The Bomb didn’t beat Japan … Stalin did

Stalin at Potsdam

Stalin at Potsdam

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The Bomb didn’t beat Japan … Stalin did

Have decades of nuclear policy been based on a lie?

[This article first appeared way back in May 2013 when it was published on the Foreign Policy website. This version is taken from that which appeared on the Portside website on 13th November 2021. Although we disagree with the statement about the start of the Korean War we generally agree with the content and that’s why it’s being reproduced here. American spelling and grammar has been retained.]

The U.S. use of nuclear weapons against Japan during World War II has long been a subject of emotional debate. Initially, few questioned President Truman’s decision to drop two atomic bombs, on Hiroshima and Nagasaki. But, in 1965, historian Gar Alperovitz argued that, although the bombs did force an immediate end to the war, Japan’s leaders had wanted to surrender anyway and likely would have done so before the American invasion planned for Nov. 1. Their use was, therefore, unnecessary. Obviously, if the bombings weren’t necessary to win the war, then bombing Hiroshima and Nagasaki was wrong. In the years since, many others have joined the fray: some echoing Alperovitz and denouncing the bombings, others rejoining hotly that the bombings were moral, necessary, and life-saving.

Both schools of thought, however, assume that the bombing of Hiroshima and Nagasaki with new, more powerful weapons did coerce Japan into surrendering on Aug. 9. They fail to question the utility of the bombing in the first place — to ask, in essence, did it work? The orthodox view is that, yes, of course, it worked. The United States bombed Hiroshima on Aug. 6 and Nagasaki on Aug. 9, when the Japanese finally succumbed to the threat of further nuclear bombardment and surrendered. The support for this narrative runs deep. But there are three major problems with it, and, taken together, they significantly undermine the traditional interpretation of the Japanese surrender.

Timing

The first problem with the traditional interpretation is timing. And it is a serious problem. The traditional interpretation has a simple timeline: The U.S. Army Air Force bombs Hiroshima with a nuclear weapon on Aug. 6, three days later they bomb Nagasaki with another, and on the next day the Japanese signal their intention to surrender. One can hardly blame American newspapers for running headlines like: “Peace in the Pacific: Our Bomb Did It!”

When the story of Hiroshima is told in most American histories, the day of the bombing — Aug. 6 — serves as the narrative climax. All the elements of the story point forward to that moment: the decision to build a bomb, the secret research at Los Alamos, the first impressive test, and the final culmination at Hiroshima. It is told, in other words, as a story about the Bomb. But you can’t analyze Japan’s decision to surrender objectively in the context of the story of the Bomb. Casting it as “the story of the Bomb” already presumes that the Bomb’s role is central.

Viewed from the Japanese perspective, the most important day in that second week of August wasn’t Aug. 6 but Aug. 9. That was the day that the Supreme Council met — for the first time in the war — to discuss unconditional surrender. The Supreme Council was a group of six top members of the government — a sort of inner cabinet — that effectively ruled Japan in 1945. Japan’s leaders had not seriously considered surrendering prior to that day. Unconditional surrender (what the Allies were demanding) was a bitter pill to swallow. The United States and Great Britain were already convening war crimes trials in Europe. What if they decided to put the emperor — who was believed to be divine — on trial? What if they got rid of the emperor and changed the form of government entirely? Even though the situation was bad in the summer of 1945, the leaders of Japan were not willing to consider giving up their traditions, their beliefs, or their way of life. Until Aug. 9. What could have happened that caused them to so suddenly and decisively change their minds? What made them sit down to seriously discuss surrender for the first time after 14 years of war?

It could not have been Nagasaki. The bombing of Nagasaki occurred in the late morning of Aug. 9, after the Supreme Council had already begun meeting to discuss surrender, and word of the bombing only reached Japan’s leaders in the early afternoon — after the meeting of the Supreme Council had been adjourned in deadlock and the full cabinet had been called to take up the discussion. Based on timing alone, Nagasaki can’t have been what motivated them.

Hiroshima isn’t a very good candidate either. It came 74 hours — more than three days — earlier. What kind of crisis takes three days to unfold? The hallmark of a crisis is a sense of impending disaster and the overwhelming desire to take action now. How could Japan’s leaders have felt that Hiroshima touched off a crisis and yet not meet to talk about the problem for three days?

President John F. Kennedy was sitting up in bed reading the morning papers at about 8:45 a.m. on Oct. 16, 1962, when McGeorge Bundy, his national security advisor, came in to inform him that the Soviet Union was secretly putting nuclear missiles in Cuba. Within two hours and forty-five minutes a special committee had been created, its members selected, contacted, brought to the White House, and were seated around the cabinet table to discuss what should be done.

President Harry Truman was vacationing in Independence, Missouri, on June 25, 1950, when North Korea sent its troops across the 38th parallel, invading South Korea. Secretary of State Acheson called Truman that Saturday morning to give him the news. Within 24 hours, Truman had flown halfway across the United States and was seated at Blair House (the White House was undergoing renovations) with his top military and political advisors talking about what to do.

Even Gen. George Brinton McClellan — the Union commander of the Army of the Potomac in 1863 during the American Civil War, of whom President Lincoln said sadly, “He’s got the slows” — wasted only 12 hours when he was given a captured copy of Gen. Robert E. Lee’s orders for the invasion of Maryland.

These leaders responded — as leaders in any country would — to the imperative call that a crisis creates. They each took decisive steps in a short period of time. How can we square this sort of behavior with the actions of Japan’s leaders? If Hiroshima really touched off a crisis that eventually forced the Japanese to surrender after fighting for 14 years, why did it take them three days to sit down to discuss it?

One might argue that the delay is perfectly logical. Perhaps they only came to realize the importance of the bombing slowly. Perhaps they didn’t know it was a nuclear weapon and when they did realize it and understood the terrible effects such a weapon could have, they naturally concluded they had to surrender. Unfortunately, this explanation doesn’t square with the evidence.

