Laurence Peter and Raymond Hull, as they appear on a Vancouver Public Library plaque outside the Metro Theatre in Marpole, Vancouver.
British born playwright Raymond Hull (1919 – 1986) and Vancouver born hierarchiologist Laurence Peter (1919 – 1990) met in a theatre lobby during an intermission, in the early 1960s. They agreed that they were watching an atrocious production.
Discussing the reasons for this theatrical disaster, Peter told Hull that employees rise to their level of incompetence. Workers keep getting promoted until they stop performing well. Later, the two men collaborated on their 1969 best-seller, The Peter Principle: Why Things Always Go Wrong, which focused on this key insight. The book was rejected by more than a dozen publishers before being accepted, and becoming a best-seller.
Many TV mockumentaries/ sitcoms throughout the world have been called The Office, including a BBC production 2001-3, followed by an NBC one 2005 – 2013. These series were directly inspired by The Peter Principle, and showed incompetent people in action. The same is true of the comic strip Dilbert, written and illustrated by Scott Adams (1957 – ) since 1989. Adams gained inspiration from his banking career at Crocker National Bank in San Francisco between 1979 and 1986.
The Peter Principle describes organizational dysfunction. Companies frequently have the wrong person in the wrong place. Yet, Peter was uncertain about the incompetent people at the top. In a 1984 television interview on CBC Television with Carole Taylor (1945 – ), he admitted.”I’m never sure whether our world is run by idiots who are sincere or wise guys who are putting us on.”
Taylor was probably an appropriate interviewer. She has had a dubious career. She was Miss Toronto 1964; an independent member of Vancouver City Council from 1986 to 1990; Chair of the Vancouver Board of Trade from 2001 to 2002; Chair of the Canadian Broadcasting Corporation (CBC) from 2001 until 2005; British Columbia’s Minister of Finance from 2005 until 2008; Chancellor of Simon Fraser University (in Burnaby, British Columbia) from 2011 until 2014. From my perspective, her most notable achievement was the introduction of the first carbon tax in North America, introduced in 2008. It was based on Sweden’s carbon tax, that successfully reduced carbon dioxide emissions from transport by 11%.
Most people think The Peter Principle was written as satire. Yet, even satire can contain truths. Researchers have undertaken studies based on Peter and Hull’s treatise, and then written reports about remedial actions that can prevent workers from rising to their level of incompetence.
A 2009 study by Italian researchers offered a radical approach to the Peter Principle problem. It found that companies may be better served by leaving things to chance and promoting people at random.
A 2018 study looked at data from more than 50 000 sales workers at 214 firms and “found evidence consistent with the ‘Peter Principle.'” It found organizations were more likely to promote top sales staff into managerial positions even if the most productive worker wasn’t necessarily the best candidate.
Some organizations counter the Peter Principle through a dual track approach that allows for high performers to advance their careers = get income increases and/or fancy job titles, without necessarily having to climb the corporate ladder.
Some organizations have tried to tackle the Peter Principle problem by focusing less on a worker’s past performance and more on their potential. They use what’s called the nine-box method to evaluate prospective leaders, using a three-by-three grid that weighs an employee’s accomplishments and their future potential. “Women were actually getting slightly higher performance ratings within the nine-box system, but they were getting sharply lower potential ratings. So it seems like potential is something very difficult to forecast, but it’s an area where various biases can sneak in.”
Peter’s career
Peter worked as a teacher in Vancouver between 1941 and 1965, before becoming an education professor at the University of British Columbia. In 1966, Peter moved to California, where he became an Associate Professor of Education, Director of the Evelyn Frieden Centre for Prescriptive Teaching, and Coordinator of Programs for Emotionally Disturbed Children at the University of Southern California in Los Angeles.
Peter also wrote: The Peter Prescription: How to Make Things Go Right (1972), The Peter Plan: A Proposal for Survival (1976), Peter’s Quotations: Ideas for Our Times (1977), and more.
He wrote several books aimed at teachers: Prescriptive Teaching (1965); Competencies for Teaching (1975) in four volumes: 1 = Individual Instruction, 2 = Classroom Instruction, 3 = Theraputic Instruction, 4 = Teacher Education.
His insights into teaching are expressed even on the opening page of The Peter Principle, where he writes that he learned early in his career as an educator that “a fair number of teachers, school principals, and superintendents appeared to be unaware of their professional responsibilities, and incompetent in executing their duties.”
Hull’s Career
Hull was born in Shaftesbury, Dorset, England. He emigrated to Vancouver at the end of World War II, and worked as a waiter, janitor and civil servant. In 1949 he studied creative writing at the University of British Columbia and discovering he had an aptitude for it. After graduation, he eventually began writing television screenplays for the CBC. He later wrote for the stage and, in time, formed The Gastown Players.
His literary output included plays: The Drunkard (1967); Wedded to a Villain (1967); Son of the Drunkard = The Drunkard’s Revenge (1982). Other works were: Profitable Playwriting (1968); How To Get What You Want (1969); Writing for Money in Canada (1969); Effective Public Speaking (1971); Gastown’s Gassy Jack (1971) (co-authored with Olga Ruskin (nee Bruchovsky, 1931 – 2010); How to Write a Play (1983). in addition to co-authoring The Peter Principle (1969), with Laurence Peter.
Hull and Peter’s names lives on
In 2006 Vancouver Public Library installed 26 literary plaques. One of these was outside the Metro Theatre, 1370 S.W. Marine Drive, which was the location where Peter and Hull met. It reads:
“In a hierarchy every employee tends to rise to his level of incompetence.”
From The Peter Principle: Why Things Always Go Wrong
One of the most famous non-fiction books written in British Columbia, The Peter Principle (1969), was co-authored by Raymond Hull and Laurence J. Peter after the pair met as strangers while attending an amateur production at the Metro Theatre. In the lobby, during intermission, Hull mentioned the production was a failure. Laurence J. Peter, an Education professor at UBC, suggested to Hull that people invariably rise to their level of incompetence. In their international bestseller that resulted, The Peter Principle, Peter described his theme as “hierarchiology,” a term now commonly used when analyzing systems in human society. Hull described the content as, “the tragi-comic truth about incompetence, its causes and its cure.” Dr. Laurence J. Peter, who was born in Vancouver and worked for the Vancouver school system from 1941 to 1965, left B.C. and worked in the Education faculty of the University of Southern California. He wrote 11 more books and died in 1990. Raymond Hull was a writer and also an actor and playwright. He died in 1985, bequeathing most of his royalties from six plays and 18 books to the Canadian Authors Association, and most of the rest of his estate, approximately $100,000, was given to the Vancouver Public Library.
[end of inscription on plaque]
Raymond Hull Quotations:
All marriages are happy. It’s the living together afterward that causes all the trouble.
He who trims himself to suit everyone will soon whittle himself away.
The applause of a single human being is of great consequence.
Laurence Peter Quotations:
The noblest of all dogs is the hot dog; it feeds the hand that bites it.
A man doesn’t know what he knows until he knows what he doesn’t know.
Work is accomplished by those employees who have not yet reached their level of incompetence.
The problem with temptation is that you may not get another chance.
Every girl should use what Mother Nature gave her before Father Time takes it away.
An economist is an expert who will know tomorrow why the things he predicted yesterday didn’t happen today.
The reason crime doesn’t pay is that when it does, it is called a more respectable name.
Competence, like truth, beauty, and contact lenses, is in the eye of the beholder.
The purpose of my books is not to proclaim that I know all the answers, or plan to save the world; but by writing these stories, the idea is to turn people on to thinking in terms of solutions, rather than in terms of escalating problems.
Peter was fond of quoting the wisdom of American humourist James Boren (1925 – 2010): When in charge, ponder. When in trouble, delegate. And when in doubt, mumble. Boren founded the International Association of Professional Bureaucrats and, in 1992, was the official candidate for President of the United States, for the Apathy Party of America, with his campaign slogan: I have what it takes to take what you’ve got. He lost to Bill Clinton.
Homogenized Milk
Sometimes Peter explains basic concepts using analogies: “the cream that rises to the top turns sour.” If this is still too difficult, he paraphrases it: ‘The cream rises until it sours.’ Unfortunately, many of the people he was trying to explain this to, have probably drunk homogenized milk all of their lives, and have no understanding of how milk and cream start off as separate fractions.
Peter probably had no difficulty explaining his concepts to members his own generation, people who had grown up with standard milk who intuitively knew that cream is lighter than milk. In dealing with younger people there are experiential gaps, often called generation gaps. Bridging these gaps can be difficult.
Auguste Gaulin (1857 – 1922) invented an emulsifying machine, he called a homogenizer. Its three piston pump forced milk through a narrow tube under pressure. This action broke fat globules into smaller sizes to prevent separation and rising. The machine was patented in 1899, but homogenization did not become popular with the general public until the 1920s, when large quantities of homogenized milk were purchased and people began to notice the quality difference.
In North America, the use of homogenized milk began at The Torrington Creamery, Torrington, Connecticut in 1919, but did not spread. By 1927, The Laurentian Dairy, in Ottawa Ontario, started to produce homogenized milk. By 1932, milk plants in many Ontario cities and towns offered homogenized milk for sale. In the United States, enthusiasm for the product was generated by William McDonald, Flint, Michigan, in 1932, who introduced homogenized milk there. Through unique experiments and demonstrations involving regurgitation studies, attention of the public was drawn to homogenized milk. Sales by the McDonald Dairy Company, in the midst of the economic depression, stimulated much interest throughout the United States.
Fountain, found by R. Mutt = Marcel Duchamp (1887 – 1968) photograph by Alfred Stieglitz (1864 – 1946) at the 291 (Art Gallery) following the 1917 Society of Independent Artists exhibit, with entry tag visible. The backdrop is The Warriors by Marsden Hartley (1877 – 1943).
Industrial art began as the use of mechanical devices to create artworks. As such it is also known as mechanical art. I use it in a slightly different context to refer to industrially made objects that have an attractive appearance. Some people may enjoy watching this history of industrial design, to provide a conventional story of how it evolved.
For me, the most enlightening book about industrialism has been written by Terje Tvedt (1951 -) a professor of geography at the University of Bergen, Historiens Hjul og Vannets Makt: Da England og Europa Vant og Kina og Asia Tapte (2023). This could be translated as: The Wheel of History and the Power of Water: When England and Europe Won and China and Asia Lost. Tvedt has also written a book in Norwegian prior to that, Verdens historie: med fortiden som speil (2020), that I translate as World History: with the past as a mirror, which could have been published in English as Water and Society: Changing Perceptions of Societal and Historical Development (2021). I have not seen this English book, so there is some uncertainty.
In the 2023 book, the most important source of power was water, using a water wheel. England was able to develop this because it had stable rainfall, along with a relatively flat geography. These contributed to the use of canals to distribute industrially produced products. Later, steam became an increasingly important source of power. Now, it is electricity.
One starting point for industrial art is the Dada movement. Dada was an early 20th century art movement, arguably first at the Cabaret Voltaire in 1916 in Zürich, Switzerland, founded by Hugo Ball (1886 – 1927) and Emmy Hennings (1885 – 1948). Dada also emerged at about the same time in Berlin and New York, but later in Paris. It flourished until the mid 1920s.
Dada was primarily a reaction to the first World War, involving artists rejecting the aesthetics of modern capitalism. Instead they incorporated nonsense, irrationality and protest into their works. Performance art, was especially important, but gradually it incorporated visual, literary and sound media, including collage, sound poetry, cut-up writing and sculpture. There was a strong dislike of violence, war, nationalism and party politics.
There is a lot of speculation, but no consensus, on the origin of the name Dada. An unlikely story is that Richard Huelsenbeck (1892 – 1974) slid a paper knife randomly into a dictionary, where it landed on dada (French) = hobby horse.
Other unconventional art schools emerged at about the same time: Marcel Duchamp (1887 – 1968) around 1913 has been described as dada, avant-garde and post-impressionist. I attribute his work, Fountain (1917), photographed by Alfred Stieglitz (1864 – 1946), as one of the first pieces of industrial production, to be labelled a work of art.
Dada is important for its rejection of the correlation between words and their meaning. In much the same way, industrial art rejected the correlation of a work’s origin (as a utilitarian object) and its resurrection as a work of art.
