Teruo Nakamura, a soldier in the Imperial Japanese Army, survived deep in the jungles of Morotai for 29 years after the end of World War II – becoming the last of more than 120 stragglers to be rounded up on various islands in Indonesia and the Pacific between 1947 and 1974.
Japan’s past met its present, four decades ago, by a river in a rainforest on the island of Lubang. The encounter took place late in the tropical dusk of 20 February 1974, as the breeze died and the air grew thick with flying insects. Representing the present was a college drop-out by the name of Norio Suzuki, 24 years old and clad in a T-shirt, dark blue trousers, socks, a pair of rubber sandals. He was stooping, making up a fire from a pile of twigs and branches, quite unaware that he was watched. The past, meanwhile, peered out from the cover of the jungle, wondering if the young man was some sort of trap. The man gazing from the forest fringe wore the remnants of an army uniform, and he carried a rifle. At the time of the encounter, he had been hiding in the interior of Lubang for almost 30 years, steadfastly continuing to wage a war that had ended with Japan’s surrender in Tokyo Bay on 2 September 1945.
The past’s name was Hiroo Onoda. He was an intelligence officer in the Imperial Japanese Army, he was then just shy of his fifty-second birthday, and he was about to become famous. Continue reading
Detail from “The love potion”, by the nineteenth century Pre-Raphaelite Evelyn De Morgan. The tangled tale of Aqua Tofana is intimately connected to the “criminal magical underworlds” of the 17th century, which supplied love philtres, potions, medicines and poisons to a mostly female clientele.
Early in the autumn of 1791, while he was still hard at work on the great requiem mass that would form such a large part of his legend, Wolfgang Amadeus Mozart fell seriously ill. Convinced that there was no chance of recovery, he
began to speak of death, and asserted that he was setting the Requiem for himself… “I feel definitely,” he continued, “that I will not last much longer; I am sure that I have been poisoned. I cannot rid myself of this idea… Someone has given me acqua tofana and calculated the precise time of my death.
Scholars have wrangled now for two full centuries over the circumstances of the great composer’s passing. A handful have concluded that he really was murdered. Most support rival diagnoses of syphilis, rheumatic fever or even the deadly effects of eating undercooked pork chops. Whatever the truth, though, and however he died, Mozart was certainly convinced that there existed a rare poison, one that was colourless, tasteless, odourless, beyond detection – and also so flexibly murderous that a carefully-calculated dose could guarantee a victim’s death a week, a month or even a year after it had been administered.
Nor was the composer alone in this belief. Forgotten though it is today, the mysterious liquid that he feared so much was one of the great whispered secrets of early modern Europe. Aqua Tofana was credited with what amounted to supernatural powers, and blamed for hundreds of agonising deaths. Which is odd, since it is very far from clear that it ever existed – and, if it did, what it was, where it was invented, where first used, and when and how it got its name. Continue reading
The Constantinople slave market in 1838. The painter, William Allen, claimed to have painted the scene from life, though certainly he was as inclined as most western Christian gentlemen of the day to look down on the Ottoman Empire and its people as intrinsically alien and inferior.
The horrors of the trans-Atlantic slave trade have left an ineradicable mark on history. In the course of a little more than three and a half centuries, 12.5 million prisoners – at least two-thirds of them men destined for a life of labour in the fields – were shipped from holding pens along the African coast to destinations ranging from Argentina in the south all the way north to Canada. It was the largest forced migration in modern history.
When we think of slavery, we tend to think of this African traffic. Yet it was not the only such trade – nor was it, before 1700, even the largest. A second great market in slaves once sullied the world, this one less well-known, vastly longer-lasting, and centred on the Black Sea ports of the Crimea. It was a huge trade in its own right; in its great years, which lasted roughly from 1200 until 1760, an estimated 6.5 million prisoners were shipped off to new and often intensely miserable lives in places ranging from Italy to India.
Slavery in the Crimea, however, differed in significant ways from the model made so familiar by the trans-Atlantic trade. The slaves sold there were drawn for the most part from the great plains of the Ukraine and southern Russia in annual raids known as the “harvesting of the steppe.” Their masters were successively Vikings, Italians and Tatars – the latter being, for nearly half of the trade’s life, the subjects of the Crimean Khanate, a state that owed its own long life to its ability to satisfy demand for slaves. And most of the slaves themselves were not male labourers. They were women and children destined for domestic service – a fate that not infrequently included sexual service. The latter sort of slave was always fairly commonplace in the Crimea. When the Ottoman writer Evliya Çelebi toured the north shores of the Black Sea in 1664, he noted down some examples of the local dialect that he hoped other travellers to the region might find useful. Among the phrases that Çelebi selected were “Bring a girl” and “I found no girl, but I found a boy.” Continue reading
Earnest Pletch, ‘The Flying Lochinvar’: pioneer highjacker and committer of a spectacularly pointless murder.
