"Our Struggle": What If Hitler Had Been a Communist?
- Thread starter The Red
- Start date
"However in order to ensure our security and continuing stability, the Weimar Republic will be reorganized into the first Galactic Empi-
I mean first German Workers Republic!"
On a more serious note I wonder who the communists will go after first. OTL the nazis started with the communists- in this case I can see Hitler going after far-right wingers first and then moving on to the rest.
Fidel Castro was also very lucky.
How Castro survived 638 very cunning assassination attempts - triple j
About 10 years ago, the former head of Cuban intelligence, Fabian Escalante, told a British documentary team the CIA had tried to kill Fidel Castro more than 600 times, over a period of about 40 years.
www.abc.net.au
Assuming that George Lucas is still pretty much the same person, I don't think that it would be all that different, at least at first. The Empire of the OT is not Nazi Germany, it is Nixon's America; EU materials coded it as the Nazis, but aside from a few scenes in ROTJ there's not much linking the Empire in the OT with Fascism specifically. I'd say that the Empire in TTL's Star Wars would have similar critiques of whatever hegemonic Capitalism emerges from WWII here, but would eventually be reinterpreted as whatever Communazi nightmare Hitler builds here.
If memory serves the Empire was meant to be America as noted whilst the Rebels were inspired by the NLF, with the conflict being a loose analogy for Vietnam. Granted it would be hard to reprise that dichotomy given that the Comintern don't really fit the role of plucky freedom fighters ITTL.
I was going to have him state that he was executing Article 66 but in the context of the Weimar constitution that would apply to the Reichsrat determining its order of business by rules of procedure. Might not have had the desired dramatic effect.
Let's just say that I wouldn't von to be them.
The role of meth in the Third Reich is an interesting one albeit a bit exaggerated by some sources. One of the main issues was that Pervitin was commerically available in Germany between 1937-1941 and this was largely how it became so widespread IIRC. It's unlikely for that to happen ITTL given the DAR's economic model.
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More specifically: This dudes vs the Empire.
From what I remember Lucas once wanted to shoot real scenes in Vietnam ... obviously he couldn't. And the Ewoks became the most direct analog to Vietnam in Star Wars, from what I remember hearing.
Oh thats it, That Pun is atrocious and the only fitable punishment is the Pun Gulag! Away with you!
You sure you don't mean Galactic or Interplanetary Financiers' Conspiracy?
As Star Wars contained but one galaxy last time I checked.
But do they have holdings in more than one galaxy? Can't science fiction writers not even use the correct astronomical terms, even when there is no science in their fiction?
If I recall correctly, wasn't the planet Kamino of Episode II located in a satellite galaxy of "the" Star Wars galaxy? So yes, actually, they probably do.
Looks up on Wookiepedia...
You're apparently right. Why did I never saw that on one of the Star Wars maps you can find on the internet...
EDIT: I just noticed I originally forgot to place 'maps' in my sentence.
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Chapter CXXII
With the different methods of technical reproduction of a work of art, its fitness for exhibition increased to such an extent that the quantitative shift between its two poles turned into a qualitative transformation of its nature. This is comparable to the situation of the work of art in prehistoric times when, by the absolute emphasis on its cult value, it was, first and foremost, an instrument of magic. Only later did it come to be recognized as a work of art. In the same way today, by the absolute emphasis on its exhibition value the work of art becomes a creation with entirely new functions, among which the one we are conscious of, the artistic function, later may be recognized as incidental.
~ Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction
~ Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction
The Louvre, Paris; June 1934
For all his fervent Italian nationalism, Filippo Tommasso Marinetti would have grudgingly admitted that the Louvre contained the finest art gallery in the world.
Although one could make a strong case for Italy having given more to the world of art than any other country, many of her finest treasures were showcased here. This included the most famous of them all, da Vinci’s Mona Lisa. The French guarded such wonders closely and he had no doubt that should an Italian patriot try to repatriate any pieces, such as Vincento Peruggia had attempted to do with the Mona Lisa in 1911, there would be hell to pay in spite of the new Franco-Italian partnership.
The reason for this blossoming relationship was indicated by the new banners hanging from the exterior of the palace. The white Cross of Lorraine on a background of Bleu de France was the symbol of the new regime and, as decreed by the recent constitutional convention, the new flag of the French state. It seemed to be draped all over Paris in recognition of this new reality and as such Marinetti hadn’t been surprised to see it hanging from the courtyard.
The interior of the gallery was largely the same as when he had last visited, other than a few signs of ongoing renovation. Even when in an impatient mood it was impossible not to stand back and regard the beauty on display, a visual history of much that was good with the world condensed into one palace of art. All the same it could be greater still, that was why he was here and that was also the reason for his impatience.
