Showing posts with label fascists. Show all posts
Showing posts with label fascists. Show all posts

08 November 2024

Fascists in the Family


Every summer my father climbed to the top of a rickety ladder and hacked away at the tall arborvitae shrubs surrounding our house in the New Jersey suburbs. My brothers and I dutifully collected the dropped branches, and dragged them to our Mom, who stood ready to bundle them with twine so they could more easily be dragged to the curb for our town’s weekly trash pickup.

Mom was absurdly proud of her branch-bundling skills. If we tried to bundle them ourselves, she’d watch for a while before chiding us that we were doing it the wrong way. “Hmph,” she’d say. “You don’t know how. I learned the right way. From my grandfather!”

To this day, I am not sure I can’t even describe her method, but I could probably duplicate it if you watched me. The point was that when she was done tying, you could shake that bundle as hard as you could, and none of those branches would come loose. Yay, Mom.

I reminded one of my brothers of this annual ritual some years ago, and he chuckled, “Well, sure she knew how to bundle sticks. She was a good little Fascist.”

And we had a chuckle at our late Mom’s expense.

Joe's Mom:
Top row, second from left.

He was referring, of course, to Mom’s upbringing in Italy during the rise of Mussolini. And the freakish images (which I’m sharing here) of those days. They are a reminder to me how easy it is to mold young minds to believe that This Is The Way. The Only Way. The Way of Our Leader.

Like it or not, a war intervened and erased the world of her childhood.

The word fascist and fascism gets lot of play these days, especially this week. The word is derived, of course, from the fasces, a bundle of wooden rods (not sticks or brush) enclosing an ax, that has been a symbol of government going back to the days of the Etruscans.

I rooted around the web some time ago, trying to learn more about those wooden-rod bundles, and how fascism differs, say, from totalitarianism or authoritarianism.

The Romans meant the ax to refer to the right of the state to use violence to keep order, when necessary. When the legions returned to Rome from war, the ax was removed from the symbol carried aloft by soldiers, indicating that military power yielded to civilian authority. Minus the ax, the wooden rods alone symbolize governmental authority.

The fasces motif is still used today in that context. You’ll find them on the Great Seal of the United States, the Lincoln Memorial, on the walls of the Oval Office, and so on.

The "Doll Dance":
Mom, second from left.

I had heard growing up that the fasces were a symbol of unity. Together, went the notion, the rods were stronger than each was alone. But it turns out that that concept came later, thanks to a fable by Aesop. The earliest users of the symbol would not have ascribed that meaning to the rods and axe.

My brothers and I were surprised later in life to discover these photos of Mom in various school pageants with a giant portraits of Il Duce in the background. She had described these events to us, but seeing the photos was another thing entirely. In the context of her time, she would have been called a “Piccola Fascista,” or a “little (female) fascist”.

She was under the age of ten when these pics were taken. She hailed from a family of four siblings. Near the end of their lives, I interviewed her and her older brother, Mike, whose story was slightly more troubling. As a teen he was sent to a fascist youth camp on the Adriatic coast, where young boys trained in calisthenics, marched around in green knickers and Tyroleon hats. Later that year, they performed for Il Duce himself in their regional capital.

I don’t have a pic of Mike handy, but at the time he was a husky boy, what Italians then and now would describe as ciccione—chubby. Laughing, he described to me the trouble he had performing the most basic feats of strength required by the program. He could not, for example, climb a rope, and watched with envy as one of his camp mates performed the act handily, twirling in the air like an aerialist. When he descended, the expert rope climber strode over to my uncle, sneered at him, and slapped his face in a gesture of derision. You can’t do what I do.

Mike was rescued from further involvement in Mussolini’s program when his father returned from the U.S., where he’d gone to seek employment, and brought his oldest son back to Brooklyn, New York.

From that point forward, each half of the family had vastly different wartime experiences. Mike enlisted in the U.S. Army, fought all across Europe, and served as an engineer at Normandy. His most soul-crushing experience, he said, was carrying emaciated survivors out of Buchenwald in his arms.

My mother, her two other siblings, and their mother remained behind. Nazis camped in her grandfather’s fields, threatening the old man with a gun to get access to his barn. When the Americans started bombing, the Nazis dumped their gunpowder in her grandfather’s fields and fled. Mom, her family, and her neighbors hid in (yet another) barn to wait out the air strikes. When the smoke cleared, their village was filled with a new crop of soldiers: Americans, Brits, and their Indian allies. The family was reunited after the war, when all but one sibling moved to the U.S. with their mother.

In the immediate occupation after the war, Mike was stationed in Germany, where he was assigned to question and repatriate Italian soldiers—a portion of about 30,000 POWs at one site who had been captured by the allies. Every day for weeks, he sat at a desk in a local gymnasium, asking one soldier after another—in their native tongue—their name, rank, home province, and one question: “Are you now or have you ever been a member of the Fascist Party?”