Not all Dada movement members worked with industrial art, those who approached in other ways include: Jean Arp (1886 – 1966) known as a sculptor, painter and poet; Johannes Baader (1875 – 1955), an architect and metalworker, known as the Dada crowbar; Max Ernst (1891 – 1976), especially for frottage = pencil rubbings of textured objects and relief surfaces to create images; Elsa von Freytag-Loringhoven née Else Hildegard Plötz (1874 – 1927), especially for her anti-patriarchal activism; George Grosz, his de-Germanized name, born Georg Ehrenfried Groß (1893 – 1959), especially for his painting Eclipse of the Sun (1926), depicting headless government ministers who cannot think for themselves, but obey the commands of the capitalists and the military; Raoul Hausmann (1886 – 1971), who regarded destruction as an act of creation; John Heartfield born Helmut Herzfelt (1891 – 1968) who pioneered the use of photomontages, especially for making anti-Nazi and anti-fascist statements; Hannah Höch (1889 – 1978), especially known for co-inventing photo-montages, and for her dismantling of the fable of the New Woman: energetic, professional, androgynous, ready to take her place as man’s equal; Francis Picabia (1879–1953) avant-garde painter, writer, filmmaker, magazine publisher, poet and typographist; Man Ray = Emmanuel Radnitzky (1890 – 1976) an American in Paris, known for his photographs, especially photograms that he called rayograms = photographic images made without a camera by placing objects directly onto the surface of a light-sensitive material such as photographic paper and then exposing it to light; Hans Richter (1888 – 1976) painter, graphic artist, film producer and author of the book Dadaism (1965) about its history; Kurt Schwitters (1887 – 1948) especially noted for working as a draftsperson that influenced his later work, inspiring him to depict machines as metaphors of human activity; Sophie Taeuber-Arp (1889 – 1943) painter, sculptor, textile designer, furniture and interior designer, architect, and dancer;Tristan Tzara (1896–1963) essayist, performance artist, journalist, playwright, literary and art critic, composer and film director; and Beatrice Wood (1893 – 1998) ceramicist an sculptor.
The key to industrial art is the process of creating new forms by working with industrial materials, those that are produced at mass scale for everyday use. Many are made of metal, such as bolts and pipes. Wood is more problematic, because it is closer to nature. Cardboard, however, is one or two steps further away. Many claim that crap materials are even better, because they have completed their use as an industrial material and are freed to become an art form.
Charles Harrison Townsend (1851 – 1928) described industrial art as the use of materials and objects combined together in a way that creates new meaning. Not everyone appreciates this approach. Nikolaus Pevsner (1902 – 1983) in Pioneers of Modern Design (1949) referred to Townsend as reckless. Alastair Service (1933 – ) in Edwardian Architecture (1977) called Townsend a rogue architect.
Although it is difficult to define, many people have tried to categorize and define industrial art. In 1947, Larry Lankton created the first definition of industrial art when he referred to it as “an expression of the machine age.” While there are many different ways to interpret the term industrial art, it is generally agreed upon that it tends to incorporate aspects of modernism, specifically cubism and constructivism. According to wikipedia, in cubism, subjects are analyzed, broken up, and reassembled in an abstract form. Instead of depicting objects from a single perspective, the artist depicts the subject from multiple perspectives to represent the subject in a greater context. Similarly, constructivism was an early twentieth-century art movement founded in 1915 by Vladimir Tatlin (1885 – 1953) and Alexander Rodchenko (1891 – 1956) that is abstract and austere. Constructivist art aimed to reflect modern industrial society and urban space by rejecting decorative stylization, in favour of the industrial assemblage of materials. Constructivists were in favour of art for propaganda and social purposes. They were associated with Soviet socialism, the Bolsheviks and the Russian avant-garde.
For some time after its beginning, industrial art remained mostly an underground movement which encompassed various forms and styles from all over the world. In 1952, the Museum of Modern Art featured many works from this movement in a show called “Machine Art.” This exhibition moved from New York City to Los Angeles and San Francisco before finally closing in 1953.
Artists began using industrial materials for their work as early as the late 1800s with artists such as Marcel Duchamp who used glass as part of his ready-mades.
Today, industrial art can refer to two separate things. First, it can refer to any form of visual art that is made with found objects rather than manufactured ones. This umbrella term was coined by William Morris (1834 – 1896), for a wide variety of forms of modern art. It is closely associated with the Arts and Crafts Movement because both movements were heavily influenced by medieval craft guilds.
Some people site the major difference between industrial art and traditional fine art is the former’s focus on utilitarian products. Industrial artists work in a wide variety of media including ceramics, glass, leather, metals and textiles. Their works can be large sometimes even monumental in scale.
Louis Comfort Tiffany (1848 – 1933) is often cited as an inspiration for the movement, especially his use of stained glass in lamps, vases and windows. His designs were typically functional, yet beautiful.
Industrial art was a result of industrialization and the changes it brought. Many people, especially factory workers were profoundly unhappy with their situation. This forced artists to think about new ways to represent the world.
Industrial art was created by both amateur and professional artists. One of the first industrial art objects was designed was the door handle. These often used human, animal and plant elements in their design.
Found (or repurposed) objects were those that had been transformed from their original function into something else, preferably with an artistic element. Here, the artwork differed more in terms of its use of materials, rather than by its structure. Discarded materials were especially useful. Some cited examples include arranging tin cans in geometric patterns and repainting old tools/ machines with bright colors.
At some point, people interested in industrial art will be encouraged to reflect on the relationship between 1) the arts and crafts movement, 2) art nouveau/ jugendstil and 3) art that is created to be used in industrial settings. The focus is on objects that are to be seen by the public, usually inside a factory or store. It also includes graphics created for use as advertising and packaging. This type of art grew out of the Arts and Crafts movement of the 19th century, which was an effort to bring beauty into manufacturing. Industrial design, as an attempt to create beautiful things for use in industry, took off after World War I when many people were seeking a substitute for the ornate designs of Art Nouveau. The style became especially popular in America during the 1920s due to two trends: the rise in popularity of machines, and an emphasis on modernism.
A second perspective on industrial art = factory art = machine art, is a form of modern art that utilizes industrial materials and processes. Here, the term industrial art was coined in 1912 by the critic and artist Elie Nadelman (1882 – 1946), a sculptor and collector of folk art, used the term to describe some works by Alexander Archipenko (1887 – 1964).
Anno 2025, Industrial art is not a term that is used. Instead, the focus is on industrial design creating products that people want and, sometimes even need. It’s not just about making an object look good. It has to be easy to use, safe for the environment, affordable and durable.
Treat this post as a manuscript for a play, with a Prologue and an Epilogue. At one time it was divided into three acts, but the divisions were messy, so it has reverted to a play with an indeterminate number of acts.
Characters (in alphabetical order). Yes, some of the characters are more important than others, and one has mostly been eliminated from the play. The characters are referred to by their first names, to introduce some intimacy to them. I am not certain this is how people in the 19th century treated each other. My 20th century mother said that her mother, Jane Andison née Briggs (1880 – 1972), referred to some of her women friends by Mrs, followed by a married surname. In Norway, everybody is on a first name basis with everybody. Even the Prime Minister Jonas Gahr Støre (1960 – ) is referred to as Jonas. Before him we had Erna (Solberg, 1961 – ). Her personal, but political website is erna.no .
Anne = Julia Sarah Anne Cobden-Sanderson née Cobden (1853 – 1926), a socialist, suffragette and vegetarian. She provided the money (£ 1 600) to start Doves Press.
Bill = William Morris (1834 – 1896), a textile designer, poet, artist, writer and socialist activist, married Jane in 1859.
Ed = Edward Philip Prince (1846 – 1923) an engraver and punchcutter. Wikipedia tells us: Punchcutting is a craft used in traditional typography to cut letter punches in steel as the first stage of making metal type. Steel punches in the shape of the letter would be used to stamp matrices into copper, which were locked into a mould shape to cast type. Cutting punches and casting type was the first step of traditional typesetting. The cutting of letter punches was a highly skilled craft requiring much patience and practice.
Ed2 = Edward Burne-Jones (1833 – 1898), a frequent illustrator of Kelmscott books, based many of his drawings for the wood engravings on his own previous paintings. He valued these works for their decorative value over their illustrative properties, and reviewed them by looking at them upside-down.
Emery = Emery Walker (1851 – 1933), an engraver, photographer and printer, active in many Arts & Crafts organizations including the Art Workers Guild, the Society for the Protection of Ancient Buildings and the Arts and Crafts Exhibition Society. He was also the most experienced person in this story, when it comes to printing.
Jane = Jane Morris née Burden (1839 – 1914) an embroiderer and artists’ model/ muse. She allegedly embodied the Pre-Raphaelite ideal of beauty, and in addition to her husband, was a model/ muse for Dante Gabriel Rossetti (1828 – 1882). She suggested that Tom take up the art of book binding.
John =John Carruthers (1836 – 1914), a railway/ railroad engineer and economic theorist from a Scottish literary family in Inverness, Scotland. He learned how to construct railways in Canada, then applied that art in USA, Russia, Mauritius and Egypt before being recruited by Julius Vogel, Premier of New Zealand, for the great Public Works policy of the 1870s which emphasized railway construction and immigration. John was made Engineer-in-Chief of the new Public Works Department, responsible for railway construction throughout New Zealand.
Tom = Thomas James Sanderson (1840 – 1922), an unemployed barrister, married Anne in 1882. They both took the surname Cobden-Sanderson.
Prologue
Where to begin writing about life as a play? Perhaps with a set/ stage, knowing when people will make their entrances and exits. The details can be filled in later. Sometimes, on a stage there is something visible, larger than life, a distraction that the actors focus upon. They hope future audiences will focus upon it too, when the dialogue gets boring, as each life unfolds. The actors hope this focus will not just change, but improve, with every act.
It is reckless when two people enter into a relationship with each other. Yet, it is done every day. Often it is called marriage where the participants are so consumed with love – a euphemism for sex – that they forget to scrutinize the contract papers, until it is too late. The participation of a third person often results in folly. In business matters this might be a better course of action, because the result of a disagreement, will not be painful head-bashing, but a 2-1 decision resulting in a majority and a minority. In the emotional life of people in the 21st century, this involves separation – divorce – remarriage, or perhaps even a life free of marital constraints.
Kelmscott
Kelmscott Manor is a Cotswold stone house, built about 1570, with a distinctive architecture and craftsmanship, integrated with its setting. In 1871, Bill bought it as a rural retreat, then used the same name for his London town house when he bought it in 1879. He then gave the same name to his printing venture when it was started in 1891.
Kelmscott Manor Photo: Boerkevitz, 2006-08-01Kelmscott House, previously known as The Retreat, originally owned by Francis Ronalds (1788 – 1873) then by George MacDonald (1824 –1905) who wrote At the Back of the North Wind (1871) and The Princess and the Goblin (1873), while living there. Bill and Anne lived there from 1878 to 1896. Photo: Bernard Burns, 2013-09-30.
In the late 1870s, Emery and Bill became friends. Both were socialists and lived near each other. Emery’s printing expertise and collection of 16th-century typefaces inspired Bill and Emery to become business partners, creating a printing business in 1891. It published 53 books in 66 volumes between its founding and 1898.
Most of the books published were unillustrated octavos, referring to the page size, from 5 by 8 inches to 6 by 9.5 inches (about 12.5 to 15 cm by 20 to 25 cm), of a book composed of printer’s sheets folded into 8 leaves, making 16 pages. Old-style types were used, with the type printed closer to the spine than the outside edge. This followed the custom of 15th-century printing. A hand press allowed the company to use wood-engraved initials and borders, and to produce a blacker type. The use of dampened handmade paper, creating indentations in the page. These indentations were an important part of the book’s design. Initially, books were sold untrimmed and unbound, assuming that buyers would rebind them. The press only started trimming pages after publishing Biblia innocentium in 1896.
For collectors, several copies of books were printed on vellum = animal skins/ membranes. Compared to paper, this is difficult to print on. Vellum is not parchment. Both use animal skins that have been de-greased and treated for use either in writing or printing or in binding. Neither parchment nor vellum is tanned, so they are not leather. Vellum is an inferior product, manufactured from the entire skin of the animal. It is not split. For this, Bill started using a thick, dark ink. The pressmen had difficulty working with it, so Bill went back to the ink he had used previously. Because of staining he then used a softer ink, that did not dry very quickly. Bill used red ink for titles and shoulder-notes. He experimented with other colors, but did not adopt them.
