The Much Mooted ‘Hillbilly Wars’ of Appalachia: The McCoy v. Hatfield Feud

Cinema, Popular Culture, Regional History

One of the iconic historic associations with the hills of Appalachia is the fateful conflict in the last quarter of the 19th century between two mountain-dwelling families – the Hatfields and the McCoys. The feud between the two “warring clans” has tended to be wrapped in the veneer of legend, obscured by the myth-making of popular culture over the decades. The McCoy-Hatfield feud has featured in a raft of US books, songs, comic strips, feature movies and television shows (with both animated and human content)✱. These overwhelmingly fictionalised narratives of the Hatfields and the McCoys have vouchsafed a place for them in the annals of American folklore and at the same time contributed to the caricatured impression of ‘hillbillies’ in the popular consciousness.

Tug Fork Valley and the family patriarchs
In the 19th century the McCoys lived (as they do today) on the Kentucky side of Tug Fork (a tributary of the Big Sandy River), with the Hatfields residing on the other side of the river (in West Virginia). The Hatfield patriarch was William Anderson Hatfield, widely known as ‘Devil Anse’, while the patriarch of the McCoys was Randolph McCoy (sometimes identified as ‘Randall’ McCoy). Of the two families the Hatfields were appreciably more affluent than the McCoys (Devil Anse’s profitable timber business employed many men including some McCoys).

Patriarch of the Hatfield family, ‘Devil Anse’
Background to the feud
The earliest incident between the two families seemed to have occurred during the Civil War…in 1865 Asa Harmon McCoy, who fought with the Union during the war, was ambushed and killed by members of a local Confederate militia connected to the Hatfield family. Some have identified the feud’s genesis in the murder, but Harmon McCoy’s siding with the North (while almost all of the McCoys and the Hatfields gave their allegiances to the Confederacy) made him unpopular with both families. His death did not trigger a reprisal and most historians have concluded that the incident was a stand-alone event [‘The Hatfield & McCoy Feud’, History, www.history.com].

A porcine pretext for feuding
Some thirteen years after the shooting of Randall McCoy’s brother, a new incident was the catalyst for a downward decline in relations between the McCoys and the Hatfields. The trigger was a dispute over the ownership of a razorback hog in 1878. The McCoy clan claimed that the Hatfields had stolen one of their pigs. A subsequent legal case (known as the “Hog Trial”) was brought before the local Justice of the Peace (who happened to be a Hatfield), who predictably dismissed the charge…the McCoys responded by killing one of the allies of the Hatfields.

Makings of a vendetta: “Tit-for-tat” acts of vengeance
Over the next ten to twelve years a pattern emerged of accusations, recriminations, acts of violence and retaliations – with excesses on both sides. Both clans used their connexions with the law in ‘home’ jurisdiction (either Kentucky or West Virginia) to try to exact retribution against the other. In separate incidents, the McCoy boys ‘arrested’ Johnse (pronounced “John-see”) Hatfield after he entered into a romantic liaison with Roseanna McCoy✦, followed in turn by Hatfield constables apprehending and extraditing three of Roseanna’s brothers for the killing of Devil Anse Hatfield’s brother Ellison.

Escalation and denouement of the feud
By now “bad blood” was endemic between the families. In the years after 1882 the conflict escalated dramatically…killings met with counter-killings (more than 12 members or associates of the two families died during the decade). A Hatfield raid on the McCoy patriarch’s farm in 1888 – known as the ‘New Year Night’s Massacre’ – resulted in the murder of two of Randolph McCoy’s children. The subsequent Battle of the Grapevine Creek, an attempt by the Hatfields to take out the McCoys once and for all, resulted in an ambush gone wrong…the tables were turned on the Hatfield raiders and the bulk of their number were arrested. Over the next few years they were tried and all given jail sentences (except one, possibly a ‘scapegoat’, who was executed). The ill feelings slowly dissipated with the conclusion of the trials and the conflict receded from memory – in 1890 the New York Times reported that the feud was at an end (there was in fact still the odd simmering flare-up such as in the mid 1890s but the potentially explosive incidents were effectively over) [‘A Long Feud Ended’, NYT, 06-Sep-1890, www.rarenewspapers.com].