First, Hiroshima’s governor reported to Tokyo on the very day Hiroshima was bombed that about a third of the population had been killed in the attack and that two thirds of the city had been destroyed. This information didn’t change over the next several days. So the outcome — the end result of the bombing — was clear from the beginning. Japan’s leaders knew roughly the outcome of the attack on the first day, yet they still did not act.

Second, the preliminary report prepared by the Army team that investigated the Hiroshima bombing, the one that gave details about what had happened there, was not delivered until Aug. 10. It didn’t reach Tokyo, in other words, until after the decision to surrender had already been taken. Although their verbal report was delivered (to the military) on Aug. 8, the details of the bombing were not available until two days later. The decision to surrender was therefore not based on a deep appreciation of the horror at Hiroshima.

Third, the Japanese military understood, at least in a rough way, what nuclear weapons were. Japan had a nuclear weapons program. Several of the military men mention the fact that it was a nuclear weapon that destroyed Hiroshima in their diaries. Gen. Anami Korechika, minster of war, even went to consult with the head of the Japanese nuclear weapons program on the night of Aug. 7. The idea that Japan’s leaders didn’t know about nuclear weapons doesn’t hold up.

Finally, one other fact about timing creates a striking problem. On Aug. 8, Foreign Minister Togo Shigenori went to Premier Suzuki Kantaro and asked that the Supreme Council be convened to discuss the bombing of Hiroshima, but its members declined. So the crisis didn’t grow day by day until it finally burst into full bloom on Aug. 9. Any explanation of the actions of Japan’s leaders that relies on the “shock” of the bombing of Hiroshima has to account for the fact that they considered a meeting to discuss the bombing on Aug. 8, made a judgment that it was too unimportant, and then suddenly decided to meet to discuss surrender the very next day. Either they succumbed to some sort of group schizophrenia, or some other event was the real motivation to discuss surrender.

Scale

Historically, the use of the Bomb may seem like the most important discrete event of the war. From the contemporary Japanese perspective, however, it might not have been so easy to distinguish the Bomb from other events. It is, after all, difficult to distinguish a single drop of rain in the midst of a hurricane.

In the summer of 1945, the U.S. Army Air Force carried out one of the most intense campaigns of city destruction in the history of the world. Sixty-eight cities in Japan were attacked and all of them were either partially or completely destroyed. An estimated 1.7 million people were made homeless, 300,000 were killed, and 750,000 were wounded. Sixty-six of these raids were carried out with conventional bombs, two with atomic bombs. The destruction caused by conventional attacks was huge. Night after night, all summer long, cities would go up in smoke. In the midst of this cascade of destruction, it would not be surprising if this or that individual attack failed to make much of an impression — even if it was carried out with a remarkable new type of weapon.

A B-29 bomber flying from the Mariana Islands could carry — depending on the location of the target and the altitude of attack — somewhere between 16,000 and 20,000 pounds of bombs. A typical raid consisted of 500 bombers. This means that the typical conventional raid was dropping 4 to 5 kilotons of bombs on each city. (A kiloton is a thousand tons and is the standard measure of the explosive power of a nuclear weapon. The Hiroshima bomb measured 16.5 kilotons, the Nagasaki bomb 20 kilotons.) Given that many bombs spread the destruction evenly (and therefore more effectively), while a single, more powerful bomb wastes much of its power at the center of the explosion — re-bouncing the rubble, as it were — it could be argued that some of the conventional raids approached the destruction of the two atomic bombings.

The first of the conventional raids, a night attack on Tokyo on March 9-10, 1945, remains the single most destructive attack on a city in the history of war. Something like 16 square miles of the city were burned out. An estimated 120,000 Japanese lost their lives — the single highest death toll of any bombing attack on a city.

We often imagine, because of the way the story is told, that the bombing of Hiroshima was far worse. We imagine that the number of people killed was off the charts. But if you graph the number of people killed in all 68 cities bombed in the summer of 1945, you find that Hiroshima was second in terms of civilian deaths. If you chart the number of square miles destroyed, you find that Hiroshima was fourth. If you chart the percentage of the city destroyed, Hiroshima was 17th. Hiroshima was clearly within the parameters of the conventional attacks carried out that summer.

From our perspective, Hiroshima seems singular, extraordinary. But if you put yourself in the shoes of Japan’s leaders in the three weeks leading up to the attack on Hiroshima, the picture is considerably different. If you were one of the key members of Japan’s government in late July and early August, your experience of city bombing would have been something like this: On the morning of July 17, you would have been greeted by reports that during the night four cities had been attacked: Oita, Hiratsuka, Numazu, and Kuwana. Of these, Oita and Hiratsuka were more than 50 percent destroyed. Kuwana was more than 75 percent destroyed and Numazu was hit even more severely, with something like 90 percent of the city burned to the ground.

Three days later you have woken to find that three more cities had been attacked. Fukui was more than 80 percent destroyed. A week later and three more cities have been attacked during the night. Two days later and six more cities were attacked in one night, including Ichinomiya, which was 75 percent destroyed. On Aug. 2, you would have arrived at the office to reports that four more cities have been attacked. And the reports would have included the information that Toyama (roughly the size of Chattanooga, Tennessee in 1945), had been 99.5 percent destroyed. Virtually the entire city had been leveled. Four days later and four more cities have been attacked. On Aug. 6, only one city, Hiroshima, was attacked but reports say that the damage was great and a new type bomb was used. How much would this one new attack have stood out against the background of city destruction that had been going on for weeks?

In the three weeks prior to Hiroshima, 26 cities were attacked by the U.S. Army Air Force. Of these, eight — or almost a third — were as completely or more completely destroyed than Hiroshima (in terms of the percentage of the city destroyed). The fact that Japan had 68 cities destroyed in the summer of 1945 poses a serious challenge for people who want to make the bombing of Hiroshima the cause of Japan’s surrender. The question is: If they surrendered because a city was destroyed, why didn’t they surrender when those other 66 cities were destroyed?