Emery influenced Bill’s opinions on book design: supporting a return to 15th-century aesthetics, decreasing spaces between words and after punctuation, reducing spaces between words and between lines. While the fifteenth-century books probably reduced spacing to conserve paper, Bill based his preference on the way the printed page looked. Bill said the margins closest to the binding must be the smallest, followed by the head, fore (outer) and tail margins. Medieval printing experts say the difference between the margins was usually less than 20%. Bill’s fore margins were large to accommodate the shoulder-notes recommended by Emery. The inner margins were so little that rebinding was difficult.
Fonts
After deciding to found the press, Bill collected many books printed in 15th century Europe, as well as books on printing and typography. To research typefaces, he bought examples of every fine type he could find.
Many want to attribute Golden Type to Bill. However, it was probably a joint effort between Bill and Emery, but with Bill taking the leading role. They probably started designing Golden Type in 1889. It was a Roman type inspired by a font used by Nicolas Jenson (c. 1420 – 1480) to publish Pliny’s Historicae naturalis, and a similar font that Jacobus Rubeus = Jacques le Rouge (1470 – 1550) used to publish Leonardus Brunus Aretinus’ Historiae Florentini populi. Emery’s company photographed the type at a large scale to help Bill see the shape of the letters. Bill said that designing Golden Type was the most troublesome task he had ever tried. Bill repeatedly traced the enlarged type, until he felt comfortable with his understanding of the design. After Bill drew the the type design freehand, Emery would photograph the drawings and reproduced them at the correct scale. Bill made modifications at every stage. Bill and Emery were at the leading edge of Victorian technology, pioneering photography and enlarged typefaces.
Punches
Ed cut the punches for the type in 1890. These are used to stamp the matrices used to cast metal type. Charles Reed (1819–81) and Sons = especially, Andrew Holmes Reed (1848–1892) and Talbot Baines Reed (1852 – 1893) carried out the casting. The font, in 14-point size, was completed in the winter of 1890–1891.
With Golden Type, Bill did not bother making an italic or bold version and did not include brackets or dashes. The thickness of the font went well with the wood-engravings it often accompanied. Some critics commented that its large size and width discouraged commercial application. For example, Stanley Morison (1889 – 1967) strongly disliked it and criticized its large capital letters. Bill designed three related typefaces: Golden Type, Troy and Chaucer. Troy was described as a semi-Gothic type designed […] with special regard to legibility made for the publication of the Historyes Of Troye in 1892. It was cut at 18 points by Ed. It was also used for The Tale of Beowulf in 1895. The Chaucer typeface was re-cut at 12 points for use in The Order of Chivalry (1893) and The Works of Geoffrey Chaucer (1343-1400). It was edited by Frederick Startridge Ellis (1830–1901), ornamented with pictures designed by Ed2, engraved on wood by William Harcourt Hooper (1834-1912). It was published in 1896.
Bill was influenced by books published by Shoeffer and Zainer. Peter Schöffer or Petrus Schoeffer (c. 1425 – c. 1503) was an early German printer, who studied in Paris and worked as a manuscript copyist starting in 1451, before apprenticing with Johannes Gutenberg. Zainer was active 1468 – 1478. he produced about 80 books including two German editions of the Bible and the first printed calendar. He came to Augsburg from Strassburg.
It should be noted that with the founding of the Kelmscott Press, Bill was increasingly ill and living largely as an invalid. He suffered from gout, and showed signs of epilepsy. In 1891-08, he took his daughter Jane Alice = Jenny on a tour of Northern France to visit the medieval churches and cathedrals. When they returned to England, Bill spent an increasing amount of time at Kelmscott Manor. He sought treatment from William Broadbent (1835 – 1907), a prominent doctor, who prescribed a holiday in Folkestone, a coastal town in Kent, on the English Channel.
Because of the use of wide fonts, the books themselves had to be wide too. Bill bought handmade paper from Joseph Batchelor (1831? – ?) and Son. He was obsessed with the aesthetics of early handmade paper. He used paper from the Ford Mill in Little Chart, Kent, England. The mill had been started in 1776, but was taken over by Batchelor in 1876. It was powered by a waterwheel until the end of the 1920s, when electrical power was used.
Bill had strict requirements for his paper. It had to be made of linen, made with a two piece frame consisting of a mould – essentially a screen that allowed water to leak through, and a more solid deckle. Large quantities of paper were needed for printing each book. Each piece of handmade paper had its own subtle character, that made Bill’s quest for consistency and perfection difficult to achieve. The mill used watermarks designed by Bill. In addition, the paper had to be produced in unusual sizes. Other publishers admired the paper, which lead to imitation. At Bill’s suggestion, Batchelor adopted the name Kelmscott Handmade, for the paper.
In the 1890s, photoengraving made it easy for entrepreneurs to copy Bill’s typefaces and sell pirated typefaces. When an American foundry offered to sell Bill’s typefaces in the United States, Bill refused. Joseph W. Phinney of the Dickinson Type Foundry in Boston sold a Jenson Old Style that was very similar to Golden Type. Satanick, an imitation Troy type, was available for purchase in 1896. Bill’s own typefounders, Charles Reed and Sons , started selling a Kelmscott Old Style type. Subsequently, Sydney Cockerell (1867 – 1962), the Kelmscott Press’s administrator, threatened legal action against these companies.
Decorations
Some of the Kelmscott books are heavily decorated, with motifs similar to Morris’s other designs for upholstery and wallpaper. In 1913, George Holbrook Jackson (1874-1948), journalist, publisher and Fabian socialist wrote: “The Kelmscott books look not only as if letter and decoration had grown one out of the other; they look as if they could go on growing.”
The title pages of Kelmscott books were usually decorated in a Victorian style. Bill initially designed woodblock initials that were too dark or too large for the pages they appeared on, but later became more proficient in proofing his capitals. The Kelmscott books varied greatly in ornaments. For example, The History of Godefrey of Boloyne is commonly regarded as over-decorated. However, the first few books published by Kelmscott were in the opposite direction, politely called sparsely decorated. Bill’s border and capital designs were similar to his wallpaper designs. Many regard them as inappropriate, not illustrative of their associated texts. Medieval texts had delicate illuminations covering their margins. However, the wood engravings Bill made were heavy. They created production problems. The use of the Chaucer typeface, required the hand press to be reinforced with steel because of the weight of the large ornaments. Bill preferred his wood engravers to replicate his designs exactly, even though this was at odds with John Ruskin’s (1819 – 1900) theory that craftsmen should have influence in the final aesthetic product they help produce. Kelmscott books did not have printing on the reverse side of woodblock pages until the Chaucer, despite this separation of text from illustration being precisely what Bill wanted to avoid in his book designs.
Printer’s marks
Bill designed three different printer’s marks for Kelmscott Press. One was a simple text mark in a rectangle used with octavos and small quartos. The Kelmscott mark with a large rectangle and leafy background was first published in The History of Godefrey of Bolyne and was used mostly for quartos. The last printer’s mark was only used in the Works of Geoffery Chaucer.
In July 1896, Morris went on a cruise to Norway with John, during which he visited Vadsø, one of the most northerly and easterly town in Norway, and Trondheim, 120 km south of Cliff Cottage. During the trip Bill’s physical condition deteriorated and he began experiencing hallucinations. Returning to Kelmscott House, he became a complete invalid, being visited by friends and family, before dying of tuberculosis on 1896-10-03.
Legacy
After the closing of the Kelmscott Press, leftover paper and the type fonts were given to the Chiswick Press. The Kelmscott types were sold to Cambridge University Press in 1940. Woodblocks were given to/ deposited in the British Museum. Presses and related equipment were sold to Essex House Press.
Thorstein Veblen (1857–1929), an American economist and sociologist, was a well-known critic of capitalism. In The Theory of the Leisure Class (1899), Veblen developed the concepts of conspicuous consumption and conspicuous leisure. He called Kelmscott’s books a conspicuous waste arguing that they were less convenient and more expensive than regular books, showing that the purchaser had time and money to waste.
Charles Robert Ashbee (1863 – 1942) was involved in book production and literary work, setting up Essex House Press as a Kelmscott Press imitation, and taking on many of the displaced printers and craftsmen. Between 1898 and 1910 the Essex House Press produced more than 70 titles (some sources state a total of 83). He used the same ink, paper, vellum and presses that Kelmscott used. He designed two type faces for Essex House, Endevour (1901) and Prayer Book (1903), both of which are based on Golden Type. William S. Peterson (1939 – ) called Ashbee’s typefaces “ugly and eccentric” but that the books “have a certain period charm”.
Tom worked as a binder in the Doves Bindery, which carried out the pigskin bindings for the Kelmscott Chaucer. Together with Emery, they founded Doves Press and used similar paper and vellum to Kelmscott. Tom disliked the decorative style of the Kelmscott books. Books from the Doves Press had only an occasional calligraphic initials. They created a font that copied those in Nicolas Jenson’s renaissance publications. Their 5-volume folio Bible remains an important landmark in the history of fine press, and their editions of Goethe inspired the formation of several fine presses in Germany. The most prominent of these were Bremer Press, Janus Presse, Kleukens Presse, Ernst Ludwig Presse, and Serpentis Presse.
It is difficult to assess the roles and interactions of the human participants who were responsible for that press. When I attempt to understand the past, I almost always have to refer to Leslie Poles Hartley (1895 – 1972) and a quotation from his most famous book, The Go-Between (1953): “The past is a foreign country; they do things differently there.”Dove Press refers to The Dove, a riverside pub, located in Hammersmith, London. Having avoided alcohol for half a century, I find it difficult to believe that anyone would name something after a pub. Then, I think back to the situation in London in the mid 19th century, and the belief that miasma = bad air, caused disease. John Snow (1813–1858) is important because of his work in tracing the source of the 1854 Broad Street (Soho, London) cholera outbreak, in which he identified the source as a specific public water pump. Yes, one must remember that water can be unhealthy, and beer can be a more appropriate choice, especially in times past.
The Vale Press, founded by Charles Ricketts (1866 – 1931) with Charles Shannon (1863 – 1937), based their types on 15th-century calligraphy. They published literary classics, which allowed them to focus on the design and layout of the works. Together, they also worked with theatrical costume design and production.
Esther Levi Pissarro nèe Bensusan (1870 – 1951) Pissarro née Bensusan founded the Eragny Press with her husband Lucien Pissarro (1863–1944). Thye produced books illustrated with colour wood-engravings. Esther created the wood engravings from Lucien’s designs. Eragny Press shared type with Vale for a time.
The Ashendene Press was a small private press founded by Charles Harald St John Hornby (1867–1946). It operated from 1895 to 1915 in Chelsea, London and was revived after World War I in 1920, but closed in 1935. It specialized in publishing poetry books and folio versions of classic literature.
In 1902, Elizabeth (1868 – 1940) and her sister Lily Yeats (1866 – 1949) joined Evelyn Gleeson (1855 – 1944) in establishing a craft studio at Dundrum, near Dublin, called Dun Emer. This specialized in printing and other crafts, with Elizabeth in charge of the printing press. Activities took place in Gleeson’s large house, in which a crafts group provided training and work for young women in: bookbinding, printing, weaving and embroidery. They could also live in the house. Bookbinding workshops were a later addition to the studio. Dun Emer was named after the Irish mythical Emer, a figure famous for her artistic skills and beauty. The title-page device of the Dun Emer Press was designed by Elinor Mary Darwin (née Monsell; 1879–1954) and shows Emer standing underneath a tree. The focus of the Press was on publishing literary work by Irish authors. Jack Butler Yeats (1871 – 1957) did much of the illustration work.
Epilogue
Today, using typefaces is easy. Everyone can set up their own press, especially if the product is digital. Even the McLellans did it. In the mid 1990s, we formed Fjellheim Institutt, named after the official name of our house, to produce Åndelig Dyder: En familiehåndbok = Spiritual virtues: a family handbook (literal translation), = The Virtues Guide, by Linda Kavelin Popov, Dan Popov and John Kavelin, in 1996 – a century after Kelmscott Press closed. The book was printed on paper, typically in small quantities, in Steinkjer. Its purpose was never to made a profit, but to ensure that Norwegian families could introduce ethical concepts to their children. We still have a few copies, that we give away when opportunities arise.
