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1Introduction: The <strong>Frontiers</strong> <strong>of</strong> <strong>Power</strong>Few historical changes occur literally overnight. Yet, in <strong>the</strong> early hours <strong>of</strong> Sunday13 August 1961 a new l<strong>and</strong>mark appeared on <strong>the</strong> Cold War’s frontline. In<strong>the</strong> darkness between <strong>East</strong> <strong>and</strong> West Berlin, jackhammers tore up roads <strong>and</strong>pavements, while tramlines <strong>and</strong> railings were welded into temporary barriers,followed by cinder blocks, barbed wire, <strong>and</strong> concrete. Its builders, <strong>the</strong> <strong>East</strong>German communist party, called it <strong>the</strong> ‘Antifascist Defence Rampart’, while <strong>the</strong>rest <strong>of</strong> <strong>the</strong> world knew it as <strong>the</strong> Berlin Wall, or simply ‘<strong>the</strong> Wall’. Its iconicimages still influence our mental picture <strong>of</strong> <strong>East</strong> <strong>Germany</strong>: a fleeing <strong>East</strong> Germanpoliceman frozen in mid-air above a barbed-wire entanglement; a tug-<strong>of</strong>-war overan elderly woman dangling from an apartment window; US <strong>and</strong> Soviet tankspoint-blank at Checkpoint Charlie. Viewing platforms soon permitted westerntourists a glimpse <strong>of</strong> <strong>the</strong> s<strong>and</strong>y no man’s l<strong>and</strong> between <strong>the</strong> front <strong>and</strong> rear walls,raked clean by day <strong>and</strong> floodlit at night, known as <strong>the</strong> ‘death-strip’. No trip toWest Berlin was complete without a visit to <strong>the</strong> Haus am Checkpoint Charlie,filled with escape memorabilia <strong>and</strong> dioramas <strong>of</strong> <strong>the</strong> beleaguered demi-city. TheWall was merch<strong>and</strong>ized on postcards <strong>and</strong> T-shirts; it formed <strong>the</strong> backdropto John le Carré <strong>and</strong> Len Deighton’s spy thrillers; legions <strong>of</strong> graffiti artistsspray-painted it; <strong>and</strong> Johnny Rotten <strong>of</strong> <strong>the</strong> Sex Pistols met his nihilistic matchin it.¹I myself encountered <strong>the</strong> Wall in <strong>the</strong> mid-1980s when I lived for a year inWest Berlin. Checkpoint Charlie was like a macabre version <strong>of</strong> <strong>the</strong> wardrobein C. S. Lewis’s Narnia stories: you began in one world, filled with neon <strong>and</strong>primary yellows, only to emerge in ano<strong>the</strong>r, seemingly set in sepia, where <strong>the</strong>air smelled <strong>of</strong> brown coal <strong>and</strong> two-stroke petrol. Part <strong>of</strong> <strong>the</strong> Wall’s fascinationis that it was a primordial, almost fairytale solution to a modern problem,more akin to <strong>the</strong> Bro<strong>the</strong>rs Grimm than <strong>the</strong> late twentieth century. Of course,humans have always marked boundaries with ditches, fences, <strong>and</strong> walls, aroundhomesteads, fields, <strong>and</strong> fortifications. The first recorded walled city was Jericho,10,000 years ago.² Six thous<strong>and</strong> years later Chinese warlords began immuringwhole territories, culminating in <strong>the</strong> sixteenth-century Great Wall <strong>of</strong> China.¹ The Sex Pistols, ‘Holidays in <strong>the</strong> Sun’, Oct. 1977.² Felipé Fern<strong>and</strong>ez-Armesto, ‘This Story Doth a Wall Present’, Index on Censorship (Writing on<strong>the</strong> Walls), 33/3 (2004), 41.