If Japan’s leaders were going to surrender because of Hiroshima and Nagasaki, you would expect to find that they cared about the bombing of cities in general, that the city attacks put pressure on them to surrender. But this doesn’t appear to be so. Two days after the bombing of Tokyo, retired Foreign Minister Shidehara Kijuro expressed a sentiment that was apparently widely held among Japanese high-ranking officials at the time. Shidehara opined that “the people would gradually get used to being bombed daily. In time their unity and resolve would grow stronger.” In a letter to a friend he said it was important for citizens to endure the suffering because “even if hundreds of thousands of noncombatants are killed, injured, or starved, even if millions of buildings are destroyed or burned,” additional time was needed for diplomacy. It is worth remembering that Shidehara was a moderate.

At the highest levels of government — in the Supreme Council — attitudes were apparently the same. Although the Supreme Council discussed the importance of the Soviet Union remaining neutral, they didn’t have a full-dress discussion about the impact of city bombing. In the records that have been preserved, city bombing doesn’t even get mentioned during Supreme Council discussions except on two occasions: once in passing in May 1945 and once during the wide-ranging discussion on the night of Aug. 9. Based on the evidence, it is difficult to make a case that Japan’s leaders thought that city bombing — compared to the other pressing matters involved in running a war — had much significance at all.

Gen. Anami on Aug. 13 remarked that the atomic bombings were no more menacing than the fire-bombing that Japan had endured for months. If Hiroshima and Nagasaki were no worse than the fire bombings, and if Japan’s leaders did not consider them important enough to discuss in depth, how can Hiroshima and Nagasaki have coerced them to surrender?

Strategic Significance

If the Japanese were not concerned with city bombing in general or the atomic bombing of Hiroshima in particular, what were they concerned with? The answer is simple: the Soviet Union.

The Japanese were in a relatively difficult strategic situation. They were nearing the end of a war they were losing. Conditions were bad. The Army, however, was still strong and well-supplied. Nearly 4 million men were under arms and 1.2 million of those were guarding Japan’s home islands.

Even the most hard-line leaders in Japan’s government knew that the war could not go on. The question was not whether to continue, but how to bring the war to a close under the best terms possible. The Allies (the United States, Great Britain, and others — the Soviet Union, remember, was still neutral) were demanding “unconditional surrender.” Japan’s leaders hoped that they might be able to figure out a way to avoid war crimes trials, keep their form of government, and keep some of the territories they’d conquered: Korea, Vietnam, Burma, parts of Malaysia and Indonesia, a large portion of eastern China, and numerous islands in the Pacific.

They had two plans for getting better surrender terms; they had, in other words, two strategic options. The first was diplomatic. Japan had signed a five-year neutrality pact with the Soviets in April of 1941, which would expire in 1946. A group consisting mostly of civilian leaders and led by Foreign Minister Togo Shigenori hoped that Stalin might be convinced to mediate a settlement between the United States and its allies on the one hand, and Japan on the other. Even though this plan was a long shot, it reflected sound strategic thinking. After all, it would be in the Soviet Union’s interest to make sure that the terms of the settlement were not too favorable to the United States: any increase in U.S. influence and power in Asia would mean a decrease in Russian power and influence.

The second plan was military, and most of its proponents, led by the Army Minister Anami Korechika, were military men. They hoped to use Imperial Army ground troops to inflict high casualties on U.S. forces when they invaded. If they succeeded, they felt, they might be able to get the United States to offer better terms. This strategy was also a long shot. The United States seemed deeply committed to unconditional surrender. But since there was, in fact, concern in U.S. military circles that the casualties in an invasion would be prohibitive, the Japanese high command’s strategy was not entirely off the mark.

One way to gauge whether it was the bombing of Hiroshima or the invasion and declaration of war by the Soviet Union that caused Japan’s surrender is to compare the way in which these two events affected the strategic situation. After Hiroshima was bombed on Aug. 6, both options were still alive. It would still have been possible to ask Stalin to mediate (and Takagi’s diary entries from Aug. 8 show that at least some of Japan’s leaders were still thinking about the effort to get Stalin involved). It would also still have been possible to try to fight one last decisive battle and inflict heavy casualties. The destruction of Hiroshima had done nothing to reduce the preparedness of the troops dug in on the beaches of Japan’s home islands. There was now one fewer city behind them, but they were still dug in, they still had ammunition, and their military strength had not been diminished in any important way. Bombing Hiroshima did not foreclose either of Japan’s strategic options.

The impact of the Soviet declaration of war and invasion of Manchuria and Sakhalin Island was quite different, however. Once the Soviet Union had declared war, Stalin could no longer act as a mediator — he was now a belligerent. So the diplomatic option was wiped out by the Soviet move. The effect on the military situation was equally dramatic. Most of Japan’s best troops had been shifted to the southern part of the home islands. Japan’s military had correctly guessed that the likely first target of an American invasion would be the southernmost island of Kyushu. The once proud Kwangtung army in Manchuria, for example, was a shell of its former self because its best units had been shifted away to defend Japan itself. When the Russians invaded Manchuria, they sliced through what had once been an elite army and many Russian units only stopped when they ran out of gas. The Soviet 16th Army — 100,000 strong — launched an invasion of the southern half of Sakhalin Island. Their orders were to mop up Japanese resistance there, and then — within 10 to 14 days — be prepared to invade Hokkaido, the northernmost of Japan’s home islands. The Japanese force tasked with defending Hokkaido, the 5th Area Army, was under strength at two divisions and two brigades, and was in fortified positions on the east side of the island. The Soviet plan of attack called for an invasion of Hokkaido from the west.

It didn’t take a military genius to see that, while it might be possible to fight a decisive battle against one great power invading from one direction, it would not be possible to fight off two great powers attacking from two different directions. The Soviet invasion invalidated the military’s decisive battle strategy, just as it invalidated the diplomatic strategy. At a single stroke, all of Japan’s options evaporated. The Soviet invasion was strategically decisive — it foreclosed both of Japan’s options — while the bombing of Hiroshima (which foreclosed neither) was not.