To a man, every single soldier said no, they weren’t, and never had been.

One day, as he was working in the gym, Mike looked up and saw a POW climbing a rope and twirling in the air like an acrobat.

Seething, Mike waited for this Italian soldier to descend.

Mike asked him the question.

“No,” Expert Rope Climber said. “I am not a Fascist.”

Mike slapped him in the face. Sweet justice. “Liar,” he said, proceeding to spell out the athletic games where they had together performed for Mussolini: “Campo Dux. Campobasso. 1935!”

Mike estimated that he had interrogated 5,000 of his countrymen. Every single one denied involvement in the ideology that had sent a nation to war and so many to their graves.

Sick to his stomach, one day he leaned over to his captain and said, “Hey, you know what? Looks like I’m the only Fascist here!”

Angels and Devils.
Mom, first, top row left.



Thanks for reading. See you in three weeks!

09 November 2017

Mornings in London by Janice Law


Mornings in London (The Francis Bacon Mysteries) by [Law, Janice]
Amazon Link Here
"It is a truth universally acknowledged that a single man in possession of good fortune must be in want of a wife."

Well, not if you have a really good nanny. Which Francis Bacon has.  (But more about that later.)

Yes, Francis Bacon, artist, gay, designer, bon vivant, adventurer, sometime spy, and always, always, always up to his neck in trouble is back in Janice Law's latest mystery, "Mornings in London".

But the first morning is in the country, at Larkin Manor, where Francis wakes up with a hangover and a naked footman, which is fine with him.  The trouble is, all around him are the county set, and (aside from the footman) Francis is already bored to death.  But he's down there at the request of a lady, his cousin Poppy, whom he hopes to rescue from Freddie, a bounder and a cad whom Francis knows a little too well and a little too much about.

Actually, that problem gets solved pretty quickly:
The morning of the hangover, Francis gets up to go to the bathroom and finds Signor Rinaldi, Italian diplomat under Mussolini, emerging from Freddie's room wearing nothing but a dressing gown.  "I was returning a book he so kindly lent me," Rinaldi offers - but no one believes that, especially Poppy.  The fight that follows attracts everyone's attention, and the main topic at dinner is that Poppy broke her engagement.  The next day, she and Francis go for a restorative walk, they find Freddie, his throat cut, lying in the grass.

Now everyone at Larkin Manor know that none of them could have done it.
Francis Bacon by John Dekin.jpg
Francis Bacon, Wikipedia

Signor Rinaldi?  A diplomat?  Never!
Lady Larkin, wealthy, a supporter of fascist movements at home and abroad?  Never!
Major Larkin, "the nice old architecture buff, the henpecked husband of a rich and politically ambitious wife"?  Never!
Basil Grove and his horsey wife, the wealthy Daphne?  Peter Tollman, the silver-haired government man and his trilling wife Lea?  The Larkins' pudgy daughter?  Never, never, never!

But Francis Bacon, dodgy decorator of rugs and furniture?  And his cousin Poppy, who broke off the engagement in a fury?  Well...  maybe.  Why not?

Francis knows trouble when he sees it - and it grows by leaps and bounds.  Someone - as well as the police - are after Poppy.  Someone mugs her.  Someone searches her rooms.  And when the lady vanishes, Francis knows he has to find out what's really going on.

Was Freddie murdered for love?  For blackmail?  For politics?  And the last is possible.  "Mornings in London" is set in the late 1920s, early 1930s, when fascism was rising both on the Continent and in England, especially among the aristocrats, to whom Mussolini was a handy tool for providing social stability.  (They thought.)  Everywhere Francis turns he runs into intelligence officers, including his exceptionally dodgy Uncle Lastings, who shows up with his own ideas on the murder...

Image result for jessie lightfootAnd then there's Nan.  I am so glad she is a major player in this book.  I love Nan.

Nan, who "sometimes has more imagination than a nanny requires.  Of course, that was exactly why she was ideal for me."
Nan, who always knows a secret place to slip a bit of evidence.
Nan, who will sleep / eat / live anywhere to be with Francis.  (Seriously, in the 1940's, when Francis lived in Millais' old studio in South Kensington, for lack of an "alternative location", Nan slept on the kitchen table. Wikipedia.)
Nan, who encourages Francis to give up decorating and go into painting full-time, saying, "I've been poor.  Money's better, but life's too short to pass on happiness."
Nan, who cooks and cleans and nurses - believe me, after reading about her, I am certain that all artists, of any genre, need a nanny like Jessie Lightfoot.  

Thanks, Janice, for giving us Francis, Nan, and "Mornings in London".