Even in the mid 1980s it was possible to obtain professional typesetting quality from a computer, as long as that computer was an Apple Macintosh, an Atari 1040ST or a Commodore Amiga. We owned an Amiga.
Today, it is not the computer that sets the limits, but the software. The first desktop publishing software we used was Aldus PageMaker 5.0, which was introduced in 1993. Aldus was founded by Paul Brainerd (1947 – ) and others in Seattle in 1984. It was acquired by Adobe Systems in 1994. The company was named after 15th-century Venetian printer Aldus Manutius. The program was replaced by InDesign in 2001.
Today Adobe does not sell stand alone copies of its software products, but forces people to work with its cloud environment, making it inherently unsafe. Perhaps the most accessible desktop publishing program is Scribus, a free and open source program, supported on at least 13 operating systems. It offers a vector drawing tool, supports multiple file types, and supports over 200 colors in its palette. It was also one of the world’s first software to support the PDF/X-3 format conversion.
Today, our publication efforts focus on our blogs.
We were staying at the Nice Byakko Hotel. It had Japanese ownership. I was told by my personal tour guide that breakfast was not included, because it was too expensive, at this particular hotel. When we checked in, we learned that circumstances had changed and breakfast was now included with the price of the room.
My contention, without any facts to back this up, is that breakfasts are the most difficult meals, because every culture has its own idea of what constitutes an appropriate first meal. The cultural distance from Scandinavia impacts my opinion of these meals. Relative poverty forced me to eat like a Norwegian, starting in 1980. I learned to appreciate cultured milk = buttermilk, with my first job in Norway working in a slaughterhouse, when it was provided at our first meal break. Yes, necessity brought about a dietary change when I was thirty. Since then, I have tried not to stray far from this diet.
Of course there is no equivalent to a Scandinavian diet in France. French food is far too sweet and delicate, at least for my tastes. In terms of bread, my choice is to eat coarse buns or bread crusts, preferably with cheese. For many years I did not eat crusts, because I did not want to prevent others from the joy of consuming them. Then I discovered they were being discarded. Now, I don’t ask anyone for permission to eat the crusts, but grab them at every opportunity! Sometimes, I eat legumes with them, in the form of peanut butter. At a first meal, I either drink a cider vinegar and honey drink, or green tea, if it is available. After that, but before 14:00, I drink black coffee; then water or infusions = herbal teas, after this self-imposed time limit.
Byakko refers to the white Asian tiger, as shown below.
Train to Digne
I had wanted to take the same train journey into the mountains of Provence, that Trish and I had taken in 2006. Except, once on board the train, I realized that this trip was inferior to the ones we had taken through Corsica. By then, it was too late.
Presented with this situation again, my choice would have been to rent a car for the day, to visit the Verdon Gorge, a nearby river canyon. It is about 25 km long and up to 700 metres deep. Americans call it the Grand Canyon of France. At the end of the canyon, the Verdon flows into the artificial Lake of Sainte-Croix. This didn’t happen, so we were on La Train des Pignes = The Pinecone Train, complete with a rail replacement bus, in both directions, to and from Digne, world famous in France for its hot springs.
We were only able to take the train part way to Digne. The train stopped, and everyone was transferred onto a bus, which then drove to the final destination.
In Digne, we experienced a market monopolizing the main street of the town. Almost anything could be bought, as long as one was prepared to pay in cash at excessive prices. We resisted temptation.
After an hour or so wandering through the town, we returned to our bus. When the train conductor came, everyone was required to exit the bus to have their tickets examined. Then, the conductor and everyone else boarded the bus again. No, I do not understand why the conductor did not just inspect tickets on the bus, starting at the back and walking forward.
We returned to the train station and boarded the train once more. While it made its way down the mountain some problem with the train required an extensive stop at La Tinee. At some point we were able to continue onwards, but the problem undoubtedly arose again, and we were expelled from the train, and told to take the next one, which arrived about half an hour later.
I found this woman’s jacket fascinating. I attempted to tell her so, in my best French, then took this photo when she wasn’t looking. Please note the elephants. Yes, they are all part of her glamour. This (and another) photo were taken after our train had officially broken down, and we were waiting for the next train to rescue us.
Monaco
Monaco does not have a visa policy of its own. The Schengen Visa policy applies, despite Monaco not being part of the European Union, or the Schengen Agreement. Its territory is part of Schengen because of its customs union with France. At the train station in Monaco, there appeared to be two (2) police officers on duty. They were observing, but not confronting anyone.
Somewhere here is the international border between Monaco and France. Yes, the bricks could be in Monaco, while the asphalt could be in France. Photo: Alasdair McLellan.A submarine, outside of the Oceanographic museum and aquarium in Monaco. It was the highlight of our visit.Alasdair took this photo of me documenting the many sculptures found in Monaco. Monaco seems to be competing with Straumen in Inderøy in terms of having the largest number of sculptures per square kilometer. It was delightful to have flowers in bloom. One of the many sculptures in Monaco. This one needs some TLC = tender, loving care.Some of Monaco’s residents.
The next day it was time for us to return to Norway, flying from NCE to AMS, and then from AMS to OSL. With a six hour wait at AMS, Alasdair and I decided that we could explore Amsterdam, taking a train from the airport to the Amsterdam station. In Amsterdam we encountered the most polluted air of the entire trip. In addition, there was no public seating! This short experience, was enough to eliminate Amsterdam from any future travel plans.
Amsterdam Train Station.
An aside: For most of my life, I have faced topographical disorientation challenges, especially in areas that are unfamiliar. Nice Byakko Hotel occupies two adjacent buildings, with two separate stairways for the upper floors that somehow unite, for movement between the ground level (entrance & reception) and first floor, where breakfast is consumed. For me, this became an obstacle, when someone shut the door to the stairway I needed to ascend to my room, and I became disoriented. The staff closest to this location, were less inclined to help resolve this challenge, than they were to exclude people from their work area. Later, I took this matter up with the receptionist, saying that it would be appreciated if they put something on the door, indicating that it led to a stairway, possibly with the affected room numbers.
We arrived at the port of Livorno on the Corsica ferry, Mega Express Two. We were walk-on passengers for the five hour trip from Bastia, on Corsica. Even before we landed, I could see the first photo that I wanted to take of Livorno. It was a somewhat outdated announcement of the centennial of the death of Amedeo Modigliani (1884 – 1920), who was born in Livorno, but moved to Paris in 1906. His characteristic style in paintings and sculptures typically elongated faces, necks, and other anatomical features. These exaggerations were received poorly during his lifetime, but were appreciated later. Modigliani’s early life featured considerable sickness. He was educated at home by his mother. His ancestors were Jewish refugees, who over some few generations had become bourgeois, owning and managing mines and forest resources in Sardinia.
At an unremembered point in time, possibly a couple of years ago, I bought a Taschen book about Modern Art, as a first stop to begin appreciating specific modern artists. Amedeo Modigliani is found on page 186-7, along with a single representative artwork, Nude Sitting on a Divan (1917). While I do not regret buying this book to gain an overview of some artists, I find it most often easier to use Wikipedia for a more comprehensive introduction. Indeed, I was able to find appropriate information about Modigliani from that source. It was also interesting to read about the history of the Jewish community in Livorno.
Artwork announcing the centennary of Amedeo Modigliani’s (1884 – 1920) death. Of course Modigliani would have approved of this setting. As an adult, he continually fought against his bourgeois origins, and was inspired by a vagabond existence.
In addition to its port and ethnic minorities, Livorno is world-famous in Italy for its canal network. This is not Venice, with antiquated gondolas, and uniformed gondoliers. Canal boats are typically made of fibreglass, powered by outboard motors, carry goods, rather than tourists to and from factories and warehouses, rather than palaces and churches. I am attracted to industrial canals, like those in Livorno, in much the same way that I am attracted to industrial history, rather than the more refined history of royalty or nobles.
Livorno canal as seen by Alasdair. Note the vessels, typically made of fibreglass and powered by outboard motors.A canal in Livorno as seen by Brock.
We walked through Livorno, ending up at the train station. Here we took a train for about ten minutes, ending up at Pisa. In Pisa, it struck me that every tourist visiting the fabled tower, was required to take a selfie or some other photo, showing their skill at preventing the tower from crashing down. Below is my effort to capture Alasdair engaged in this activity.
Alasdair preventing the tower of Pisa from crashing into the landscape.
After an hour, we were on our way by train again, heading north to Geno(v)a. It was an interesting landscape with much of it flat and flooded, but with mountains in the background.
After our arrival in Genoa, we found our Best Western hotel, and spent the evening relaxing then sleeping. Am I a keen observer? Alasdair asked me if my room was red, like his? I said, I had not noticed any red colour, but thought it was beige. When I returned to my room, I took this photo to remind myself that the walls were not beige, but red.
This is what our hotel rooms looked like. This was my room. Alasdair asked me if my room was red, like his? I said, I had not noticed any red colour. When I returned to my room, I took this photo to remind myself that the walls were not beige, but red.
Our discovery of the city began the next day. Perhaps the best known person from Genoa is Christopher Columbus who, working for Spain, made some important geographical discoveries towards the end of the fifteenth century. Genoa has preserved the house where Columbus was born, and where his father worked as a weaver.
Alasdair, preparing to enter the house in Genoa where Christopher Columbus was born.
Not far from our hotel there was a parked galleon. In its day, it was undoubtedly attempting to intimidate people not just with its canons, but with its extensive use of gold. We had learned on Corsica, that Genoese imperialism was not always appreciated. While they had ships and coastal fortifications, the Genoese were not always capable of conquering inland territories.
The Galata Museum in Genoa is the largest maritime museum on the Mediterranean. It opened in 2004, and allows visitors to appreciate five centuries of maritime history, from the 16th century. One of the earliest reconstructions is a 17th century galley. There is also a major exhibit showing life onboard a steamer bound for the Americas in the early 20th century.
The vessel that impressed me the most, was one of the smallest, a dinghy, showing the use of veneer in its construction. I have admired this construction technique for the past 65 years, because of its high strength to weight ratio!
One of the last things we did in Genoa was to visit the Zecca–Righi funicular railway. Like many of the trains we have taken on Corsica, it is narrow gauge = 1 000 mm. It has a length of 1428 m, with a rise of 279m. There are two trains, each with two cars, carrying 156 people. There are seven stations, two terminal and five intermediate. It opened in 1895.
Zecca – Righi funicolar at Carbonara station (second from the bottom). Photograph: Piro, 2008-12-18.
We then walked to the main train station, where we took a departing train for Nice.
A Concluding aside: Genetics is one of those difficult arts. When I first had my DNA analysed by 23&me about ten years ago, segments of my DNA were placed in relatively broad categories, including: northwestern Europe, southern Europe, indigenous America. As time progressed, segments moved around, generally becoming more detailed in the process. Thus, after returning from southern Europe, and with 23&me facing bankruptcy, I was surprised to find that my DNA had more detailed information about my southern European origins: Spanish and Portuguese = 6.7%; Sardinian = 2.7% and Italian = 1.4%. Yes, my next trip to southern Europe already included a plan to visit Sardinia!
On the first of our 2025 trips, Alasdair and I headed off to Corsica. Because of a closed railway line, and a world skiing championship, I took an unusual routing between Trondheim airport (TRD) and Sandefjord airport, Torp (TRF) on friday, 2025-02-28, followed by a train journey to Drammen, where I was picked up by Alasdair and driven to his house in Åros, in Asker municipality, Norway. On saturday evening 2025-03-01, we travelled by train up to Oslo airport (OSL) where we stayed at the Radisson Red hotel, so that we could take an early flight sunday morning to Amsterdam (AMS), followed by a flight to Nice (NCE).
The TGV = train à grande vitesse = high-speed train, at Nice-Ville station. Photo: Alasdair McLellan 2025-03-02.
At this point I would like to comment on the YouTube channel, The Man in Seat 64, who said that there were always seats on regional trains in the Nice area. This was incorrect information. We could not find seats on any trains from Nice to Toulon, that would give us an opportunity to visit the French naval museum. However, we did find train seats later in the day. After arriving in Toulon, we then wandered its streets.
The Mega Express Four, in Toulon, preparing for its journey to Corsica. Note the city of registry is Genova, Italy. Photo: Alasdair McLellan 2025-03-02.