Hatfield clan 1890s

Scope of the feud: a media “beat-up”?
While the McCoy-Hatfield feud played out in the Appalachians, the Eastern Seaboard press whetted the public’s imagination with its well-received accounts of the conflict. The press coverage tended to be negative, especially towards the wealthier Hatfields, who it portrayed as “violent backwoods hillbillies” roaming the mountains wreaking violence. As the shootings continued, what had been a local story of isolated homicides got national traction and was sensationalised by the newspapers.[‘History’, loc.cit.]. Some historians, in particular Altina Waller, have argued that the myth-making surrounding the ‘feud’ has obscured the realities and significance of the event. Waller’s contention is that the feud lasted only twelve years – from the hog episode to the sentencing of the Hatfields. [AL Waller, Feuds, Hatfields, McCoys and Social Change in Appalachia,1860-1900, (1988)].

Advocates for the Appalachian region tend to view the Hatfield-McCoy feud (as depicted by the press) as part of the widespread stereotyping of the entire mountain region [West Virginia Archives and History,, ‘Time Trail, West Virginia’ (1998), www.wvculture.org]. The negativity of the story and the focus on it by external mechanisms of popular culture is seen by many locals in Pike and Mingo counties (where the events took place) and the wider region as another example of the outside’s “Appalachia bashing”✥.

Matewan (WV) wall illustration: depicting the Hatfield-McCoy feud

Economic underpinnings of the feud
The feud at its height was a deeply personal one for both families, however an underlying factor in the hostilities was the depressed economic situation in Appalachia at the time. Resentment of Devil Anse Hatfield’s success as a timber merchant (contrasted with the less sanguine fortunes of the McCoys) no doubt played a part in the inter-family tensions. Given the McCoys’ struggle to make a go of farming their land, the incident of the stolen hog (from their perspective) was a serious economic setback for the family. Another player and prime mover behind the conflict was McCoy cousin Perry Cline, who hated Devil Anse and the Hatfields as much as any of the McCoys. Cline was sued by Devil Anse for allegedly cutting timber on Hatfield land. Devil Anse won the judgement and was awarded as damages all of Cline’s virgin West Virginian land (5,000 acres). From that point on, Cline, a lawyer, believing he had been robbed of his rightful property, unwaveringly pursued the Hatfields using his political connections in Kentucky. Cline’s actions, spurred on by the desire to payback Devil Anse Hatfield, helped revive and prolong the feud [AL Waller, ‘Hatfield-McCoy: Economic motives fuelled feud that tarred region’s image’, Lexington Herald Leader, 30-Jul-2012, www.kentucky.com].

Footnote: Rampant flourishing commercialism
The famous feud is long-buried but not forgotten in the Tug Fork and Big Sandy River valleys. The opportunity for commercial advantage from the McCoys and Hatfields’ past remains alive…tourism of the area is well-served by the “Hatfield and McCoy Historical Site Restoration”. In the 21st century reunion festivals and marathons (“no feudin’, just runnin'”) have taken place. More crassly opportunistic was the appearance of descendants of the two families as contestants on the TV panel show ‘Family Feud’ in 1979 [‘Hatfield-McCoy feuds’, Wikipedia, http://en.m.wikipedia.org].

PostScript: The ‘Sheep Wars’
The Hatfield-McCoy feud is not the only protracted inter-clan feud in American history, just the most famous. Arizona’s version of Hatfield v. McCoy was the Pleasant Valley Feud (AKA the ‘Tonto Range War’) which pitted the Grahams’ against the Tewksburys’ in the 1880s and ’90s…the Arizona-based feud was the classic “grazing war” of cattle-men versus sheep-herders, a recurring source of conflict in much of the ‘Old West’ [‘Arizona’s Pleasant Valley War’, www.legandsofamerica.com].

Tewksbury homestead

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Ya-hooo! The Ad-men milking the stereotype for all its worth…

✱ the preceding blog, ‘Ma and Pa Kettle on the Farm Again: Hillbilly Stereotypes in Film and Television’ touched on films based on the McCoy and Hatfield saga. Even in mainstream product advertising, the  overly hirsute, “Moonshine-crazed”, “gun-toting” hillbilly trope permeates, eg. PepsiCo’s “Mountain Dew” soft drink
✦ the subject of a 1949 Hollywood B-movie (Roseanna McCoy) which largely fictionalised the cross-clan romance – New York Times‘ short-hand summation of the movie was “feudin’, fussin’ and lovin'”. The real Johnse later dumped Roseanna for another McCoy, her cousin Nancy who he married
✥ part of a whole litany of complaints by Appalachians about how they are portrayed in the media, in film and TV, by Democrat politicians in the big cities