The Soviet declaration of war also changed the calculation of how much time was left for maneuver. Japanese intelligence was predicting that U.S. forces might not invade for months. Soviet forces, on the other hand, could be in Japan proper in as little as 10 days. The Soviet invasion made a decision on ending the war extremely time sensitive.

And Japan’s leaders had reached this conclusion some months earlier. In a meeting of the Supreme Council in June 1945, they said that Soviet entry into the war “would determine the fate of the Empire.” Army Deputy Chief of Staff Kawabe said, in that same meeting, “The absolute maintenance of peace in our relations with the Soviet Union is imperative for the continuation of the war.”

Japan’s leaders consistently displayed disinterest in the city bombing that was wrecking their cities. And while this may have been wrong when the bombing began in March of 1945, by the time Hiroshima was hit, they were certainly right to see city bombing as an unimportant sideshow, in terms of strategic impact. When Truman famously threatened to visit a “rain of ruin” on Japanese cities if Japan did not surrender, few people in the United States realized that there was very little left to destroy. By Aug. 7, when Truman’s threat was made, only 10 cities larger than 100,000 people remained that had not already been bombed. Once Nagasaki was attacked on Aug. 9, only nine cities were left. Four of those were on the northernmost island of Hokkaido, which was difficult to bomb because of the distance from Tinian Island where American planes were based. Kyoto, the ancient capital of Japan, had been removed from the target list by Secretary of War Henry Stimson because of its religious and symbolic importance. So despite the fearsome sound of Truman’s threat, after Nagasaki was bombed only four major cities remained which could readily have been hit with atomic weapons.

The thoroughness and extent of the U.S. Army Air Force’s campaign of city bombing can be gauged by the fact that they had run through so many of Japan’s cities that they were reduced to bombing “cities” of 30,000 people or fewer. In the modern world, 30,000 is no more than a large town.

Of course it would always have been possible to re-bomb cities that had already been bombed with firebombs. But these cities were, on average, already 50 percent destroyed. Or the United States could have bombed smaller cities with atomic weapons. There were, however, only six smaller cities (with populations between 30,000 and 100,000) which had not already been bombed. Given that Japan had already had major bombing damage done to 68 cities, and had, for the most part, shrugged it off, it is perhaps not surprising that Japan’s leaders were unimpressed with the threat of further bombing. It was not strategically compelling.

A Convenient Story

Despite the existence of these three powerful objections, the traditional interpretation still retains a strong hold on many people’s thinking, particularly in the United States. There is real resistance to looking at the facts. But perhaps this should not be surprising. It is worth reminding ourselves how emotionally convenient the traditional explanation of Hiroshima is — both for Japan and the United States. Ideas can have persistence because they are true, but unfortunately, they can also persist because they are emotionally satisfying: They fill an important psychic need. For example, at the end of the war the traditional interpretation of Hiroshima helped Japan’s leaders achieve a number of important political aims, both domestic and international.

Put yourself in the shoes of the emperor. You’ve just led your country through a disastrous war. The economy is shattered. Eighty percent of your cities have been bombed and burned. The Army has been pummeled in a string of defeats. The Navy has been decimated and confined to port. Starvation is looming. The war, in short, has been a catastrophe and, worst of all, you’ve been lying to your people about how bad the situation really is. They will be shocked by news of surrender. So which would you rather do? Admit that you failed badly? Issue a statement that says that you miscalculated spectacularly, made repeated mistakes, and did enormous damage to the nation? Or would you rather blame the loss on an amazing scientific breakthrough that no one could have predicted? At a single stroke, blaming the loss of the war on the atomic bomb swept all the mistakes and misjudgments of the war under the rug. The Bomb was the perfect excuse for having lost the war. No need to apportion blame; no court of enquiry need be held. Japan’s leaders were able to claim they had done their best. So, at the most general level the Bomb served to deflect blame from Japan’s leaders.

But attributing Japan’s defeat to the Bomb also served three other specific political purposes. First, it helped to preserve the legitimacy of the emperor. If the war was lost not because of mistakes but because of the enemy’s unexpected miracle weapon, then the institution of the emperor might continue to find support within Japan.

Second, it appealed to international sympathy. Japan had waged war aggressively, and with particular brutality toward conquered peoples. Its behavior was likely to be condemned by other nations. Being able to recast Japan as a victimized nation — one that had been unfairly bombed with a cruel and horrifying instrument of war — would help to offset some of the morally repugnant things Japan’s military had done. Drawing attention to the atomic bombings helped to paint Japan in a more sympathetic light and deflect support for harsh punishment.

Finally, saying that the Bomb won the war would please Japan’s American victors. The American occupation did not officially end in Japan until 1952, and during that time the United States had the power to change or remake Japanese society as they saw fit. During the early days of the occupation, many Japanese officials worried that the Americans intended to abolish the institution of the emperor. And they had another worry. Many of Japan’s top government officials knew that they might face war crimes trials (the war crimes trials against Germany’s leaders were already underway in Europe when Japan surrendered). Japanese historian Asada Sadao has said that in many of the postwar interviews “Japanese officials … were obviously anxious to please their American questioners.” If the Americans wanted to believe that the Bomb won the war, why disappoint them?

Attributing the end of the war to the atomic bomb served Japan’s interests in multiple ways. But it also served U.S. interests. If the Bomb won the war, then the perception of U.S. military power would be enhanced, U.S. diplomatic influence in Asia and around the world would increase, and U.S. security would be strengthened. The $2 billion spent to build it would not have been wasted. If, on the other hand, the Soviet entry into the war was what caused Japan to surrender, then the Soviets could claim that they were able to do in four days what the United States was unable to do in four years, and the perception of Soviet military power and Soviet diplomatic influence would be enhanced. And once the Cold War was underway, asserting that the Soviet entry had been the decisive factor would have been tantamount to giving aid and comfort to the enemy.