“Just as the Marechal protects the French nation, we here like to think of ourselves as protecting the French culture. Paris and Rome shall remain the cultural capitals of the world, even as Berlin, New York and Vienna fall to degeneracy.”
The new French regime was keen to build partnerships with regimes of similar stature across Europe in the name of containing the Bolshevik threat emanating from Moscow and increasingly Berlin. This included Pilsudski’s junta in Poland, Horthy’s regency in Hungary, and most importantly Mussolini’s fascist Italy. At the same time they were attempting a cultural restoration of France, away from Judaism, Freemasonry, materialism, and other Bolshevik apparitions. Marinetti’s host seemed keen to emphasise, however that French greatness needed only to be unlocked and that the experience of his Italian guest was more important than his Italian expertise. As such Marinetti was being taken through the empty galleries which had remained closed to the public ever since the new regime had directed urgent remodelling.
Lucien Rebatet, author, journalist and now Commissioner for the Directory of the Arts was his guide. Rebatet’s work was apparently of some renown but the young man irritated Marinetti, explaining his impressions on the fundamentals of French art to a man nearly twice his age. Marinetti would have liked to have reminded him that he had written The Futurist Manifesto when Rebatet had still been in his mother’s crib but in the name of diplomacy he opted to put him on edge instead.
“I must admit Monsieur Rebatet, I had expected to be meeting the curator rather than a member of the commission.”
“Signor Marinetti, I must apologise but Monsieur Huyghe is currently under review in regards to his position as curator. He has presently embarrassed himself and this institution.”
Rebatet rolled his eyes, apparently at the thought of the suspended curator.
“He was happy to repatriate works from the swindling art dealers,” Rebatet muttered, “but he was hesitant to take the measures needed to restore French culture and in doing so he revealed himself to be overly attached to the relics of the old system. We are doing our best to cast these illusions aside.”
Marinetti smiled at that, this was more his style.
“It is important not to be afraid to sweep away the constraints of the past. In Italy, the Duce saw what needed to be done and did so without regard for meaningless bureaucracy and debate. This dynamism has been reflected throughout our state and culture ever since, making us the most forward looking country in the world. It is encouraging to know that France is embarking on a similar path.”
“The old regime had been debating reform of the arts since before the war,” Rebatet vented in frustration, “thanks to that unparalleled inertia we fell behind, not only in culture but in the vigour which culture is meant to instill into the body of the nation. Instead we were made to fester and, deliberately or not, succumb to the diseases of bolshevism, corruption and debauchery. This is why we are grateful for the help of our Italian friends.”
Marinetti found the young writer’s superstitions to be tedious, it was indicative of the sort of anti-modernist thought he had struggled against throughout his entire career, outside and within Mussolini’s regime. He had comforted himself that it was an echo of the past whenever his position required him to indulge such attitudes; mysticism to be discarded as the state outgrew it, but this new French regime seemed far more eager to put it at the centre of their beliefs, even if it was in the name of progress. He hoped his own influence might help them to cast aside such aspersions.
“In these few weeks we have accomplished more in reforming the arts than our predecessors managed in decades, that is the promise of the Marechal.” Rebatet continued as he brought Marinetti toward a room with far more materials hanging around outside it, the unmistakable signs of a new exhibition.
“But as we build anew, we also have to warn against the mistakes of the past.”
It was indeed a new exhibit, the title leaving little to the imagination. It was proclaimed on a sign above the door and bundles of posters with the same name lying in the corner, likely ready to be plastered around the city.
What concerned Marinetti were the pieces on display, featuring works by the Swiss-German abstract artist, Paul Klee, whom it was noted made no secret of his Marxists beliefs. It went on in such a fashion, featuring pictures and prints where they could be attained, Rebatet explained, or copies if not. Marinetti raised his eyes at the works from the German avant-garde artist Max Liebermann. The information next to his work detailed at length his religious background and his role in subverting German culture.
“The German renaissance pieces are staying where they are of course, but the ways with which many German artists have debased themselves under their Marxist creed and hedonistic republic are worthy only of contempt. Unfortunately this is not a problem contained to Germany.”
Rebatet led Marinetti through works of the French avant-garde, expressionists and, to his shock, those of Félix Del Marle and other French futurists.
Before Marinetti had only murmured in response to Rebatet’s information about the exhibition, focusing his eye more upon the art on display but now he turned to face him, unsure about whether he was the object of a practical joke. Instead it was an earnest face which met him.
“We hope this exhibit will help to inoculate the French culture from further subversion as we move forward as a nation.”
Marinetti wished to protest but considering the seriousness of the Frenchman and in mind of his own official and diplomatic role, he hedged his criticism.