Ma and Pa Kettle on the Farm Again: Hillbilly Stereotypes in Film and Television

Cinema, Media & Communications, Social History

Hillbilly (noun) informal, chiefly derogatory: an unsophisticated country person [Oxford Dictionary of English]. Etymology: unknown, however the explanation favoured by Anthony Harkins is persuasive if not definitive – coming from the melding of “hill-fort” with “billie” (friend or companion) by Scottish highlanders [‘Hillbillies’, Encyclopedia of Arkansas History and Culture,www.encyclopediaofarkansashistoryandculture.net]

☋☊☋☊☋☊ ☋☊☋☊☋☊

The title of this blog references a popular 1950s movie series which neatly encapsulates the essence of the negative  stereotypes of the ‘hillbilly’ conveyed through cinema and television that the jaundiced eye of Hollywood has delighted in perpetuating over the decades – in the name of humour. “Ma and Pa Kettle” are two impoverished and uneducated but headstrong back-country bumpkins on a dilapidated wreck of a farm with 16 mostly out-of-control children (“Hen-pecked” ‘Pa’ is slow-thinking and pathologically indolent, singularly dedicated to the pursuit of the avoidance of any work; ‘Ma’ is a large and loudly haranguing woman and only one cog brighter than her not-intellectually-overburdened husband!). The characters made their visual debut in a 1949 movie The Egg and I (based on a novel by Betty McDonald) in supporting parts but proved so popular that Universal Studios elevated them to leads which segued into nine more films with titles like Ma and Pa Kettle Go to Town, Ma and Pa Kettle at the Fair and Ma and Pa Kettle at Waikiki
.

In popular currency the notion of the hillbilly has an overwhelmingly pejorative connotation anywhere within the reach of American culture (ie, everywhere!), especially as a topic of discussion or comment outside the American South. The stereotype is deeply embedded in and has been perpetuated through the agency of American popular culture – in literature, there have been long-running hillbilly comic strips ridiculing country folk as basically “dumber than dumb”, especially seen in ‘Li’l Abner’ and ‘Snuffy Smith’ (at left). But the idea of hillbillies as backward, ornery and all the other negative connotations associated with them, has been nowhere more pervasive than on the celluloid screen, both big and small.

The Southern Appalachians ⬇️ ️️
The perception given by popular cinema and television comedy is that hillbillies can be found in a loosely defined geographical region somewhere in the American South. If need arises in a storyline to pinpoint their location more precisely, screenwriters will tend to locate them in mountainous areas, and if named it will usually be in one of two southern physiographic regions, either the Ozarks (extending over parts of Arkansas, Mississippi, Oklahoma and Kansas) or the massive Appalachians (several systems of mountains but usually “Appalachian hillbillies” are depicted as coming from Kentucky, Tennessee, Virginia and West Virginia, and (parts of) Ohio).
The Ozarks (“Hillibilly haven”) ⬆️

The hillbilly trope
Hollywood, from the pioneering days of the film industry, has been happy to resort to negative stereotypes of the hillbilly. The early film emphasis was on showing the hillbilly as an agent of violence and social menace, as degenerates and outcasts, only after WWII do we start to see hillbillies as a screen vehicle for innocuous farce and comic effect with the advent of Ma and Pa Kettle and the TV comedies that followed in the Sixties [A Harkins, Hillbilly: A Cultural History of an American Icon, (2005)]. The motion pictures’ use of a hillbilly trope can be seen in films as far back as the 1904 silent The Moonshiner…in fact the story of the hillbilly clandestinely making ‘moonshine’ in the backwaters while evading the law has been a much-used trope in movies, recurring for example recently in the Prohibition-era ‘bootlegging’ flick Lawless (2012) [‘Portraying Appalachia: How the Movies Can Get it Wrong’, (Tom Porter), Bowdoin News Archive, 09-Jun-2017, www.community.bowdoin.edu

The South is “a different country”: More audience fodder for Hollywood
In the television age Hollywood’s “go-to” take on hillbillies typically utilises the persona for pure comic intent, mercilessly exposing and ridiculing the (usually) working class hillbilly for his or her wilful ignorance, lack of education and sophistication, depicting him or her as “pre-modern and ignorant hillbillies” (in Anthony Harkins’ words) to create, “one of the more lasting and pervasive images in American popular iconography” [Harkins, op.cit.]. Given that areas like Appalachia with its coal-dependent economy are cyclically prone to recurrent “booms and busts”, poverty is a familiar reality for very many of those residing in such places, accordingly Hollywood has traditionally seen hillbillies as soft targets, comfortable in showing up their unworldliness and illiteracy for a laugh…the Beverly Hillbillies of that popular American TV comedy of the same name are “dirt-poor” until Jed makes a fortuitous discovery on their ‘worthless’ land which transforms the ‘Hicksville’ family into “oil-rich tycoons”.