It is troubling to consider, given the questions raised here, that the evidence of Hiroshima and Nagasaki is at the heart of everything we think about nuclear weapons. This event is the bedrock of the case for the importance of nuclear weapons. It is crucial to their unique status, the notion that the normal rules do not apply to nuclear weapons. It is an important measure of nuclear threats: Truman’s threat to visit a “rain of ruin” on Japan was the first explicit nuclear threat. It is key to the aura of enormous power that surrounds the weapons and makes them so important in international relations.

But what are we to make of all those conclusions if the traditional story of Hiroshima is called into doubt? Hiroshima is the center, the point from which all other claims and assertions radiate out. Yet the story we have been telling ourselves seems pretty far removed from the facts. What are we to think about nuclear weapons if this enormous first accomplishment — the miracle of Japan’s sudden surrender — turns out to be a myth?

Ward Wilson is a senior fellow at the British American Security Information Council and the author of “Five Myths About Nuclear Weapons,” from which this article was adapted.

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Gjirokaster Martyrs’ Cemetery and the 75th Anniversary of Liberation

Gjirokaster Martyrs' Cemetery - 18th September - Liberation Day 75 years

Gjirokaster Martyrs’ Cemetery – 18th September – Liberation Day 75 years

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Gjirokaster Martyrs’ Cemetery and the 75th Anniversary of Liberation

Details about the lapidar, and some of the history, of the Gjirokaster Martyrs’ Cemetery (ALS 376) were posted some time ago. However, on the occasion of the 75th Anniversary of the Liberation of Gjirokaster from the Nazi occupation I was fortunate enough to be, again, in the city.

The Nazi’s were forced from the city by the Partisans, under the leadership of the Albanian Communist Party (that was later renamed as the Party of Labour of Albania) on 18th September 1944. That date is still considered important, even through all the changes and the anarchy that hit Gjirokaster significantly during the 1990s, as the main street in the new town is still called Bulevard 18 Shtator (18th September Avenue).

On that date in 2019 a small celebration was organised both at the cemetery itself and in the theatre in the new part of town – but much less than it would have been during the period of Socialist construction. However, the event did follow certain aspects which were common of such occasions between 1944 and 1990.

There was a march from the centre of the new town to the cemetery (which is on the edge of town on the national road that heads towards Tepelene (and hence Tirana) in the north and the Greek border at Kakavija towards the south) where a short ceremony took place and this was followed a short time later by a cultural performance/speeches in the town’s theatre.

As I have said this was very low key, the rest of Gjirokaster carrying on life as normal, something which would not have happened in the past. Such an anniversary would have been a public holiday and the celebration would have been much more formal and with events taking place all over the town.

However, there are a few points I would like to emphasis from my observation on the day, which include how things were done in the past and how they were done in 2019.

It was obvious that those who still identify themselves with the Socialist past in Albania were those who wore a red scarf around their necks. This was part of the ‘uniform’ of the Partisans. This I have pointed out in many descriptions of the lapidars which have appeared on the page under the heading of the Albanian Lapidar Survey.

The military presence existed but on a much reduced level – just really a couple of officers in regular, i.e., not dress, uniform. Whether it was seen as an obligation I can only surmise. During the Socialist period the military presence would have been in the form of the People’s Militia which consisted of both men and women.

Proud Relative

Proud Relative

The tradition at ceremonies in the Martyrs’ cemeteries always consisted of children from the Young Pioneers standing at each of the tombs and during the ceremony a single red carnation would be placed on each tomb. As time passed it would obviously mean that many of the martyrs would not have any surviving relatives who might be able to place flowers on the tombs. By having the Young Pioneers do so, in a formal and organised manner, it meant that none of the anti-Fascist fighters were forgotten and left out. In 2019 it was again young people who brought baskets of flowers and then placed a single flower on each tomb – but these were older children, in their teens, rather than the younger, primary school children, who would have carried out the task pre-1990. (But someone ‘forgot’ to count the tombs as at the end of the flower distribution there were still quite a number without a flower.)

Child distributing flowers

Child distributing flowers

There was very little ‘formality’ during the 75th Anniversary celebration at the cemetery. People tended to mill around rather than stand in any formal manner. If you want to draw comparisons then the fact that this is being written on 11th November provides an easy and almost direct comparison.

At 11.00 on Remembrance Sunday (in the United Kingdom) in the centre of London at the Cenotaph there will be a very formal presence of politicians and aristocracy. After the Minutes’ Silence there will be a very formal and organised laying of wreaths and then a march past of veterans. To do otherwise in Britain would cause an outcry of indignation from various sectors of the population and media. For people to just walk by and see who had left the wreath at the Cenotaph during the Minutes’ Silence would be considered disrespectful. That was virtually what was happening in Gjirokaster on 18th September 2019.

I’m not saying that is either good or bad. It’s just to remind readers that countries have various ways in commemorating their dead in past wars. It should also be remembered that, in theory if not really in ultimate practice, in the early 1940s the so-called ‘Allies’ were supposed to be fighting on the same side and that the defeat of Fascism was the aim of all the countries. So perhaps people should remember this when they start to make judgements on the past in Albania.

Without significant help from any other army of the major warring Allies the Albanian people were able to liberate themselves from both the Italian Fascist and German Nazi invaders. In some respects that was their greatest crime – at least in the eyes of the British and the Americans. It meant they weren’t beholding to any external power and would fight to maintain the independence they had gained on 29h November 1944. It was for this reason that the British threatened and made attempts at ‘regime change’ in Albania even before the sound of the cannon fire had disappeared in the distance.

But back to the ceremony on 18th September 2019.

One small event that caused a local stir was the presence of an older man who help a portrait of Comrade Enver Hoxha, in a glass frame, high above his head in front of the images of the eight heroes/heroines of Gjirokaster depicted on the lapidar. He drew the attention of the media present as well as a number of onlookers. Though a single incident it was good to see that the spirit of the past still exists within the city.

Holding Enver High

Holding Enver High

Hopefully, readers will be able to get an idea of the event from the pictures in the slide show below.