We travelled overnight to Ajaccio on the Mega Express Four. It was built in Germany in 1995 as the Superfast II for Superfast Ferries, used in Greece. In 2003, it was purchased by the Tasmanian government and renamed the Spirit of Tasmania 3. However, demand was less than estimated, so it was sold to Corsica Sardinia Ferries in 2006 and renamed Mega Express Four. It can carry 1965 passengers, with 909 berths. It can also carry 550 standard vehicles. Its service speed is 26 knots.
Artwork on the Mega Express Four ferry.
The above artwork is also found on the flags of Corsica (one head on a white background) and Sardinia (four heads separated by a red cross on a white background). It was adopted by General of the Nation Pasquale Paoli (1725 – 1809) in 1755 and portrays a Moor’s head in black wearing a white bandana above his eyes on a white background. Previously, the bandana covered his eyes. Paoli wanted the bandana moved to above the eyes to symbolize the liberation of the Corsican people from the Genoese.
My personal interest in this symbol is related to clan MacLellan = Mac-a-ghille-dhiolan (Gaelic) = son of the bastard (literal translation). It also has a Moor’s head on its coat of arms. Previously, references to the clan gave its name as Mac Giolla Fhaoláin, with a more polite meaning = servant of St Fillan, with Fhaoláin referring to a diminuative form of wolf, used to signify the saint. On Uist, in the outer Hebrides, where my family lived after Morar, on the mainland of Scotland near Oban, there is an alternative spelling of the last part of the name, Fhialáin, which refers to seagulls, often Na Faolanaich = The Seagulls.
We arrived at about 9:00 in the morning at Ajaccio, spending much of the day wandering its streets. French dictator Napoleon was born in this city, and we even walked by the house where he was born.
One of the reasons for visiting Corsica, was to take its narrow gauge railways up into the mountains. The railway uses modernish trains. The combination of narrow gauge with diesel meant that they were not particularly comfortable. Noisy and wobbly, were the two terms that best describe them.
Some of the trains on Corsica looked like this. Photo: Alasdair McLellanThe mountains of inland Corsica, from the train between Ajaccio and Corte. Photo: Alasdair McLellan
Our first stop was at Corte. If I had known then, what I knew now, I would have stayed longer in this mountain town. We stayed at Hotel du Nord. I am uncertain about the origins of the name, for Corte is more centrally located, than in the north. The owner of the hotel appears to be Loïc Colonna, who provides each room with a photo book about Corsica. There is also a display of old cameras in the hotel.
Cameras on display at the Hotel du Nord.The University of Corsica, in Corte.
Calvi
If Corte had the most interesting town, Calvi had the most interesting railway station. I especially appreciated its sculptures
Our hotel had some modernist art, that attempted to be as inoffensive as possible.
The third town we stayed in was Bastia. It will be remembered for its pizza provider that would not accept bank cards. The only reason I can see for not accepting card payment is tax evasion. We went next door to a restaurant that did accept them.
Bastia.
We left Bastia on the ferry early in the morning. This travelogue will continue next week, with a visit to northern Italy, especially the canal city of Livorno, Pisa and Genoa.
Yes, Milou/ Snowy, Professor Calculus, Tintin and Captain Haddock, welcome Neil Armstrong (1930–2012) to the Moon in 1969. !
Explaining Comics = The 9th Art using Metalanguage
The comic stip is a cultural product and a means of expression. In the past century it has developed its conceptual and formal elements to the point of being considered art. One only has to take a look at Chris Ware’s (1967 – ) graphic novel Jimmy Corrigan, the smartest kid in the world (2000). It has exhibited in museums such as the Whitney Museum of America Art (2002) or the Museum of Contemporary Art, Chicago (2006). It demonstrates that not all comics are aimed at children. Interestingly, some people complain that comics are abandoning children, in favour of adult enthusiasts. This is regarded as a problem in Europe and North America, but not in Japan, since manga have genres for all ages and each of them evolves independently.
At this point, it is undeniable that the aesthetics of comics have influenced other cultural fields such as design, fashion or cinema. The work of the fashion designer Jean-Charles de Castelbajac (1949 – ), who was passionate about this genre, is an example of this. In the field of graphics, what are called stencils come from comics, according to some specialists in this medium. It goes without saying that a multitude of films today have comics as a reference, especially in the superhero genre. Superheroes who, as archetypes, play a role similar to that of mythological gods. They are popular myths.
We can therefore say that the aesthetics and content of comics has become a symbol of post-modern/ twenty-first century times. While there are more conservative positions determined to make distinctions between what they refer to as high culture and other cultural manifestations. In the case of comics, there are people of all ages and all perspectives who enjoy comics.
Some of the more interesting set of books in my library collection use 9th art metalanguage = comic strip books, to explain comics. Two were written by Will Eisner (1917 – 2005) who had popularized the term graphic novel. His first interesting, theoretical work was Comics and Sequential Art (1985/ revised 1990). It is based on a series of essays that appeared in The Spirit magazine, themselves based on Eisner’s experience teaching at the School of Visual Arts. The content is a series of demonstrations of principles and methods. The revised edition includes short sections on the print process and the use of computers. This was followed by Graphic Storytelling and Visual Narrative (1996).
Three other ones were written by Scott McCloud (1960 – ). These are: Understanding Comics: The Invisible Art (1993), that explores formal aspects of comics, the historical development of the medium, its fundamental vocabulary, and various ways in which these elements have been used. It also discusses more theoretical ideas about comics as an art form and medium of communication. Reinventing Comics: How Imagination and Technology Are Revolutionizing an Art Form (2000), which explains twelve revolutions that McCloud predicts are necessary for the comic book to survive as a medium: becoming literature, becoming art, enhancing creators’ rights, industry innovation, public perception, institutional scrutiny, gender balance, minority representation, diversity of genre, digital production, digital delivery and fully digital content. and Making Comics: Storytelling Secrets of Comics, Manga, and Graphic Novels (2006) details the processes behind storytelling, with an emphasis on character design with examples provided from the 9th arts history. Topics are reduced to a few principles. These include classifying cartoonists into four types, and identifying six basic emotions.
Tintin, an example of the 9th Art
With these five books in place, there is a need to examine a worthy example to follow, in a learning phase. The example shown below is Tintin by Herge = Georges Prosper Remi (1907 – 1983). In our household, considerable attention was paid to Tintin We have the complete works, admittedly in English, rather than French. Our family was not alone. Tintin comics have sold more than 240 million copies worldwide and has been translated to over 70 languages.
While Tintin has explored many countries in his comics, Herge hasn’t visited a single country in his lifetime. In Explorers on the Moon, Tintin explored the moon in 1954. This is 15 years before Neil Armstrong first landed on Moon.
Tintin’s dog Snowy has stolen many hearts and even made cameo appearances in ‘The Simpsons’ in the episode ‘Husbands and Knives’ and in ‘South Park’ in the episode ‘Imagination land Episode III’.
Tintin’s adventures were transformed into a movie titled ‘The Adventures of Tintin: Secret of the Unicorn’ in 2011, which was directed by Steven Spielberg, who bought the international movie rights to the character in the early 1980s.
The series ‘Tintin in Tibet’ was the most cerebral and emotional story of Herge, and the series was heavily influenced by his nervous breakdown.
Palle Huld (1912 – 2010) was a Danish film actor and writer. He won a journey around the world at the age of 15 in 1928 from a Danish newspaper. This reportedly inspired Hergé to create Tintin.
Milou = Snowy, Tintin’s pet dog, is modeled in part on a Fox Terrier at a café that Hergé used to frequent. It was also the nickname of Hergé’s first muse/ girlfriend, Marie-Louise Van Cutsem (1905 – 1974).
Haddock’s name was suggested by Germaine Kieckens (1906 – 1995; married 1932; divorced 1977) Hergé’s wife, who noted that haddock was a “sad English fish” over a fish dinner. Hergé then utilised the name for the English captain he’d just introduced. Haddock remained without a first name until the last completed story, Tintin and the Picaros (1976), when the name Archibald was used. There were several Haddocks who had served in the Royal Navy. Haddock uses strange/ difficult but innoffensive words that he hurls out as if they were very strong cusswords. This is due to the works initial publication in Catholic magazines.
Professeur Tryphon Tournesol = Professor Tryphon Sunflower (literal translation) = Professor Cuthbert Calculus was inspired by Auguste Piccard (1884 – 1962), a Swiss physicist, inventor and explorer known for his record-breaking hydrogen balloon flights, with which he studied the Earth’s upper atmosphere and became the first person to enter the Stratosphere. My own person interest in Piccard relates to his invention of the first bathyscaphe, FNRS-2. The French Navy took over this vessel, and relaunched it as FNRS III in the 1950s. Today, it is located at the Naval Museum in Toulon, France.
The Bathyscaph FRNS-3 at the Tour Royal, Toulon, France. Photo: Esby 2008-06-11.
The Thompson twins were inspired by Herge’s father and uncle, who were twins.
Opera singer Bianca Castafiore was inspired by Herge’s paternal grandmother. Her favourite aria is from Faust (1859) composed by Charles Gounod (1818 – 1893).
One of the reasons Tintin appealed to our son, is that it gave him an opportunity to explore the world at an early age, from the safety of our house. Here are the details of the all of the works, in chronological order.
The following are the twenty-four canonical Tintin comic albums, with their English titles. Publication dates are for the original French-language versions. Note: In the original French versions, Tintin lives in Brussels. In the English translations, he lives in London. This created difficulties with the Black Island.
#01 Tintin au pays des Soviets = Tintin in the Land of the Soviets, set in Russia, serialized 1929-30, B&W album 1930, Colour album 2017. Hergé prevented this book from being republished until 1973.
After this, Hergé re-published in colour and in a fixed 62-page format.
#02 Tintin au Congo = Tintin in the Congo, set in Belgian Congo now the Democratic Republic of the Congo, serialized 1930-31, B&W album 1931, Colour album 1946.
#03 Tintin en Amérique = Tintin in America, set in Chicago, serialized 1931-32, B&W album 1932, Colour album 1945.
#04 Les Cigares du Pharaon = Cigars of the Pharaoh, set in Egypt, serialized 1932-34, B&W album 1934, Colour album 1955
#05 Le Lotus bleu = The Blue Lotus, set in China, serialized 1934-35, B&W album 1936, Colour album 1946
#06 L’Oreille cassée = The Broken Ear, set in fictional south American countries, serialized 1935-37, B&W album 1937, Colour album 1943
#07 L’Île noire = The Black Island, set in England, serialized 1937-38, B&W album 1938, Colour album 1943, 1966. Note: Before the reprint, multiple aircraft featured throughout the story were redrawn by Roger Leloup (1933 – ), who replaced the depiction of planes that were operational in the 1930s with those active in the 1960s, including: a Percival Prentice, a De Havilland Canada Chipmunk, a Cessna 150, a Tiger Moth, and a Hawker Siddeley Trident.
#08 Le Sceptre d’Ottokar = King Ottokar’s Sceptre, set in Syldavia, a fictional Eastern European country, serialized 1938-39, B&W album 1939, Colour album 1947
#09 Le Crabe aux pinces d’or = The Crab with the Golden Claws, set in the Sahara, serialized 1940-41, B&W album 1941, Colour album 1943
#10 L’Étoile mystérieuse =The Shooting Star, with plot similarities with La Chasse au météore = The Chase of the Golden Meteor (1908) written by Jules Verne (1928 – 1905), serialized 1941-42, Colour album 1942. Note: This was the first album to be originally published in colour. Often regarded as antisemitic.
#11 Le Secret de La Licorne = The Secret of the Unicorn, involves a riddle left by 17th century Francis Haddock, which leads them to the hidden treasure of the pirate Red Rackham. Serialized 1942-43, Colour album 1943. Books 11 to 15 formed a middle period for Hergé marked by war and changing collaborators.
#12 Le Trésor de Rackham le Rouge = Red Rackham’s Treasure, set in the West Indies, much of it aboard the Serius, a fishing trawler, serialized 1943, Colour album 1944
#13 Les 7 Boules de cristal = The Seven Crystal Balls, set in Peru, involving an archaeological expedition, serialized 1943-46, Colour album 1948. Note: often regarded as one of the best works in the series.