‘Monstrous mountaineers’ and other ‘psychopaths’
The comedic hillbilly has proved a rich source of material for movies and television, but as a variant from time to time Hollywood has also presented a very different, menacing on-screen hillbilly persona – the classic cinematic example of this is perhaps the 1972 Deliverance movie. Deliverance portrays hillbillies as sadistic, lawless types bereft of any semblance of moral compass, ‘inbred’ nefarious individuals who commit acts which are both morally and sexually depraved. In hillbilly movies of this type, in place of the benign and fun-loving “Good Ol’ Boys”, are more brooding and sinister Southerners, sometimes isolated loners, psychotic serial-killers and even corrupt sheriffs. Meredith McCarroll, in a study focusing on the Appalachians [Unwhite: Appalachia, Race and Film, (2018)], has identified several distinct tropes of hillbilly movies. McCarroll’s typology includes Monstrous Mountaineer [Deliverance, Wrong Turn (2003), Timber Halls (2007)]; Heroic Highlander [Next of Kin (1982)], Killing Season (2013); Lazy Hillbilly [Our Hospitality (1923), Kentucky Moonshine (1938)].

Where are the “black hillbillies?” “Honorary non-whites?”
McCarroll in her just published book focussed on the fact that the hillbillies portrayed in Hollywood movies and television are phenotypically white…the towns of Hillbilly films and TV comedies typically, are uniformly devoid of black people, eg, The Andy Griffith Show/Mayberry, R.F.D. (despite the reality, a concentration of large numbers of African-Americans in the South!?!). Leaving aside the anomalous element of that scenario for a moment, in Unwhite McCarroll argues that the depiction of white hillbillies on the screen – characteristically disparaging – signifies that the TV and film-makers are applying the same kind of negative trope traditionally employed by Hollywood to vilify non-white minority groups (native Americans, Black and Hispanic peoples), as part of the ‘other’ in society [McCarroll, cited in ‘McCarroll’s book debunks myths about Appalachia’, (Lucas Weitzenberg), Bowdoin Orient, 28-Sep-2018, www.bowdoinorient.com].

The 2018 independent documentary Hillbilly (Sarah Rubin and Ashley York) offers a similar critique on the vilification of specifically Appalachian, but of Southern culture generally. Decrying the screen prevalence of negative hillbilly stereotypes (represented as promiscuous, “buffoonish alcoholics” and “trailer trash”), at the same time York and Rubin make a link between those stereotypes and the corporate exploitation of the Appalachian Mountains’ natural resources [‘”Hillbilly” Reclaims Appalachia’s Identity Against Lasting Insidious Stereotypes’, Pop Matters, (Argun Ulgen), 21-Nov-2018, www.popmatters.com; ‘”Hillbilly” explores stereotypes of Appalachia’, Times-Tribune, (Brad Hall), 19-Sep-2018, www.thetimestribune.com].

Escaping to an imagined and idealised South
Hollywood’s hillbilly stereotypes extend to a romanticisation of the hillbilly, often their lives are romanticised as simple and uncomplicated (much as native and Black Americans and Mexicans are!). The hillbilly is shown as backward and quaintly pre-industrial, embodied in the famous river bank scene in Deliverance of hillbillies lazing about with nothing better to do than mindlessly pluck banjos [McCarroll, op.cit.]. Allied to this perception, Hollywood’s hillbilly tropes are a component of “using the South as a foil for modern life”…for Americans living in the Sixties and Seventies it was a confrontational time, full of harsh realities and worrying big issues such as the conflict over the Vietnam War, race riots, poverty and the Cold War. Feeding the viewing public a diet of idyllic and irenic images of Southern harmony, a distorted sense of life not being too serious, provided a palatable form of escapism for Americans in the big cities. So we got shows like The Andy Griffith Show, Petticoat Junction, Green Acres and The Dukes of Hazzard, presenting fictional Southern ‘Hicksville’ towns with names like ‘Mayberry’ and ‘Hooterville’, peopled by harmless hayseed sheriffs and shopkeepers [‘The Weird History of Hillbilly TV’, (Gabe Bullard), www.bittersoutherner.com].