Event at the theatre

Much of the celebration that continued in the theatre an hour or so after the ceremony at the celebration went over my head as a non-Albanian speaker. However, it was possible to get the general tone in that the Liberation of the town from the Nazis 75 years previously was still an event that needed to be remembered and commemorated.

(This is despite the fact that in Tirana Park, in the capital, there’s a monument to the Nazi fallen – put there to please the so-called democrats of Germany and, no doubt, in a bid to curry favour with a principle player in the European Union – which Albania is desperate to join and which (even though it goes against all the logic of the EU Constitution). This is likely (bizarrely) to happen in the not too distant future. High level talks are taking place in 2021 – when the rest of the EU is starting to implode – and the only reason I can see for this is the huge mineral resources that have so far remained untapped in the (at the moment) relatively inaccessible part of the north east of the country. But how many other countries that fought the Fascists in the Second World War have monuments to the dead of the invaders?)

As part of this celebration there was a small exhibition of Socialist Realist Art in the entrance to the theatre – examples which are included in the slide show below. Some of these had been brought down from the Museum in the Castle for the occasion – and can be seen in the badly maintained and positively dirty museum at present. Others seems to have come from storage – as was the picture of Persefoni and Bule, the two so-called ‘Hanged Women of Gjirokaster’, two young, Partisan women, in their early twenties, who were publicly hung in the main square in the old town on July 17th 1944. This particular picture has been added as an update to the post on these two brave young Communist fighters.

Persefoni and Bula - G Modhi 1966

Persefoni and Bula – G Modhi 1966

Also in exhibition was a brand new, and very fine, tapestry of the Liberation which, I assume, was made specifically for the 75th Anniversary. The artist has signed their name SC – but I have no further information to date.

18 Shtator 1944 - SC - tapestry

18 Shtator 1944 – SC – tapestry

Update on the cemetery

I took the opportunity of a quiet moment to have another visit to the cemetery to try to get an idea of what the Anti-Fascist National Liberation war was all about. I had missed them in the past but was slightly surprised to see that (although there are many young people remembered on the tombs) there were two children of 14 (Sulo Hysi (1929-1943) and Kristo Cavo (1929-1943)) and one 16 year-old (Celo Sinani (1928-1944)) who also fell in the struggle for liberation.

Kristo Cavo

Kristo Cavo

I have been having difficulty in tracking down someone in Gjirokaster who might know exactly who is represented amongst the eight heads which are depicted on the lapidar. In the cemetery there are a few tombstones which carry a red star as well as the name of the individual. These will be officially Heroes of the People. Two of those, Bule Naipi (1922-1944) and Persefoni Koadhima (1923-1944) are the so-called ‘Hanged Women of Gjirokaster’ and are the young female faces on the lapidar.

I am assuming that of the other Heroes of the People whose tombs are in the Martyrs’ Cemetery – Themo-Vasi (no dates), Celo Sinani (1928-1944) and Muzafer Asqueria (1918-1942) – might well be also depicted on the panel but if so I’m not sure which they are.

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Death to Fascism Mural in the National Historical Museum, Tirana

The complete mural

The complete mural

More on Albania ……

Death to Fascism Mural in the National Historical Museum, Tirana

The mural that covers the whole of one wall in the room of the National Historical Museum in Tirana that’s devoted to the War of Liberation against the invading fascists of 1939 to 1944 is one of the few which can still be appreciated at leisure by any visitor. There’s another which can be seen, but not fully understood, as it’s in a room which is undergoing renovation at the moment. Whether it will be covered in some way as part of this renovation is unknown – but hopefully not.

Since the end of the 1990s, when relative stability was regained in the country, various Albanian governments of various colours have sought to slowly but surely eradicate the period of the construction of Socialism, from 1944 to 1990, as if it had never existed. Those of the neo-fascist right (some of whom were even members of the Party of Labour of Albania for many years but changed their allegiance once the opportunity presented itself – therefore justifying the idea of Joseph Stalin that the Party constantly needs to purge itself of opportunist elements) want the past eradicated so that their names cannot be associated with those actions and tactics which they now deny.

Those of the opportunist now social-democratic ‘left’ don’t want to show themselves in their true colours, offering ‘easy’ options to difficult problems and denying that the efforts to construct a wholly new world order had any value whatsoever. They look for comfort in the ‘tinkering’ of the system as they are totally inadequate in the task of substantially changing society forever. Efforts by those who have tried to do so in the past – whatever the failings and the mistakes that might have been made – only show them up for the weak and cowardly opportunists that they are.

Capitalism has, in the last hundred years, constantly criticised Socialist states of ‘re-writing history’. This is not the place to argue the truth of such accusations but what is certain is that this ‘holier than thou’ approach is mainly used as a smokescreen for the oppressive and exploitative system to justify the way it has, still does and will until the days it is destroyed forever, interpreted history in a manner which portrays capitalism and imperialism as the only possible system that can exist throughout the world – despite the innumerable crimes it has, still does and will commit in the future.

But back to the mural.

This one depicts images from the war against German Nazism. It does not pretend to be a view of a particular battle at a particular time and place. It’s more of a montage with images that attempt to record, in a visual manner, the struggle of the Communist-led Albanian Partisans against the Nazi invader.

It seeks to portray the Partisans as fearless and determined fighters who will do any and everything to rid their country of the invaders. In doing so the painter (and this has been repeated in an number of other places, both in paintings and in the sculptures of the Albanian lapidars) effectively has dehumanised the German soldiers.

This ‘dehumanisation’ is necessary to stress the difference between the moral authority of the Partisan fighters in resisting the invaders and the lack of such authority of the German forces who sought to dominate and enslave the Albanian population.

The depiction of the Nazis as no more than unprincipled and vicious animals also seeks to remind the Albanian people of the atrocities that were perpetrated by the invaders during their time in the country. In their frustration against their inability to defeat the Partisans (who carried out for the first part of the organised armed struggle after the formation of the National Liberation Front in Peze in 1942 a guerrilla war against first the Italian and then the German armies) the Germans carried out a total war which, among other things, involved such actions as the massacre and annihilation of the village and people of Borove after a particularly successful and stinging ambush carried out near-by.

