, which I would recommend to any student or visitor.

Dor Walsh, Limerick, Autumn 1988.

Thursday, 8 May 2008

A Salzburg Comedy

On the subject of book design, here's something you don't often see, a novel with colour illustrations, and it's not a children's story either. Erich Kästner's A Salzburg Comedy is a light romantic tale, with beautiful pictures by his regular collaborator Walter Trier, eight interior paintings as well as the dust jacket image above.
The book was first published in Switzerland in 1938 at a time when Kästner was banned from publishing in Nazi Germany. Despite witnessing his books being burned by the Nazis, he'd chosen to stay in Germany, and remained there 'til the end of the war.
The English edition was first published in 1950. From Erich Kästner's foreword:

When I was turning over in my mind this little book, during the Salzburg Festival of 1937, Austria and Germany were cut off from each other 'for all time' by boundary-posts, customs barriers, and separate issues of postage stamps. When, in 1938, my book was published, the two countries had just been united 'for all time', with one common set of stamps and no dividing barriers of any sort. And so my book slipped hurriedly out of the country to avoid confiscation. Habent suafata libelli; in truth books have their own fates! Now, as my book is about to appear in a new edition, Germany and Austria are again separated 'for all time'. Again there are boundary posts, customs barriers and different issues of stamps. It seems to me that recent history is on the side of stamp-collectors rather than authors. And if that implies a mild reproach, it is directed against recent history and not against stamp collecting.

For those curious about stamps from this time, there's an interesting permanent exhibit in the British Library, by the café.

Also worth visiting: Harrie Verstappen's Erich Kästner page.

More Walter Trier art online here, and a gallery of his covers for Lilliput magazine here. A nice book of his work for Lilliput and elsewhere is here, and a catalogue from the Art Gallery of Ontario is available here. The catalogue shows examples of his large collection of toys as well as his illustration work. An essay on Walter Trier and fellow illustrator Fritz Wegner by Gillian Lathey is online here as a PDF, and in printed and bound form in issue four of the Yearbook of the Research Centre for German and Austrian Exile Studies, also on sale here.

Gillian Lathey also writes on Erich Kästner here.

All my posts on Erich Kästner are here.