‘Hicksploitation’ reality obsession
In the age of reality TV saturating our screens, the subject matter of hillbillies has far from abated. The trope has perpetuated itself within this sub-genre of television with a string of titles pitched fairly and squarely at the LCD in society…Swamp People, Moonshiners, Bayou Billionaires, Hillbilly Handfishin’, American Hoggers, and even Lady Hoggers, as well primus inter pares, the much-hyped docu-drama Duck Dynasty. Reality hillbilly shows keep faith with the standard formula, peopled with folk who are not exactly what you’d call cerebral, rather they are raucous, profane, intolerant, “anything goes” ‘rednecks’…so lots of guns around, wild animals of various kinds, ‘Down-South” stills producing copious amounts of “sly grog”, “hunting-and-a-fishing”, excessive facial hair, Confederate flags, lack of respect for authority, etc. Despite the often appalling and sometimes degrading behaviour exhibited in “redneck reality TV”, viewers continue to subscribe in meaningful numbers to this brand of “televisional fare”. Testimony perhaps to the fact that “people will (always) tune in to see themselves on screen or the extremes of another culture” [“‘Redneck’ reality TV is one big ‘Party'”, (Patrick Ryan), USA Today, 09-Dec-2014, www.usatoday.com].

PostScript: “Warring Hillbillies” folklore
One of the well-trawled narrative sources for hillbilly films and TV programs has been the historical feud between the Hatfield and the McCoy clans (1860s-1890s). The protracted conflict between the two neighbouring mountaineering families, stretching from West Virginia to Kentucky, a part of Appalachian folklore, caught the imagination of Hollywood, providing it with ample material for screen productions over the years. This has included both comedies and dramas, ranging from Abbott and Costello’s farcical Comin’ Round the Mountain to the more recent (2012) Hatfields and McCoy miniseries.[see also the following article – ‘The Much Mooted ‘Hillbilly Wars’ of Appalachia : The McCoy v. Hatfield Feud’]

Ma minus Pa – the Kettles’ swan song ≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡≡
the Encyclopedia of Arkansas History and Culture points out that the word ‘hillbilly’ is often used interchangeably with several other derogatory epithets – eg, ‘redneck’, ‘white trash’ and ‘cracker’
despite being depicted as quintessential ‘hillbillies’ (as defined by popular culture), Ma and Pa Kettle, both in the original book and in the films live in a rural locale somewhere in Washington state…not Appalachia or the Ozarks or anywhere in the South (although one of the series entries is The Kettles in the Ozarks). Not confining itself to the negative profiling of hillbillies, the Kettle movies delve even deeper into stereotypes with a thorough “hatchet job” on the series’ two dim American ‘Indian’ characters – ‘Crowbar’ and ‘Geoduck’
although people labelled as ‘hillbillies’ don’t necessarily have to live in the mountains per se to be thus categorised
remember, Elvis made a ‘hillbilly’ movie called Kissin’ Cousins
we see through Hollywood’s lens suggestions of promiscuity, of inbreeding, bestiality, all manner of sexual deviance, attributed to the on-screen hillbilly [Hall, loc.cit]. To balance the negative slant slightly, as Tom Porter notes, on rarer occasions screen depictions do exist which present mountaineers more positively – as rugged and even heroic folk living outside societal norms living independently on their wits (somewhat akin to filmic representations of the “Wild West” prior to the 1970s), Porter, loc.cit.]
McCarroll also nominates an infinitely smaller list of “hillbilly movies” which manage, to greater or lesser degree, to avoid the standard stereotypes [eg, Winter’s Bone (2010), Norma Rae (1979), Matewan (1987)]

Trinidad: Casas Espectaculares Vistoso y Mansiones built on a Foundation of Sugar Wealth

Popular Culture, Regional History, Travel

55F5788C-1F70-49C7-A17E-00EFCC7D4CC6A journey to Trinidad (that’s the one in Cuba, not the one also in the Caribbean Sea which is nearly always spoken of in the same sentence as ‘Tobago’) takes you right into the heart of azúcar country. The nearby Valle de Los Ingenios (‘Valley of the Sugar Mills’) housed the vast sugar estates of the 18th-19th centuries (three score and ten sugar cane mills remain in the three-fold Sancti Spíritus valley system). Sugar, one of the staples of the Cuban economy, and enforced slavery (facilitating its economical production) was the foundation upon which Trinidad’s great colonial wealth rested.