The painting seeks to remind the viewer, in one relatively small space, of all of that and to value the sacrifice of those Partisans who gave their lives for the freedom of their country.

The fact that now, seemingly, the majority of the population of Albania don’t give a toss about that sacrifice is neither hear nor there. The reality of the struggle in Albania is that it was the Communist Partisans who liberated their country from the invaders without the assistance (other than material) of any external major ‘power’.

The mural tells that story by the use of images which can be seen in various lapidars throughout the country.

The armed, fighting, fearless, female, Communist Partisan

The armed, fighting, fearless, female, Communist Partisan

The principal and central character is a female Partisan. It is around her that all the action takes place. She’s physically the largest representation and in her image she tells a lot about the history of the success of the Albanians against the fascist invaders.

What I consider the most important aspect of the manner in which she has been portrayed is that she is armed, heavily. This is an aspect I have seen in visiting all those lapidars (monuments) and other art works produced during the Socialist period (from 1944-1990) – such as bas reliefs and mosaics – in that if a woman is represented in a military context she is always armed.

This can be seen in the wonderful mosaic (The Albanians) at the front of the very same building as well as in the Martyr’s Cemeteries in Lushnje and Fier, to name just a few.

Not only is this depiction of the female Partisan as an active armed fighter for the liberation of her country a recognition of the role that women played in the victory in Albania it also stresses what Mao Tse-tung expressed so succinctly ‘Political power grows out of the barrel of a gun’. True ‘female liberation’ will not be achieved until workers have freed themselves from oppression and exploitation and the system of patriarchy that has been strengthened and perpetuated under the economic system of capitalism. It won’t come naturally even then but will never happen unless this pre-requisite is achieved.

We don’t know if she’s the leader of this Partisan group but she’s in the vanguard of the attack and although she is moving forward she looks back to those behind and with her left arm she is signalling for others to hurry as the battle is being waged. The speed of her onward rush is captured by her cape, her long, black hair and her scarf which fly out behind her.

In her right hand she holds a light machine gun, she has a couple of stick grenades (captured from the enemy in a previous attack) tucked under the belt that holds ammunition pouches and there’s another ammunition belt across her chest. She’s also the only one of the Partisan fighters who wears what resembles a uniform.

The Communist calls for the attack

The Communist calls for the attack

We know she’s a Communist as she proudly displays the red star on her cap and the red scarf around her neck reinforces that declaration of political allegiance.

In fact the use of red in this painting is quite interesting. In general the palette used is quite mute but the bright red appears only from the dress and symbols of the Partisans – apart from a flash of flame from the machine gun being fired by the Partisan on the extreme right and the flames from the burning Nazi tank on the extreme left. Even the blood of the dead and dying Nazis is a dull, lacklustre red.

Traditional footwear in a modern war

Traditional footwear in a modern war

We also know she’s from the countryside, as most Partisans would have been at the time, by her footwear – sandals and the colourful woollen socks. This is in contrast to the heavy boots being worn by the Germans and even those of two of her male comrades.

Forward always

Forward always

To the right of the female Partisan is a young male. In his right hand, stretched out in front of him giving the impression of his rushing forward to join in the attack, is a rifle. His stance is of one who is fighting in mountainous terrain, with his right leg bent and his left stretched out behind him to give his forward movement more force. This is a stance that is very reminiscent of that of the Partisan statue on the Durres seafront.

But his role in the picture is not as a fighter but as a bearer of the symbol of the Albanian Partisans. He is the flag bearer and in his left hand flutters the rallying point of the Communists.

The Albanian Communist Banner

The Albanian Communist Banner

This is the red flag on which is the black, double-headed eagle with a gold, five pointed star embroidered above the two heads. This was to become the national flag of Albania after the declaration of Independence on 29th November 1944.

This would normally be of a brighter red – as the red stars on the caps and the red scarves – but I assume that the artist didn’t want to detract from their flashes of colour which a large expanse of red in the middle of the picture. So he has chosen more of a purple colour for the flag.

He knows where he's going

He knows where he’s going

Apart from him being responsible for the flag we also know his political allegiance, again, by the red scarf that’s around his neck.

Her red scarf, her sacrifice blood

Her red scarf, her sacrifice blood

Behind him, and slightly in the background, we are reminded that victory in anything, especially war, comes at a cost. And here we see the cost being paid by a young female Partisan who is shown at the time of death, her back arched as she is about to fall. We don’t see her face but we sense the pain as the bullet that kills her enters her body. She has no weapon but there is spare ammunition in her belt and her red scarf singles her out as a Communist.

Shooting down from the mountains

Shooting down from the mountains

The Partisan in the extreme right corner shows the extent of the population that joined the National Front against the fascist invaders. He is older, also from the countryside but here almost certainly from one of the mountainous regions of Albania.

He is also a Communist, with a red star on his fez, but in place of a scarf around his neck he has it wrapped around his hat. Typically at the time men from the mountains had moustaches and he sports a dark, black one.

A Communist peasant from the mountains

A Communist peasant from the mountains

He shows his physical strength by firing a moderately heavy machine gun but without the need of the normal tripod. His proximity to the dying woman also gives the impression of him taking revenge for the loss of a comrade. His machine gun spits fire and the bullets fall in a shower down by his feet.

The British contribution

The British contribution

It’s true that the British did supply the Communists Partisans with war material during the War of Liberation. They would rather have given the supplies to the Nationalist forces but 1) British representatives on the ground realised, and advised, that the Communist forces were the more effective and 2) the Nationalists eventually tried to pull the German Nazis out of the mire they had dug themselves into by attending a Quisling Assembly in 1944. The answer of the Communist Partisans was to drag a canon up the hills above Tirana and deliver a response to this traitorous act in the shape of a shell. It was exactly the same type of cannon that is seen, slightly in the background, in the centre of this painting.