Earnest Pletch was mad on planes and mad on flying. In itself, that was scarcely uncommon in the America of the 1930s, a dozen years after Charles Lindbergh’s solo crossing of the Atlantic turned the United States into the epicentre of everything exciting in the aviation world. Yet Pletch was a pretty unusual case. He came from a well-off family, but had dropped out of school to find work in a travelling show. He was a serial husband and adulterer who was already, at the age of 29, planning to abandon his third wife. And he had actually been taking flying lessons.
Now – late on the afternoon of 27 October 1939 – Pletch was looking forward to going solo. He was not going to take the controls in the usual way, however. He was going to do so after shooting his pilot in the back of the head.
He may be long forgotten now, but Pletch came briefly to America’s attention that autumn after booking tuition in Missouri with a pilot by the name of Carl Bivens. Midway through the third of these sessions, while airborne at 5,000 feet and sitting in the rear seat of a tandem training plane equipped with dual controls, he pulled a revolver from a trouser pocket and, without giving any warning, sent two .32 calibre bullets through Bivens’s skull. Pletch then managed to land the plane, dumped the instructor’s body in a thicket, and took off again, heading north to his home state to… well, what he intended to do was never really clear, and we will come to that. Continue reading
A destitute Irish family search a stubble field for healthy potatoes at the height of the Great Famine of 1845-51. At least a million people–one in eight of the population–starved to death during the disaster. Thousands more, though, were saved by the exertions of relief funds–the contributors to which included both the Ottoman sultan and Queen Victoria.
The most striking thing about the ghastly blight that ruined Ireland’s potato crop in 1845 was that the harvest had seemed healthy, even robust, when it was lifted from the ground.
Within a day or two, however, rot set in. Potatoes that had looked firm and edible turned black and then disintegrated into a stinking, liquid mess. No one knew why. John Lindley, the editor of the Gardeners’ Chronicle, guessed that this “wet putrefaction” was a disease borne in from the Atlantic by torrential gales. Others thought that the blight had somehow risen up from underground, so that the soil itself was now infected.
The one certainty was that every measure tried to save the harvest failed. “All specifics, all nostrums were useless,” the historian Cecil Woodham-Smith observed. “Whether ventilated, desiccated, salted, or gassed, the potatoes melted… and pits, on being opened, were found to be filled with diseased potatoes–‘six months’ provisions a mass of rottenness.’” The blight struck everywhere that year, from North America to Belgium, and the Irish had long been distressingly familiar with disastrous harvests; twenty-four previous crop failures had been recorded between 1728 and 1844. Several of these had caused suffering “horrible beyond description,” and it has been estimated that very nearly half a million people died during Ireland’s “Year of Slaughter” (1740-41), when a freezing winter caused the oat crop to fail. But the catastrophe of 1845 was was remembered as the greatest of them all, and it affected Ireland more profoundly than it did anywhere else, with the possible exception of the Scottish Highlands. Continue reading
Some Fayum portraits, dating collectively to the period AD 70-250. The numbers refer to discussions in the text.
She is very beautiful. Her face is flawless: long and olive skinned, the nose long too, but neat and narrow, the brows crafted, the chin just firm enough to suggest a certain liveliness of character. She has dark hair, and one gets the distinct impression that it has potential for unruliness, but it has been called to order and fashionably styled, cut short over the ears in order to display expensive jewellery. A half-smile plays about her lips, and it does not seem too much to read a hint of amusement into her large brown eyes. It is easy to imagine meeting her at some elegant affair, for she seems alive – yet she is dead, and has been dead for rather more than 1,800 years .
Prince Klaas lashed to the wheel – the image on display at the Museum of Antigua and Barbuda in St John’s, Antigua.
The story of Prince Klaas, the rebel slave, is one of the highlights of the charming Museum of Antigua and Barbuda in St John’s, which I had the chance to wander around in December 2012 while doing some lecturing in the Caribbean. Slave revolts have been an interest of mine for years, and I was familiar with the outlines of Klaas’s remarkable story – which I wrote up for the Smithsonian at the time (causing a certain amount of upset in Antigua itself among people who don’t seem to have actually read the article very closely). But I had never seen a picture that purported to show him, and in fact it’s vanishingly rare for images of slave leaders to survive from so early a period as the first half of the eighteenth century. So when I discovered that the museum displayed a drawing of Klaas, naked, strapped face down to a wheel, and being lashed, I snapped it and later used it as an illustration in the essay that I wrote.
I felt a little bit uneasy about this. There was something not quite right about the sketch. Klaas, after all, had been bound in order to suffer the appalling punishment of breaking on the wheel – a form of execution that involved the systematic pulverisation of the victim’s bones that is, in effect, a form of crucifixion. Yet the drawing showed Klaas being whipped, not shattered. The wheel that he was strapped to seemed to be lying on the ground, when in reality it would have been mounted on an axle, the better to rotate the victim to face the executioner’s blows. The man administering the punishment was black, implying that he was the overseer on a plantation, not an executioner employed by the Antiguan government. And the artist had depicted only a handful of spectators, not the substantial crowd that watched Klaas die.
Eventually I decided to take a closer look at the problem, and spent a little while researching images of slavery. I soon discovered that my misgivings were correct. Continue reading