#14 Le Temple du Soleil = Prisoners of the Sun, serialized 1946-48, Colour album 1949
#15 Tintin au pays de l’or noir = Land of Black Gold, serialized 1939-40 (discontinued by Nazi occupational forces), 1948-50, Colour album 1951, 1971
#17 On a marché sur la Lune = Walking on the Moon (literal) = Explorers on the Moon, serialized 1952-53, Colour album 1954
#18 L’Affaire Tournesol = The Calculus Affair, serialized 1954-56, Colour album 1956
#19 Coke en stock = The Red Sea Sharks, serialized 1956-58, Colour album 1958
#20 Tintin au Tibet = Tintin in Tibet, serialized 1958-59, Colour album 1960
#21 Les Bijoux de la Castafiore = The Castafiore Emerald, serialized 1961-62, Colour album 1963
#22 Vol 714 pour Sydney = Flight 714 to Sydney, serialized 1966-67, Colour album 1968
#23 Tintin et les Picaros = Tintin and the Picaros serialized 1975-76, Colour album 1976
#24 Tintin et l’Alph-Art = Tintin and the Alph-Art serialized 1986, Colour album 2004. Hergé’s unfinished book, published posthumously.
The following are double albums with a continuing story: Cigars of the Pharaoh (no. 4) & The Blue Lotus (no. 5); The Secret of the Unicorn (no. 11) & Red Rackham’s Treasure (no. 12); The Seven Crystal Balls (no. 13) & Prisoners of the Sun (no. 14); Destination Moon (no. 16) & Explorers on the Moon (no. 17).
Other characteristics
The English-language Adventures of Tintin books were originally published with handwritten lettering created by cartographer Neil Hyslop (1924 – 2015). Given versions of Hergé’s artwork with blank panels, he would write his English script on a clear cellophane-like material, to fit within the original speech bubble. In the early 2000s, Tintin’s English publishers Egmont discontinued this, because Casterman and Moulinsart decided to replace localised hand-lettering with a single computerised font.
In September 2017, French philosopher Vincent Cespede (1973 – ) suggested that Tintin was a girl. However, he accepted that it was his perspective and was fake news. However, this post will end by naming everyone’s favourite Swedish environmental activist, paying close attention to the second of her many names: Greta Tintin Eleonora Ernman Thunberg (2003 – ). So perhaps Cespede was closer to the truth than he imagined.
A New Belgian Passport, featuring an illustration of Tintin’s Moon Rocket.
This weblog post began when my son, Alasdair, posted some illustrations of the new Belgian passports, originating with Belgian comics. Following this, I read that comics were the ninth art. Immediately, I wondered what the eight earlier arts were, and if there was anything after the ninth art.
Here is the official list of arts in numerical order: 1. Architecture; 2. Sculpture; 3. Painting; 4. Music; 5. Dance; 6. Poetry; 7. Film; 8. Television; 9. Comics.
The list was devised by Claude Beylie (1932 – 2001), a French film critic. The term was used in an article he wrote for the magazine, Lettres et Medecins in 1964. He built that list up from some earlier writings by an Italian film theoretician, Ricciotto Canudo (1877 – 1923).
Of course the lingua franca/ bridge language of comics is French. This may surprise Americans, but it is the Belgians that represent the gold standard when it comes to the 9th art. Unfortunately, my French is not good enough to understand nuances in the wording of une bande dessinée. I think a literal translation would be: a band drawn, referring to: a comic strip (figuratively). But I don’t understand the limits of the words. Is a graphic novel, with its many illustrations and accompanying text on a grid part of this drawn band? When I ask Google for a translation, it replies roman graphique. If I use cartoon, it replies un dessin animé, which seems more like animation.
The article I was reading asked about radio, and its placement on the list. The article provided a definitive answer. Radio was not on the list, and never could be put on it. The future did not seem to be bright for games, computer or otherwise. They were not on the list either.
A series of articles written for the Spirou Journal recounting the history of comics popularized the phrase, the 9th art. Maurice De Bevere (1923 – 2001) wrote that series. He is better known under his pen name, Morris, with which he created western gun slinger, Lucky Luke. Pause here to reflect on Luke’s occupational title. He is not a rancher, implying ownership of land, nor is he a ranch employee, a cowboy, transporting herds of cattle, nor is he in law enforcement with a recognizable title like sheriff, marshal or even deputy. None of the other titles found in the wild west seem to apply either: bartender, blacksmith, gambler, shopkeeper or even wagoneer with a mule team, transporting borax across a desert. His gender eliminates a couple of occupations reserved for women making a living in the wild west, of which for proprietary’s sake only school teacher will be mentioned.
Here I will attempt to use neuvième or 9ème/ ninth or 9th art as a standard term. It will be difficult, because the previous sentence was added while editing a final draft of this text, necessitating up to numerous changes. Of course I have a relationship with the 9th art from my childhood. In general it was, they were not allowed, although I remember being with our neighbours, the Cimolini family at the Hotel Vancouver, when Primo (1912 – 1976) bought me a Classic Comic.
Comics, as a descriptive term, has its limitations. It implies something with humour, The weekend supplement that came on Saturday mornings with the Vancouver Province, in the 1950s were referred to in our household as the funny papers, but few of them were funny. The difficulty seventy years later is remembering content details. Some names ring bells, but those bells may be misplaced. Here is my fantasy version of some of these works.
One of the strips I remember was The Katzenjammer Kids, created by Rudolph Dirks (1877 – 1968) in 1897. It was later drawn by Harold Knerr (1882 – 1949) from 1914 to 1949, by Doc Winner (1885 – 1956) from 1949 to 1956, and by Joe Musial (1905 – 1977) from 1956 to 1977. I had left home in 1972, so that is my cutoff date. It continued until 2006, making it the longest running strip in the US. I found this series overly violent. The twin brothers, Hans and Fritz, rebelled against authority, particularly in the form of their mother, Mama, who showed tough love with a rolling pin.
In contrast, but equally misunderstandable in its own way, were the teenagers found in Archie, originally drawn by Bob Montana (1920 – 1975). These comics appeared from 1941, and featured fictional teenagers Archie Andrews, Jughead Jones, Betty Cooper, Veronica Lodge, Reggie Mantle and others.
The British Andy Capp comic strip created by Reg Smythe (1917 – 1998) deserves a special mention because of its location, Hartlepool, in County Durham, in north-east England, the birthplace of my maternal grandfather! The title of the series is a pun on the local pronunciation of handicap, related more to horse racing rather than an infirmity. The surname Capp also signifies how Andy’s cap/ head gear always covers his eyes, restricting, at least metaphorically, his vision in life. My son, Alasdair, comments that he found the Norwegian version, published in Trønderavisa, impenetrable, because of its use of some distant dialect, not to mention British preoccupations with pigeon racing, snooker, pubs and cheating at poker.
Hal Foster (1892 – 1982), was born in Halifax, Nova Scotia. He created Prince Valiant in the Days of King Arthur, in 1937. It is an epic adventure that told a continuous story stretching for more than 4 500 Sunday episodes (so far). Prince Valiant is the son of Aguar, exiled king of Thule who has taken refuge in the Fens during the days of King Arthur. Foster places this kingdom of Thule in Norway, near Trondheim. Some Norwegians imagine Aguar’s castle was a previous incarnation of the Leirfoss electrical power station, on the Nid river. The old spelling was Lerfoss. The fact that the power station was only build in 1910, is immaterial, if one’s mind can accept it as a repurposed castle. It is located 121 km south of Cliff Cottage. It is a recreational location that I enjoy, while visiting Trondheim.
Prince Valiant’s birthplace at Thule, near Trondheim, repurposed as a electrical power station in 1910. Today, the area has become a pleasant recreation site, along the banks of the Nid River.
The strip I found most appealing was Gasoline Alley (1918 – present). Chicago Tribune publisher Robert McCormick (1880 – 1955) wanted a feature that would appeal to people learning how to take care of their cars. These were becoming increasingly available to a middle class public. Frank King (1883 – 1969) developed this strip in response. Bill Perry (1905 – 1995) took over in 1951 and continue to create the strips until about 1976. It is the longest running current strip. Except during the 1970s and 1980s the strip progresses in real time. Characters age and some die.
I am always attracted by the names of people in Gasoline Alley. Some of my real life relatives also have unusual names, such as cousins with the surname Pickup. However, Wallet is so unusual that I have never met anyone by that name. In the beginning, the most notable character was Walt Wallet. Joseph Patterson (1879 – 1946) was concerned that the strip as it was developing, had limited appeal to women. His solution was to have Walt Wallet, find Skeezix on his doorstep in 1921. After this, Walt could marry Phyllis Blossom in 1926. Skeezix subsequently grew up, and ran the Gasoline Alley garage. He married Nina Clock in 1944. Their children are Chipper (1945 – ), who ends up marrying Amy, and Clovia (1949 – ), who ends up with Slim Skinner. By this time, I had given up reading Gasoline Alley. Other intimate relationships can be discovered looking at the illustration, below.
Are comics art? Unfortunately, referring to the topic as the 9th art, already answers that question positively, hence the wording. Some will answer with an emphatic yes. The more enthusiastic will regard the question as naive. Yet, unfortunately, the answer is not so clear. Some argue that combining words with artwork is the essence of modern expression, providing narrative and visual richness, use a direct yet spontaneous language. It integrates literature with painting and cinema. Others, view its limitations, popular among children, youth and less mature adults. Mature people do not use comics.
Many readers see the 9th art as a springboard to other more serious, mature types of literature. What relationship do people have with: Alfred E. Neuman, Ariel, Asterix, Bugs Bunny, the Little Mermaid, Snow White, Tintin or Wonder Woman? Are any of them more mature than the others.
George Herriman (1880 – 1944) was an American cartoonist best known for Krazy Kat (1913–1944) that was more influential than popular. Krazy Kat was notable for its poetic, dialect-heavy dialogue, its fantasy laden, but shifting backgrounds and its experimental page layouts. In it, Ignatz Mouse pelts Krazy with bricks, interpreted by Krazy as symbols of love. Later, a love triangle developed between Krazy, Ignatz, and Offisa Pupp. Pupp’s mission was to prevent Ignatz from throwing bricks at Krazy. These efforts were impeded because Krazy wanted to be struck by these bricks.
More importantly, Gilbert Seldes (1893 – 1970) wrote The Krazy Kat Who Walks by Himself appearing in The Seven Lively Arts (1924). It is the earliest example of an art critic giving serious attention to a comic strip. The Comics Journal placed Krazy Kat first on its list of the greatest comics of the 20th century. Herriman’s work has been a primary influence on cartoonists such as Elzie C. Segar (1894 – 1938), Will Eisner (1917 – 2005), Charles M. Schulz (1922 – 2000), Robert Crumb (1943 – ), Art Spiegelman (1948 – ), Bill Watterson (1958 – ), and Chris Ware (1967 – ).
My mind temporarily focuses on Snow White. The Brothers Grimm, Jacob (1785 – 1863) and Wilhelm (1786 – 1859) provided the world with one version in fairytale #53, originally published in 1812 as Sneewittchen. Wikipedia lists: about 10 books, including Donald Barthelme’s (1931 – 1989) post-modernist novel (1967); 20 films including one featuring Betty Boop (1932) made by Max Fleischer (1883 – 1972) and Dave Fleischer (1894 – 1979) and another made in 1937 by Walt Disney (1901 – 1966); There is music, including a soundtrack from the Disney film, released as an album in 1938. Other uses of the term refer to a horse, an industrial design language used at apple, a 1970s government-infiltration and information-suppression effort by the Church of Scientology, a dwarf planet, a fictional hockey team, a brand of sugar, and the first name of a Swedish visual artist.
Sometimes, the 9th art only reaches its potential when it appears as an animation film. Wile E. Coyote and the Road Runner, being a good example. They first appeared in 1949 and were created by Chuck Jones (1912 – 2002). In these videos a devious and hungry coyote attempts to catch a roadrunner, but is always unsuccessful. He deploys complex schemes and devices that always backfire, injuring the coyote. Many of the devices used are from Acme Corporation.
Being born on Halloween, I have no problem with people dressing up as manga characters or superheroes. I appreciate many different varieties of punk from steampunk through dieselpunk and electropunk to cyberpunk, on a theoretical level. Unfortunately, I have not found an appropriate persona to match my personality, so I have no costume at this moment, although I will assure readers that any garments made will incorporate pink and purple fabric.