A number of British died in Albania during the war and there’s now a small cemetery in Tirana Park – bizarrely using the old grave stone which was denied Enver Hoxha (when his remains were removed from the National Martyrs’ Cemetery and re-interred in the city cemetery at Kombinat) when the counter-revolutionaries gained control in the 1990s.

For some reason the British thought (whether it be the government of Churchill during the war or the government of Atlee after it) that because they had provided a few weapons they had the right to determine the future of the country. This led to Britain, in concert with the Americans, attempting to achieve ‘regime change’ before the term became popular. This included the aggression that was later referred to as the ‘Corfu Incident’.

They also constantly winged about their assistance not being recognised by the ‘ungrateful’ Communists. However, there are any number of paintings and sculptures where the Mills bomb (grenade) is depicted – to the best of my knowledge only, in that particular style, being produced by the British.

Bullets and sandals

Bullets and sandals

It’s strange when I think of it but as I’ve tried to understand the stories told by Albanian Socialist Realist paintings and sculpture I’ve learnt that the detail the artists have placed in their work when it comes to what people wear (or sometimes don’t wear – as in the great arch at Drashovice) can tell a great deal about the politics of the time. Here we have another example where the Partisan wears what he had worn from his youth – hand made shoes of his area and not the industrial production of western capitalist states. Probably made the fighting more comfortable.

Spitting fire and death

Spitting fire and death

Once you get to know Albania as a country you get to understand how hard it must have been – for both sides – to fight in such terrain. An incredibly beautiful country with its mountains and ravines are a different kettle of fish in a war situation. Now, obviously, war isn’t easy at any time but when you enter mountainous terrain into the equation it becomes even more difficult. Especially for the invader.

What the Americans, and the French before them, discovered later in Vietnam, the Italian and German Fascists discovered in Albania during then Second World War. Whatever material advantage you might have on paper it’s as nothing if you can’t dominate the terrain. The Albanian Partisans did in their country, the Vietminh did so in theirs.

And that fact of mountain fighting is represented in many works of Socialist Realist Art in Albania. As here the Partisan is firing down – into a valley, into a road during an ambush from a high point. The Partisans always controlled the high ground and that was one of the aspects of the Liberation War that ensured them success.

The battle continues in the background

The battle continues in the background

There are only a handful of ‘actors’ in the foreground to tell the story of the struggle but obviously there were many more involved and here they are depicted almost as ‘ghosts’ in the background – as can be seen in the previous couple of pictures.

The mountains are a protagonist

The mountains are a protagonist

Because the mountains of Albania played such a crucial role in the battle between the Partisans and the Fascists they are also often represented in works of art that tell the story of the struggle. Often, if it is of a particular battle it will be the mountains that would have been near-by and recognisable by the locals. These seem to be ‘generic’ mountains but they might have meant something to the artist.

Death to Nazism!

Death to Nazism!

Not all fighting in a war is at a distance and from time to time it comes to a hand to hand struggle. This is where we find the final, identifiable Partisan in the painting. Just to the left of the female Partisan we see a life and death struggle between another Communist Partisan and a Nazi soldier. We don’t see the face of the Partisan, just a glimpse of the side of his face, but we do see the Nazi. His eyes are wide open in horror as the Partisan has his left hand grasping his throat and in his right hand he has a dagger which is about to end the horror for the German soldier. This soldier is depicted almost as a demon, the human characteristics being erased from his features. This approach can also be seen on the lapidar at Berzhite.

Dead Nazis and dead Fascist Panzer Tank

Dead Nazis and dead Fascist Panzer Tank

Apart from a few ghostly and shadowy figures in the background the invader is confined to the extreme left of the painting and along the bottom, where their dead litter the ground.

The Nazi red is either flames or blood

The Nazi red is either flames or blood

Their tank is of no help, the flames leaping from the turret and the clouds of smoke indicating the crew are probably dead and unable to use the superior fire power. And anyway, in the terrain where the fighting took place in Albania tanks wouldn’t have been much use, the uneven ground and lack of any clear shots would have meant they did more damage to the mountain than the Partisans.

Those who are about to die ....

Those who are about to die ….

Those that are still alive and prepared to continue the fight are depicted as featureless, only the shapes of their faces in profile being seen. Here again the artist has stripped them of their humanity. They are killing machines so don’t merit individuality.

Faceless Nazis fighting for their lives

Faceless Nazis fighting for their lives

And in the case of one of them he is shown as no more than a shadow, a dark shape in the background.

The Nazi banner and the Nazi dead

The Nazi banner and the Nazi dead

Whereas the Communist banner flies high and proud the banner of the fascist invaders with its swastika symbol lies in the dirt, tattered and torn, the hand of a dead Nazi touching it reinforcing it as a symbol of death but one that itself is in the process of dying.

(The fact that this symbol is seeing a resurgence at the moment is down to a number of factors – amongst them being the betrayal of the Revisionists in those countries that had achieved the Socialist Revolution (including in Albania) and the failure of the working class in the industrialised countries to take power into their own hands. They might, some day, rue the consequences of their cowardice and pusillanimity as they suffer the death and destruction that accompanies fascism when it gains momentum.)

Arrogance pays its price

Arrogance pays its price

The remaining images of the invader are all of death. Fittingly the soldier that was so surprised of death knocking at his door that he has his mouth open is lying on the ground directly beneath the foot of the principal female Partisan.

The Iron Cross is no saviour against a Communist

The Iron Cross is no saviour against a Communist

And even the holder of an Iron Cross is no match for the onslaught of the Communist Partisans.

The Artist

Unfortunately I can’t say who is the artist of this mural. There’s no signature and I can’t definitively identify the artist by comparing his (there seem to have been few female artists whose work was displayed in museums and art galleries throughout Albania – I don’t know why that was the case) style with other paintings I might have seen.

However, I assume that it was created for the opening of the Museum in 1982.

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