As for getting round the perimeters of Trinidad de Cuba and seeing as much as we could in the paltry two days we were there, we hooked up with the local walking tour service. I have done a string of free city walking tours on recent trips overseas (and rarely ever come away disappointed), so it was almost an obligatory thing for me to do the Trinidad walking tour through the casco histórico! First thing to take account of was the ancient cobblestones below our feet, irregular and uneven, and we were immediately conscious of the fact that we needed to tread with care…and at the same time avoid the hordes of people on the streets! One of the visuals that stood out straightaway was the countless great examples of Spanish Colonial buildings and houses all around the centre of town.

9D901A43-0883-4446-9D3D-9364AAFE2034We got a two minutes on the spot lesson from the guide about the layout of the sprawling city and outskirts, the different barrios (neighbourhoods), consejos populares (villages), etc. The far-too-many-to-count casa facades we passed were uniformly pastel in colour – cream, baby blue, mauve and pink seem the most popular choices for the houses. A treat was grabbing a peak inside some of the tiendas (shops) as we passed, the highlight being shops with wonderful Trinidadian artworks (strikingly colourful paintings and bold and bright ceramics). The guide gave hints on where to buy gifts, and where to eat and drink the local food and spirits at reasonable prices! Underscoring the old charm of Trinidad are the archaic cobblestone roads everywhere we went…I noticed something puzzling about them – every afternoon water would stream down (occasionally rush down) the valleys in the middle of the cobbled laneways and roads. I wondered where the water was coming from (run-off from the casas?) and meant to ask our guide about it but forgot to!

06E1A2AB-825D-4D60-9AA4-E49C25DCA6E3.jpegPlaza Mayor
If you’ve just touched down in Trinidad this is the ideal place to start from and fan out and explore the ciudad antigua. The square is the hub of the colonial old town, a place where people congregate, relax, chill out, sit and connect to wi-fi – if you are lucky (and have a stack of patience!). Restaurant choices aplenty across the other side of the square (an accompanying cool mojito obligatory with all meals). The central section of the square comprises a four-part attractive garden setting with hedges and palm trees. Enclosing the individual gardens are white fences, with another outer fence made of white wrought-iron grilles surrounding them. Decorative statuettes and vases added to the cute appeal of the plaza gardens.

On one side of Plaza Mayor is the main cathedral (Iglesia de la Santísima Trinidad AKA Parroquial Mayor), this church is next to a set of steep, archaic looking cobblestone steps that lead up to the Casa de la Musica (Music House). People enjoy al fresco dining at the top while Cuban bands play and Salsa dancers strut their stuff here in the open air.

3F9ADA75-2725-43C9-9F35-79AF45A46415.jpegPlaza Mayor is also a place where you’re likely to see some of Trinidad’s impromptu artists and musicians performing in the square…on one extremely hot day I saw a “living statue” in (lack of) motion, the guy was dressed in heavy, bulky religious garb, looking like he’d was doubling for Brother Cadfael or perhaps an extra in the Da Vinci Code! Everybody else was in shorts and T-shirts, I don’t know how he could stand the searing humidity, his back was a mat of perspiration through his tunic. No sign though of any relief from divine intervention coming his way in the sweltering heat, notwithstanding his appropriate ecclesiastical attire! While in the vicinity, also worth a gander, just off a side street to the square, are a few specialist museums – notably the Museo Histórico Municipal, one exhibiting colonial furnishings and another colonial architecture.

Hora de la cena
Like anywhere popular to eat in Trinidad, Restaurante San José on Maceo does a brisk night-time trade, turning over a large quantity of diners quite rapidly. Part of San José’s popularity is because of the regard its fish and shellfish are held in…confronted with the temptation to have the lobster was too great, especially as they were going for a bargin $13 CUC each (and they weren’t small crustaceans either just quietly!). Before that, a nice appetiser to warm up for the mains was the patatas dulces fritas (sweet potato fries). While you wait for your food to arrive, they’re plenty to occupy your time, such as taking in the interesting wall decorations, and always in Cuba, there is the steady throb of background, mood music.