Comics are not the only art form that has had this problem. Let us recall that cinema, from its beginnings in 1895, was not considered an art. At best it was a momentary attraction. This has changed and it is now classified into genres to differentiate films on issues such as quality and audience. The same was true for comic strips, which gradually took their place in mass culture.
Comics emerged as entertainment that combined illustration and caricature with text in order to present a situation, express an idea or tell a story. Yet, as Wile E. Coyote shows, sequence is an essential ingredient. Will Einsner (1917-2005) called comics a sequential art. They have momentum.
The adult reader
Between 1960 and 1970, cultural studies emerged, which reflected new philosophies or ways of thinking regarding art. There was a change of mindset, allowing for an emergence of theorists of the ninth art. This meant that these works could no longer by regarded as a reading medium intended for children. Underground comics (1968-1979) introduced adult content. This trend can be found in the works produced in San Francisco by Robert Crumb (1943 – ), as well as Trina Robins (1938 – 2024) who produced the first all-woman comic book, It Ain’t Me, Babe. These works examined meanings power relationships, signs, discourses as well as social and cultural products.
To this consideration of the author as an artist and of the comic strip as an object of study is added a third factor, which is the emergence of the adult reader. Or, if you prefer, the public has grown up and expects its comics to be more sophisticated and complex. This is the audience that the Underground genre is aimed at.
Comics are therefore beginning to be taken as a starting point for social criticism or to show a reality. Thus, for example, we can cite the exercise of historical memory in the Paracuellos cycle by Carlos Giménez (1943 – 2020), the story of the Holocaust in Maus by Art Spiegelman (1949 – ) or the post-cyberpunk comic Transmetropolitan by Warren Ellis (1968 – ).
In the 1970s, graphic designers and writers such as Moebius = Jean Giraud (1938–2012), Enki Bidal (1951 – ) and Alejandro Jodorowsky (1929 – ) brought comics closer to erotic and social themes, thus renewing them in Europe to give them a more adult character and a higher quality. Authors such as Jean-Claude Forest (1930 – 1998) with Barbarella, Guido Grepax = Guido Grepas (1933-2003), author of Valentina, Eleuteri Serpieri (1944 – ) with Druuna and Milo Manara = Maurilio Manara (1945 – ) are further examples of an erotic genre.
But, in addition, Graphic Novels and Limited Series appear which, due to their characteristics, constitute another attempt to give dignity to comics, since they are conceived as works in which the same author writes and writes, or those who write and draw are renowned authors, without fixed periodicity – which makes it easier to build a more elaborate plot – and a better drawing printed on better quality paper. Comics from the 1980s such as Alan Moore’s Watchmen and V for Vendetta, Frank Miller’s The Dark Knight Returns or Neil Gaiman’s Black Orchid are examples of this type of comic.
Alan Moore (1953 – ) provides an example of a writer, not an graphic artist or illustrator. He has written several works, including Watchmen (1987) with artist Dave Gibbons (1949 – ) and colourist John Higgins (1949 – ). Here, contemporary anxieties are deconstructed while superheros are satirized to construct a political commentary. The work presents an alternate history in which superheroes emerge in the 1940s to 1960s, changing modern history. By 1985, USA is edging toward World War III with the Soviet Union. Freelance costumed vigilantes have been outlawed and most former superheroes are in retirement or working for the US government. The focus is on personal development and moral struggles. In 2009, a feature film, Watchmen, directed by Zack Snyder (1966 – )was released, along with an episodic video game, Watchmen: The End Is Nigh.
The 9th art was forced to consider: ideology, nationality, ethnicity, gender, society generally, as well as in terms of economics, politics, communication, sociology, cinema, anthropology, philosophy and semiotics and everything else that could be considered culture.
One of the most important theorists of comics is Umberto Eco (1932 – 2016), in Apocalípticos e integrados (1964) = Apocalypse Postponed, 1994, available in English in a partial translation. It reflects on mass culture by analyzing the following comics: Steve Canyon (1947 – 1988) by Milton Caniff (1907 – 1988), Superman (1938 – ) by Jerry Siegel (1914 – 1996) and Joe Shuster ( 1914 – 1992) from Toronto, and Peanuts (1950 – 2000) by Charles M. Schulz (1922 – 2000).
Terenci Moix (1942 – 2003) wrote a social history of the 9th art in Spanish: Los cómics, arte para el consumo y formas pop (1968). It has not been republished since. It is now regarded as cult book. Moix analyses this 9th art from a social and ideological point of view, considering them, along with films and songs, as suitable fodder for political, moral and religious manipulations by those in power. It must be remembered that Moix was living in a dictatorship under Francisco Franco (1892 – 1975). Particular attention should be paid to the works of post-war Spanish author/ illustrators including José Escobar (1908 – 1994) who created: Carpanta (1947 – ), a symbol of post-war Spain’s misery; Zipi y Zape = Zipi and Zape Zapatilla, two young, mischievous, energetic, football-obsessed twins who do poorly in school (1947 – 2000). José Peñarroya (1910 – 1975) created Gordito Relleno (1948), a single man, lacking a permanent job. His good intentions always ended in catastrophes. He is a frequent victim of scams and frauds of all kinds by heartless people. Moix’ analysis and demystification of Flash Gordon (1934 – 2003) created by Alex Raymond (1909 – 1956) and Li’l Abner (1934 – 1977), created by Al Capp (1909 – 1979) are also worthwhile.
Roman Gubern (1934 – ) in El lenguaje de los cómics (1972) wrote about the language of these works and their functions in society.
M. Thomas Inge (1936 – 2021) was an American professor of humanities who taught and wrote about Southern literature, especially William Faulkner (1897 – 1962) and culture, American humor and comic art (Dadism especially), film and animation and Asian literature.
It was then in the 1960s that comic strips began to build bridges with art thanks, among others, to artists such as Roy Lichtenstein, who made pop art the main motif of his works. That however is another topic to be explored at some later, unspecified date.
The 9th art will continue to be examined next week, looking especially at how some theorists have used the comic strip to explain comics. This will be followed by a more in depth examination of Tintin.
The above map is used to help people develop a new understanding of geography. If I had begun with a map of post World War II Scandinavia, or north America, it would have looked conventional. The map of Swedish territories in the 17th century, shows how this part of the world was in a state of flux.
When, I look at the above map, my focus is on Trondelag. With the exception of a three year period from summer 1985 to summer of 1988, when we lived in Bodø, in Nordland county, further north and off the map, we have lived our entire time in Norway, starting in the summer of 1980 in this light green area, which also includes Trøndelag county (previously separate North and South counties, that amalgamated 2018-01-01) as well as the northern part of Møre og Romsdal county, where we lived from 1980 to 1985. Altogether, that is more than forty years, considerably more than the thirty years, Trish and I spent in British Columbia.
Trøndelag is adjacent to Jämtland, originally a republic. Trøndelag could have become a part of Sweden. Jämtland could have become a part of Norway. It still aspires to regain its independent status. If it were not for the happenstance of military incompetence, it is quite likely that Trøndelag would have become an integral part of Sweden!
My hope is that this map will help people make sense of today’s Nordic area, because the current borders can no longer taken as a given, they have a history.
I started out researching this post by googling urb. The top result directed me to a website for a cannabis dispensary in Michigan. This seems to represent one of the major challenges for geography in the 21st century: people looking for places to numb their brains: tobacco, alcohol and worse; resorts; shopping meccas. For me, this is an inappropriate approach to life. Others will have to make their own decisions.
The literary starting point of this post are two books. Joel Garreau (1948 – ), The Nine Nations of North America (1981) and, thirty years later, Colin Woodard (1968 – ) American Nations: A History of the Eleven Rival Regional Cultures of North America (2011).
Most of my north American life was lived in Ecotopia = The Left Coast = The Wet Coast (in other sources). However, in my childhood many of my summers were spent in The Empty Quarter = Mountains West, where my mother, Jennie (1916 – 2021) experienced her early years. She was impacted by life there. My father, Mac = Edgar (1906 – 1991), was an ingrained west coaster. I remember learning about those rough American gold miners, sailing up from San Francisco to exploit a new gold field along the Fraser river in 1858. Later, my paternal great-uncle Robert McGinley Ellis (1863 – 1936) was a prospector during the Klondike gold rush (1886-1889). While I have cuff links from his efforts, I suspect fortune eluded him. He was born in Pakenham, Ontario, moved west to the Jumping Pound, Alberta, where his parents homesteaded, then moved onwards with them to Vancouver Island. He spent most of his life working as a carpenter in Port Alberni on Vancouver Island. He died in Port Coquitlam, in the lower mainland of British Columbia.
The following books have given me insights into north America. Of course, they are not the only works, although I admit a penchant for books about the west, increasingly California. In terms of atlases and railways, I have digested many different works – especially atlases – by Derek Hayes (1947 – ) and by Obi Kaufmann (1973 – ). Using the verb read with an atlas seems inappropriate. Yes, texts are read, but one spends ones time examining maps. Then there are other books, written by others: Marc Reisner (1948 – 2000) best known for Cadillac Desert (1986). Yes, the book is read, but so many other works are consulted to understand the rivers and assorted dams built. In many ways, I am more attracted to Lynn Ingram (? – ) & Frances Malamud-Roam (? – ), The West without Water (2013). More than a quarter of a century probably helps people to focus on the essence of a problem. The American west is not an expensive = Cadillac desert, but a wilderness without sufficient water to transform its existence.
These works provide me with insights into a newish geography, especially geographical terms needed to describe geography in the 21st century. The most important resource is water. One important duty is to allow forests to burn, regularly. I am reminded of that with the titles of two of Obi’s books: State of Water: Understanding California’s Most Precious Resource (2019) and State of Fire: Why California Burns (2024). As the subtitles emphasize, state in the title refers not to a specific condition, but to California. That said, I have nothing against Smokey Bear, discouraging people from starting wildfires.
On 2014-07-03, Joel Garreau, in the New York Times, claimed he began writing his book in the 1970s, when journalists were trying to discover how north America worked. He wants people to forget rectangular images of states, provinces and regions printed on maps, but to understand that north America is a clash between warring civilizations. A map based on culture and values does not reflect the perversely drawn state and national boundaries.
This attempt at understanding resulted in his 1981 book. Garreau comments that reader reaction was astonishing. His map revealed something much deeper. It was a map of culture and values. The idea of nine nations idea became a cult item among marketers, broadcasters, political operatives and even carmakers, who need to understand the north Americans tribes/ nations, how they emerged and how they function. Other authors have adopted the same methodology to explain China, Europe, Mexico, the former Soviet Union and the Middle East. I remember from my anthropology lectures at Dalhousie, about how the Druzes successively realigned themselves with the powers that be in Palestine, in an effort to retain their autonomy.
There were independent nations within American territory. The Iroquois Confereracy (1500 – 1775) is the longest lasting. It consisted of the Mohawk, Oneida, Onondaga, Cayuga and Seneca nations. After 1722, the Iroquoian-speaking Tuscarora people from South Carolina moved northwards, and joined as the sixth nation. This would have only been an academic footnote if I had not learned of my Mohawk ancestry, as a descendent of Ots-Toch (1600 –1646).
There is also the California Republic, a ministate that lasted for 25 days in 1846. Some are hoping that by the 200th anniversary of that republic, in 2046, there will be a new, improved and larger California Republic to replace it. The question is: Does California seek independence alone? Does it attempt to find allegiances with other current or former Mexican territories (Baja California, Dereret, Arizona and New Mexico)? or does it attempt something further north – Washington, Oregon, a strip of British Columbia?
There was also the Republic of Texas = República de Tejas (Spanish), a sovereign nation in North America that existed for almost 10 years, from 1836-03-02, to 1846-02-19. It shared borders with Mexico, the Republic of the Rio Grande – another sovereign nation, occupying what is now north-east Mexico, with its capital Laredo. and the United States. The Republic had diplomatic relations with various countries. Initially, the United States recognized Texas’ independence. The annexation of Texas by the United States in 1845, led to the Mexican–American War from 1846–04-25 to 1848-02-02.
