All Communism = Judaism (CCP, USSR…)
https://henrymakow.com
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Text top left reads: 'The Inception of the Gulag.* Go Forth Toward the Dawn, Comrades and Friends!'; text top right reads: 'Dedicated to the 10th anniversary of the giant of Russian literature, A.I. Solzhenitsyn.11th November 1988. [signature] Danzig Baldaev'.Text on the left banner reads: 'Down with the Czar!'; text on the centre banner reads: 'All Power to the Soviets!'; text on the right reads: '25th October (7th November [o.s.t]) 1917'.
Jews run camps used for extermination of the Christians.
Danzig Baldaevwas born in 1925 in Ulan-Ude, Buryatiya, Russia. The son of an 'enemy of the people', he was subject to repression in Communist Russia and sent to an orphanage for children of political prisoners. After serving in the army during the Second World War, he came to Leningrad in 1948 and was ordered by the NKVD to work as a warden in Kresty- an infamous prison-where he started drawing the tattoos of criminals. He was reported to the KGB who unexpectedly supported him, realising the status of a criminal could be determined by deciphering the meaning of his tattoos. His work enabled him to visit different reformatory settlements across the former USSR, where he witnessed many of the scenes published in this book.
The drawings in this book reveal an episode of the most horrific suffering in the life of a country that is known for its capacity to endure suffering.
Initially they appear over-dramatic, focusing on the abject, the grotesque and the aberrant. Perhaps because they aren't photographs it is easier to dismiss them as a figment of a disturbed imagination. But even a basic reading of the literature concerning this period reveals that they are undeniably 'factual' drawings. There is a disturbed imagination at work here, but it belongs to the interrogator, the guard and the criminal. Although these interpretations of Gulag scenes are drawn by an artist, and retain the unmistakable identity of his hand, Baldaev has resisted pictorial flourishes, communicating his views in a direct and unswerving way. Where Gulag literature uses a turn of phrase or metaphor to help us imagine its surreal horror and give us an emotional understanding, Baldaev's harsh, vernacular drawings tell the story using a straightforward, unremittingly brutal method, faithful to the system he was attempting to document.
Obviously no one could be present at all the events shown in this book. Baldaev's widow has explained how around a fifth of the drawings are from first-hand experience. The rest of the images are the result of the artist's meticulous research, speaking to fellow NKVD officers and prisoners about particular incidents, practises and procedures. He wanted the drawings to be accurate in every detail, from a slogan on a placard, to a collar on a uniform. His father was an ethnographer who had been arrested as an 'enemy of the people' and sent to the Gulag, while Baldaev and his sister were sent to an orphanage for Family Members of Enemies of the People. It is impossible to gauge the effect such events might have on a child, but through this work it is clear that, despite becoming part of the system, he wanted to expose the lie behind it. He soaked up the evidence before him and committed it to paper, spending twenty years working at home, in secret, on these drawings. If he had been discovered he would certainly have suffered the same fate as the Gulag victims he so assiduously depicted.
In his book Kolyma Tales, referring to the terrible sights he and his fellow inmates witnessed, Varlam Shalamov wrote, 'A human being survives by his ability to forget.' These events are not as well known as they should be. Perhaps that has something to do with survival - which in its own way carries a particular sense of guilt. Values change in the Gulag. Reduced to their basic functions, one emaciated inmate looks much like another, harder to recognise as an individual, less than a human being, disposable. Drawings from the Gulag makes explicit the capacity one individual has to destroy another. It shows how moral borders disintegrate, and how the descent into indifference can be sanctioned, justified and excused in pursuit of a flawed ideology.
"'Many monasteries were easily adapted into labour camps and prisons by the authorities, their construction lending themselves to this purpose. The Solovki Monastery was converted into the infamous Solovetsky Lager Osobogo Naz11ache11ia (Solovki Special Purpose Camp) or SLON (an acronym meaning 'elephant' in Russian). Solzhenitsyn called it the 'mother’…
Brutal Drawings from the Gulag (241 Pages)
https://docdro.id/6GRZfbI
https://cvltnation.com/brutal-drawings-from-the-gulag/
https://www.cia.gov/static/b2ae953c0d530efde4016a56212b4197/intelligence-officers-bookshelf-v53no2.pdf