Marooned in the Suez Canal: Six Days of War, Eight Years of Blockade

International Relations, Military history, Regional History

When the dust and sand settled after the lightning strike of the Middle East Six-Day War in 1967, there was an unanticipated outcome with profound ramifications for the Suez Canal. The upshot of that briefest of brief wars left Israel in control of the Sinai Peninsula which included the eastern bank of the Suez waterway✱. Egypt’s response to this unpalatable circumstance was swift and long-reaching.

Immediately at the cessation of hostilities each side of the Suez Canal was cordoned off, Israeli troops massing on the east (Sinai) side and Egyptian troops on the west (African) side. The Egyptian government reacted to the situation by effectively immobilising access to the canal…ships, dredges and other floating water-crafts were sunk to block both ends of the waterway, the task of blockading was completed by placing a number of sea mines in the canal to render navigation an unviable (and dangerous) option.

Aside from bringing an immediate halt to any vessels seeking to use the passage, the unilateral action had the effect of trapping existing shipping already within the canal zone. At the time of the war there was a number of foreign ships, mainly freighters and cargo carriers, steaming their way north through the international waterway. Unable to proceed, those fourteen merchant vessels gathered together in the Great Bitter Lake section of the canal (the widest portion and the midway-point of the waterway).

Great Bitter Lake (sat-map)

The Yellow Fleet
As time passed it became evident that Egypt was intending to block the canal indefinitely. The ships settled down for a long stay and the ships’ masters and owners devised a strategy to cope with the delay. The crews on the vessels were rotated, initially after three months the original crews were relieved, and then this process was repeated at periodical intervals. Over the next eight years (that’s how long the canal was blockaded and the fourteen ships were stranded in the Bitter Lake) some of the original crew members even returned for a second stint in the canal. So long were the stranded vessels exposed to the harsh elements of the region that the nickname the Yellow Fleet was ascribed to them – due to the fact that over months of remaining motionless the decks of the ships would become completely caked in windblown sand from the adjacent Sinai desert [‘The Yellow Fleet’, www.history.com].

Composition of the cargo container fleet: Vessel nationalities
The stranded Bitter Sea flotilla comprised a miniature “United Nations” of vessels – of the fourteen merchant ships, four were from the UK, two each from West Germany, Sweden, the US and Poland, and one each from Czechoslovakia and Bulgaria. In addition to these fourteen entrapped vessels, one other container ship, the Canadian SS Observer, was also immobilised by the Egyptian blockage, but it was separated from the others and forced to anchor in Lake Timsah (AKA Crocodile Lake), near the city of Ismailia.

From the perspective of the ship-owners (who included large shipping companies like the Blue Star Line and Blue Funnel Line), the main priority was to protect as far as possible the valuable cargo onboard the containers. The ships, despite their anchored status needed to be maintained regularly so that they would be immediately ready to go in the event of the Egyptian government lifting the blockage [‘Meet the seafarers who were stranded in the Six-Day War’, (Simon Edge), 03-Jun-2017, www.express.co.uk/].

Despite the difficulties faced by the crews (the presence of Egyptian police guarding the vessels; being stopped from maintaining radio contact with the outside world; the frustration of being confined and entrapped in one spot), the seafarers involved made a really good fist of keeping up morale by keeping busy and engaged in fractional and social activities. Organisational skills were put to good use, in October 1967 a meeting of all officers and crews members on the British MS Melampus resulted in the formation of the Great Bitter Lake Association.

1968: Year of the parallel olympics
Given the trying working conditions that prevailed, the merchant shipmen (there was a solitary woman among all of the crews of workers, a Swedish stewardess) made the best of their time in the Suez…in 1968 with the Summer Olympics playing out in Mexico City the seamen were inspired to concoct their own version of the great quadrennial international sporting event. The GBLA ‘Mini-Olympics’ included the disciplines of sailing (naturally!), diving, soccer, shooting, archery, sprinting, high jump and weight-lifting✧. The ‘athletes’ got right into the spirit of the event, the UK newspaper the Daily Express even sponsored the games, providing kits, footballs and trophies. Overall “winner of the Olympics” was Poland, followed by West Germany [‘Stranded in the Six-Day War: the story of 14 ships trapped for eight years in the Suez Canal – by Cath Senker’, (Company of Master Mariners of Australia), www.mastermariners.org.au/]. Outside of Olympics time crew members would keep active with matches of football (soccer) on the largest of the vessels, MS Port Invercargill.