The boundaries of Garreau’s nine nations are unchanged, after more than forty years. They have resulted in an American national gridlock, and the current division into red and blue states, even if I personally feel that the colours should be reversed. I note that my daughter lives on the left coast/ ecotopia, and not just some random location in USA. I can understand its appeal = warmth. Yet, I would be surprised if she left this strip of land for any other place in USA. No, I never expect her to become a Texan. I expect that for her the only American places with appeal are along the left coast and Hawaii. She had been indoctrinated with Cascadian values since she was a child.
Despite the turbulence in technology, finance, energy, population, mobility and polity, the boundaries as drawn in 1981 still make sense – even where events have gone exactly opposite his expectations. For example, North Carolina is even more “Dixie” today than when he wrote about it. He asks readers to check the last few presidential election results at the county level, and one will see these boundaries still influencing (voter) behaviour. He claims that the results in Canada are even more striking.
One explanation for this endurance may be that those boundaries were observed by a network of amateur anthropologists, residing all over the continent. This network documented the existence of these nations. Cultures and values endure. They change more slowly than Garreau first envisioned. He claims there are layers of unifying flavor and substance that define these nations, explaining the major storms through which public affairs pass. The Nine Nations is also a map of power, money and influence, the patterns of which have only deepened.
At this point in time, with Donald Trump and Elon Musk moving fast and breaking things, one wonders what will be happening in the United States in the coming months and years ahead. How much chaos will the American public tolerate?
Travel is still the great North American pastime because of our enduring diversity. Out of a sense of adventure, people still look forward to picking up their belongings and taking a new job in a different place. Trying on different values, different senses of the pace at which life should be lived, different attitudes about art, food and ethnic origin, a different relationship to nature. Yet every North American also knows a place where, on their way back from their wanderings, surroundings stop feeling threatening, confusing or strange. It is a place within their comfort zone.
Here are some concepts that have been presented, along with definitions. In general, the definitions provided come from Wikipedia. My internal map of north America is largely inspired by Garreau’s map, supplemented by that of Woodard. For me, the differences between the two maps, encourage an internal discussion. For example, with a new found discovery of an ancestry in Upper New York state, I ask why New Netherland (on the Woodard map) does not extend further north? It seems to represent just New York, or New Amsterdam.
Joel Garreau’s map of north America.Colin Woodard, Map of north America
Edge city = a concentration of business, shopping, and entertainment outside a traditional downtown or central business district, in what had previously been a suburban, residential or rural area. The term was popularized by the 1991 book Edge City: Life on the New Frontier by Joel Garreau. Garreau argues that the edge city has become the standard form of urban growth worldwide, representing a 20th-century urban form unlike that of the 19th-century central downtown.
Suburb = an area within a metropolitan area which is predominantly residential and within commuting distance of a large city. Suburbs first emerged on a large scale in the 19th and 20th centuries, as a result of improved rail and road transport, which led to an increase in commuting. In general, they are less densely populated than inner city neighborhoods within the same metropolitan area, and most residents routinely commute to city centers or business districts via private vehicles or public transits; however, there are many exceptions, including industrial suburbs, planned communities, and satellite cities. Suburbs tend to proliferate around cities that have an abundance of adjacent flat land.
Boomburb = a large, rapidly-growing city that remains essentially suburban in character, even as it reaches populations more typical of urban core cities. It describes a relatively recent phenomenon in a United States context. The boomburb I am most familiar with is Bellevue, in Washington State.
Exurb = an area outside the typically denser inner suburban area, at the edge of a metropolitan area, which has some economic and commuting connection to the metro area, low housing-density, and relatively high population-growth. It shapes an interface between urban and rural landscapes, holding a limited urban nature for its functional, economic, and social interaction with the urban center, due to its dominant residential character. Exurbs consist of agglomerations of housing and jobs outside the municipal boundaries of a primary city and beyond the surrounding suburbs.
Recently, I sent a map (see below) and some instructions for the California game, to people I know living there. The main rules is that a person can play this game as often as they like, hopefully generating new content each time. This game differs from two other California games: A) Include California in Cascadia, and B) Imagine California as an independent country. This game, C) involves keeping California in USA, but dividing it into several different states, each with two senators! Other rules: 1) Decide how many states you want to create out of California. 2) Find sufficient pencil crayons with distinctive colours, one for each proposed new state. 3) Use the existing counties as potential dividing lines. 4) Find the borders. 5) Enjoy the colouring.
People living in other states, say Kansas, could also play a similar game with their own state.
Hjalmar Broch was the first chairperson of Norges Naturvernforbund from 1916 to 1920 and later from 1951 to 1956. Photo: Leif Ørnelund (1914 – 1992)
Norges Naturvernforbund (NNV) = The Norwegian Federation for Nature Conservation is Norway’s oldest nature and environmental conservation organization. NNV is a democratic membership organization with over 35 000 members The members are the foundation of the organization and carry out the local work. The members are organized in local branches, which in turn are organized in county branches. This weblog post celebrates its founding exactly 111 years ago on 1914-02-18. However, activities only started two years later, in 1916.
The organization works on a wide range of issues, including area protection, watercourse protection, species protection, climate emission reductions, energy saving, transportation, environmental toxins, forestry, fishing and farming. The Federation also works internationally, with partner organizations, notably in Russia, Ukraine, Togo and Mozambique.
The Federation for Nature Conservation is the parent organization of Natur og Ungdom (NU) = Nature and Youth founded on 1967-11-18, and also established Miljøagentene = Environmental Agents, for children, in 1992. Originally, it had been called Blekkulfs miljødetekiver = Blekkulf’s environmental detectives, with Blekkulf being the name of a cartoon octopus. I translate the name as Bleached Wolf. It also helped with the founding of the Rainforest Fund and a Development Fund. It is affiliated with Friends of the Earth, one of the world’s largest networks of environmental organizations.
NU was to work for environmental protection.
NNV consists of county and local branches as well as a national secretariat. The organization has county branches in all of the country’s counties, and a total of about 100 local branches. A local branch can cover one or more municipalities.
The Norwegian Federation of Nature Conservation’s highest authority is the national congress, which meets every two years. Between national congresses, the association is led by a national board with representation from the county branches, and by a central board with five members. The head of both of these is the organization’s elected leader. There is also a secretary general who leads the daily operations of its secretariat, which is located in Oslo. Most of the approximately 30 employees are based there.
For the first 50 years, the Nature Conservation Association was an organization for a few, but professionally qualified members who were mainly engaged in classic nature conservation. In the 60s and 70s, however, the organization began to work on a much broader range of issues and became more critical of the government’s environmental protection work. Among other things, oil pollution, acid rain and river development = damning, were put on the agenda.
A critical change occurred at Mardala, a small valley named after the pine martin (Martes martes). It was the site of non-violent political actions against electrical power development in the summer of 1970 in Eikesdal = Oak Valley in Møre og Romsdal county. The action was an important symbolic event for the importance of preserving untouched nature. The action became particularly well-known because of the high Mardalsfossen waterfall in Eikesdal, which was to be put in a pipe, to be turned into electricity.
The Mardøla action was ideologically motivated, non-violent direct action, which made it unique at the time. The actions used civil disobedience as a means of resistance against power development, which was new in Norway. The leaders of the action were removed by the police after a camp was organized along the route of the construction road. Among the several hundred protesters were several well-known people, including philosophers Arne Næss (1912 – 2009) and Sigmund Kvaløy Sætreng (1934 – 2014) as well as the politician Odd Einar Dørum (1943 – ). The action was supported by the local population in Eikesdal and Eresfjord. But the actionists had to withdraw after threats from other Romsdal residents, especially there was resistance in Rauma municipality which wanted to get income from the power development.
The watercourse was developed and Mardalsfossen is dry most of the year. Only a few weeks during the tourist season each summer 2 m³ per second of water is released into the waterfall. The old water flow could be significantly greater, 40 m³ per second was not uncommon during snowmelt.
Protests against the development of hydroelectric power were much of the basis for building up an effective nature and environmental protection movement in Norway.
The waterfall is by the south end of the lake Eikesdalsvatnet, which also can be seen in the photograph. The waterfall’s total drop is 655 metres. The largest free fall is 297 meters, which is among the tallest in Norway.
Mardalfossen. Photo: Peter John Acklam 2004-07.
The next significant action was called the Alta controversy, involving a plan by the Norwegian Water Resources and Energy Directorate (NVE) to construct a dam and hydroelectric power plant, creating an artificial lake inundating the Sámi village of Máze. After political resistance, a less ambitious project was proposed that would cause less displacement of Sámi residents and less disruption for reindeer migration and wild salmon fishing.
When work on the project started again in 1981-01, more than one thousand protesters chained themselves to the site . The police responded with 10% of all Norwegian police officers being stationed in Alta, quartered in a cruise ship. Protesters were forcibly removed by police. For the first time since World War II, Norwegians were arrested and charged with violating laws against rioting. The central organizations for the Sámi people discontinued all cooperation with the Norwegian government. The Norwegian Supreme Court ruling in favor of the government in 1982. Organized opposition to the power plant ceased, and construction of the Alta Hydroelectric Power Station was completed by 1987. Despite this, the government lost the ethical war, especially among intellectuals, with respect to its racist anti-Sámi policies. Because of their civil disobedience, four leaders, including Per Flatberg (1937 – 2022) from Inderøy, were sentenced for encouraging illegal acts.
This conflict put Sámi rights over lands in Northern Norway, as an indigenous people, onto the national political agenda. With the passing of the Finnmark Act in 2005 the Sámi made important long-term gains, and revived interest in their culture. In addition, the conflict unified environmental groups.
The Fosen wind farms discussed here are about 100 km to the north-west of Cliff Cottage. Article 27 of the UN International Covenant on Civil and Political Rights (ICCPR) has become the most important international provision for the protection of indigenous peoples’ cultural practices. This article was central to the Norwegian Supreme Court’s consideration of the case concerning wind power plants on the Fosen peninsula in 2021-10. This was a historic decision because it was the first time that affected Sámi parties, in a case concerning a development project in their traditional areas, won in the Supreme Court through reference to human rights. This judgment is central because it clarified several key issues regarding indigenous peoples’ protection against interference in their traditional reindeer grazing areas.
The Supreme Court Fosen judgment, from 2021, concerned the validity of the Ministry of Petroleum and Energy’s decision from 2013 to expropriate and grant a licence to the Storheia and Roan wind power plants on the Fosen Peninsula. The windfarms are located in an area where reindeer husbandry is practiced. The herders claimed that the construction interfered with their right to enjoy their own culture according to Article 27, but this was rejected by the Ministry of Petroleum and Energy in 2013. Although the issue was brought before the courts, the company was nevertheless permitted to start the construction, and the windfarms were ready in 2019 and 2020, respectively. They are part of the largest onshore wind power project in Europe.
The case before the Supreme Court concerned whether the construction of the Fosen windfarms amounts to a violation of the reindeer herders’ right to enjoy their own culture under Article 27 of the ICCPR. The ICCPR is incorporated into the Act Relating to the Strengthening of the Status of Human Rights in Norwegian law (the Human Rights Act) of 21 May 1999. ICCPR thus applies directly as Norwegian law. It also takes precedence over other Norwegian legislative provisions through Section 3 of the Act in the event of a conflict with them. A grand chamber of the Supreme Court unanimously found a violation of Article 27 and stated that the licence and expropriation decisions were invalid. As of 2025, the Wind Farms are still in place, producing energy and profits for the companies that own them.
What surprises many is the ingrained racism of Norwegian society, especially with respect to Sámi people, and the attempt by the Norwegian government to Norwegianize this population. However, this racism is also directed to other ethnic groups, particularly Gypsies and immigrants from the Middle East. Rather than receiving assistance to conform to Norwegian laws, these ethnic groups, have had their children taken away and placed in institutions or foster homes, for violating parential laws, particularly related to corporal punishement. Even when the Norwegian Government loses cases at the European Court of Human Rights = the Strasbourg Court, the international court of the Council of Europe which interprets the European Convention on Human Rights, lights do not always start to flash.
In the future people should expect other environmental cases to emerge. Some will involve the extraction of petrochemicals in environmentally sensitive areas, others will involve the extraction of minerals, and the use of fjords to dispose of mine tailings. NNV will undoubtedly need to spend more time (and money) advocating its principles in court, than linking members to equipment or fences in the field, or outside Stortinget = the Parliament, to protest damage to the environment.
While the Norwegian population supports offshore wind projects, these can be more expensive to build, and more complex to extract energy from, than the proven technology of onshore wind farms.