“Surely, going forward, it will still be important for French art to depict the strangeness of the world in which we live?”
“That will be important but we must also work out the proper means with which to do so, unlike those,” he said whilst waving carelessly at a work by the Russian futurist Natalia Goncharova, “which are detrimental to the vitality of a nation.”
“You will understand my confusion, Monsieur, at futurism being described as detrimental. It is the life blood of the fascist movement.” Marinetti replied coolly.
“That may be true of Italian futurism and Italian fascism, Signor but what is essential for one people can be detrimental for another, even when those peoples inhabit brother nations, such as France and Italy.”
Marinetti was far from convinced and it seemed the Frenchman could tell, for he went on.
“I cannot imagine Italian cinema tolerates the works of Fritz Lang or Sergei Eisenstein, unambiguous Bolshevik propaganda! We have had to endure such poison however, until now. Futurism can be a gift but it can also be a curse, why even Hitler, the Bolshevik agitator dispensing with the pretense of the German republic being anything other than a Marxist creation, dabbled in Futurism.”
Marinetti felt his stomach turn but merely shook his head.
“I am sorry Monsieur, to describe Hitler as a futurist is completely false and if that is the basis for futurist works being in your exhibition then I would advise you remove them lest you submit yourself and your regime to domestic and international ridicule. Did Hitler come into contact with futurist thought? Yes. Did he understand it? No. Did his rejection of my work do far more to motivate his Marxist creed than anything he took from it? It is beyond doubt.”
Rebatet was clearly resentful of being embarrassed in this way but Marinetti felt he deserved a medal for his own restraint. Not that Mussolini was ever likely to give him one.
“Be that as it may, such misreadings of your work are still dangerous, they are one of the many tools the Marxists use to weaken France.”
“Culture is essential Monsieur but if you had read my work you would likely agree that the time for dealing with Hitler through such a medium is past. We must not meet the German with that which he doesn’t truly understand, we must hit them with what all peoples understand. Force.”
Marinetti formed a fist before punching it into his other hand, it was a stronger blow than he had expected but it allowed him to relieve himself of his agitation. It seemed to compose his French host as well.
“That may well become necessary,” admitted Rebatet, “but before then we must restore the health of the French state. Our army would expiate the German scourge tomorrow if it became the main priority but for now our focus must be inward. With your help, we can achieve this restoration sooner rather than later, and then Germany will have her reckoning.”
Marinetti smiled at the Frenchman’s confidence. He knew better but he wasn’t sure the Frenchman did. He had maintained his friendship with General Federico Baistrocchi ever since their debacle in the Alps and before his trip the General had made him privy to Italian military intelligence, that the French army was built on sand and its armaments industry was decrepit. This was not the fault of the new regime but it was the reason for much of their bluster. This was why the French were so keen to build alliances and to distract away from a direct confrontation with Germany, so they could rebuild their army and industry whilst ensuring they weren’t alone when that was achieved.
Until then, their bark was worse than their bite.
“Still, it seems Goethe remains correct. There remain estimable individuals amongst the wretched Boche.” Rebatet admitted before relenting,
“Too bad one in particular wasn’t a better shot.”
---
The painting is Bretonnes 1913 by Félix Del Marle
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It's funny and slightly grim how easily deluded Marinetti & co. are about their real status as useful idiots. Yes of course all of these ignorant country-bumpkin reactionaries (who are surprisingly ever-present in the regime which they support) are merely tools, echoes, relics of the past, while they, a not-very-powerful vocal minority who helped the reactionaries come to power, are the ones who truly enjoy the leadership's confidence. Of course it's the far more powerful and more numerous other guys, not them, who will be betrayed and tossed aside. Because they're the path to the future, you see? They're right! It's so obvious that they're right, so surely the leadership they're backing will see this as well! It can't possibly be that the leadership they're backing is actually just as reactionary as it says it is. It can't possibly be that the ones who are going to get betrayed and cast aside are them.
Without wishing to get too political by naming any names, there are plenty of such examples of similar people in the real world these days.
Still loving this story of course.
Without wishing to get too political by naming any names, there are plenty of such examples of similar people in the real world these days.
Still loving this story of course.
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I can kind of see what Lucas was trying to go for in the sense of 'ultimately friendly people who are fiercely protective of their homeland and use their greater knowledge of the terrain and ingenuity to outsmart the technologically advanced imperialists'. But it's also hard to avoid 'inhuman primitives so backward as to think any advanced technology is magic and trying to eat prisoners'
Could have been worse, I suppose,
History will absolve me.
It's a salient point and Marinetti is very much the archetypal useful idiot. It's fitting in a way as Italian Futurism is very much the clarion call of the Angry Young Man, the most employed useful idiots in human history.
Thanks!
