This is a portrait of Francesco Giovanni Fantin [1901-42] pictured just before he left Italy as an antifascist emigre in 1924. Note the foulard which was an anarchist dress symbol. Since 1985 I have been researching the biography of Fantin, an important Italo Australian anarchist activist who was assassinated by fascist conspirators whilst interned as an enemy alien at Loveday in the SA Riverland, 16 November 1942. This website contains previously unpublished photographs, supplied by friends and relatives of Fantin, and interpretative argument by me about Fantin’s life and times. Fantin is presented as a significant figure in the history of political heterodoxy, emigration and multicultural diversification which were beginning to assume historical proportions in Italo-Australian relations during his lifetime. This then is the larger than life story of a grass roots activist who explored democratic notions of citizenship resolved `to strive, to seek, to find, and not to yield’. It should be of interest to all interested in the history of democracy and Italo-Australian social and political history, whether they share Fantin’s anarchism, or, like myself, only his socialism.
Tony Cliff came to political consciousness in the darkest period of the 20th century and spent his life developing revolutionary Marxism against Stalinism. From his early days as a revolutionary in British-occupied Palestine, through years of obscurity and isolation in London and Dublin to the high points of struggle in post-war Britain, Cliff worked to restore lost ideas and traditions, fan flames of resistance and develop our understanding of a system in constant change. Ian Birchall’s lovingly crafted book is the culmination of years of work, drawing on interviews with over 100 people who knew Cliff and painstaking research in archives around the country. It is a majestic example of political biography at its best.
Available direct from Bookmarks Bookshop from 30 June 2011, and nationwide from October – see
here. Ian will be launching his biography at
Marxism 2011, and describes some of his experience of researching Cliff’s life
here.
I recently saw the film Louise-Michel.
It’s a bit, so–so (I went for the name- see below).
The film begins with a coffin being jammed in a Crematorium while the Internationale plays. A textile factory, in Picardy, is delocalised. The boss leaves the women workers in the lurch. Rather than go for a nude Calender, or take up stripping, they decide to hire a killer to bump him. Louise (Yolande Moreau), finds one, a man transsexual. Louise turns out to be man.
The comedy, such as it is, takes place the surreal Picardy environment, a decaying Communist bastion, with co-ops and council housing falling apart. The only real laughs are in the search for the ultimate boss responsible for the closure. This takes the pair, Louise and her pro ((Bouli Lanners) to a posh gala dinner, Brussels ( with , nonantes and septantes said every other sentence, and finally to Jersey where a much appreciated bloodbath of the bourgeoisie ensues.(Here.)
The only really good scene in Louise-Michel – and still a bit Little Britain in its humour – is when the duo pass by and visit the farm where Louise had shot a bank-manager out to forfeit her indebted property. It’s now an organic bed-and-breakfast heaven, with fair-trade coffee, bio bogs, hand-woven degradable carpets, spring water showers, crystal therapy breakfasts, and recycled air -in the dull flat Picardy mud.
Anyway, apart from the chance of seeing Siné in the flesh – in a walk-on part – I wouldn’t recommend the film.
But at the end there is a quote on the screen from the real-life Louise Michel.
Now she is someone the English-speaking left should get to know.
“Michel became highly admired by French workers and revolutionaries, particularly for her association with theParis Commune. From after her death until 1916, a demonstration was held every year at her tomb at Levallois-Perret.
A legendary figure of the labour movement, Michel had the ability to incite crowds to act. Frequently, the language used to describe her is that reserved for saints and heretics; she is often referred to as “Bonne Louise” (Good Louise) or the “Vierge rouge” (red Virgin). For better or worse, Michel seems to have fascinated her contemporaries. This woman, educated and cultured, intelligent without being shy and retiring, and lacking the beauty of certain demimondaines and other women of loose morals who populated the period before the Belle Epoque, was surrounded by many male celebrities. They were often her steadfast friends, until the end of her life, or more frequently to the end of theirs. For a period when women still had essentially no rights, she was in many respects an exception.”
L’œillet rouge.
If were to go to the black cemetery
- Brothers, throw on your sister,
- As a final hope,
- Some red ‘carnations’ in bloom.
- In the final days of Empire,
- When the people were awakening,
- It was your smile red carnation
- which told us that all was being reborn.
- Today, go blossom in the shadow of the black and sad prisons.
- Go, bloom near the somber captive,
- And tell him/her truly that we love him/her.
- Tell that through fleeting time
- Everything belongs to the future
- That the livid-browed conqueror
- can die more surely than the conquered.