Inventiveness and ingenuity of the crews
Improvised Olympic games, football and boat races was one way of making the time pass enjoyably, another more imaginative pursuit was getting into the stamp business! The Yellow Fleet marked its prolonged confinement in the Suez by hand-making and issuing its own stamps…envelopes sent home to family and friends would bear the frank of the Great Bitter Lake Association. These labels were purely decorative, without postal validity and needed the accompanying legal issue of Egypt for delivery – however some letters did apparently make it to their destinations bearing only the GBLA frank! GBLA stamps often contained eagles and seagulls, birds of flight symbolising freedom and escape which the crews undoubtedly longed for whilst passing their days [‘Maritime Topics On Stamps: The GBL Locals!’, (Bjoern Moritz), www.shipsonstamps.org/].

The fleet also maintained its own trading system among the various vessels. The container ship crews fed themselves initially from the plentiful fresh food in the cargos. Beer, wine and other day-to-day necessities were supplied by trade with visiting Egyptian chandlers (suppliers for boats). Captain Kensett of the Port Invercargill estimated that they had to be upward of 1.5 million empty beer bottles at the bottom of the Great Bitter Lake. The food that perished after the refrigeration finally gave out also got dumped overboard [Simon Edge].

As time went on…and on, the situation needed to be rationalised of course. During 1968 the MV Agapenor‘s owner, Blue Funnel Line, considered abandoning the vessel, but the insurers vetoed that! Later on, the Agapenor was placed in the care of the nearby Czech freighter Lednice [Gordon Frickers, ‘Agapenor Manoeuvring in Bombay (Mumbai) Roads’, (Artist Gordon Frickers), 31-Mar-2009, www.frickers.co.uk]. The collection of ships were moored closer together. Consolidation continued with a view to reducing costs to the companies, by June 1969 the number of personnel maintaining and protecting the ships was scaled down to around 200, by Christmas of the same year there was just a skeletal crew of 50 present [Edge].

Egyptian president and Arab unity strongman Gamal Abdel Nasser died in 1970 and gradually the government in Cairo started to soften its hard-line stance on the blockade (plus there was the worrying consideration of the ongoing lost revenue from the canal tolls that Egypt was suffering). For the last couple of years of the closure a Norwegian company took over the management of the fleet. By 1974 work had begun on the extremely onerous task of clearing the scuttled ships and sea mines before shipping in the canal could resume. American naval units and British and French minesweepers assisted the operation, with the salvage job finished by Californian company Murphy Pacific Marine Salvage. With the Suez Canal finally opened again, eleven of the remaining thirteen vessels⊟ were unable to continue their journey unaided, only the two German container ships were capable of making it back to their destination (Hamburg) under its own power.

PostScript: a ‘new’ Suez Canal?
Even by the time of the canal closure in 1967 Suez had become an inferior sea transportation route. Since the 1950s the advent of the supertanker, which is capable of carrying four to six times that of the smaller ships, has been a game-changer. The canal however has been unsuitable for supertankers being too narrow and insufficiently deep in most of the watercourse [‘A “new” Suez Canal shapes up for 1980s’, (John Pearson & Ken Anderson), Popular Mechanics, May 1975]. Accordingly the Egyptian government first mooted the prospect of a new canal in 1974. After many obstacles and delays a multi-billion dollar project was launched. Finally in 2015, a ‘new’ section of the Suez Canal was completed…increasing the canal capacity to accommodate a two lane shipping route (ie, two commercial-scale vessels are now able to pass one another in opposite directions over a longer stretch of the canal) [‘Suez Canal Area Development Project’, Wikipedia, http://en.m.wikipedia.org].

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✱ along with the Golan Heights (taken from Syria) and the West Bank of Jerusalem (wrestled off the Kingdom of Jordan)
✧ oddly swimming is not listed as one of the GBLA’s ‘Olympic’ sports, especially puzzling as the MS Killara (from Sweden) had an onboard pool!
⊟ the US-owned African Glen had been hit and sunk during the Yom Kippur War in 1973. The war came very close to the stranded Yellow Fleet as the Israeli counter-attack took place at the northern end of the Bitter Lake