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Tintin in the Congo
(Tintin au Congo)
Book cover. Tintin is driving a jalopy in the African Congo.
Cover of the English edition
Date
  • 1931 (black and white)
  • 1946 (colour)
SeriesThe Adventures of Tintin
Publisher[Le Petit Vingtième] Error: {{Lang}}: text has italic markup (help)
Creative team
CreatorHergé
Original publication
Published in[Le Petit Vingtième] Error: {{Lang}}: text has italic markup (help)
Date of publication5 June 1930 – 11 June 1931
LanguageFrench
ISBN2-203-00101-1
Translation
PublisherEgmont
Date2005
ISBN1-4052-2098-8
Translator
  • Leslie Lonsdale-Cooper
  • Michael Turner
Chronology
Preceded byTintin in the Land of the Soviets (1930)
Followed byTintin in America (1932)

Tintin in the Congo (French: Tintin au Congo) is the second volume of The Adventures of Tintin, the comics series by Belgian cartoonist Hergé. Commissioned by the conservative Belgian newspaper [Le XXe Siècle] Error: {{Lang}}: text has italic markup (help) as colonialist propaganda for its children's supplement [Le Petit Vingtième] Error: {{Lang}}: text has italic markup (help), it was serialised weekly from May 1930 to June 1931. The story tells of young Belgian reporter Tintin and his dog Snowy, who are sent to the Belgian Congo to report on events in the country. Amidst various encounters with the native Congolese and wild animals, Tintin unearths a criminal diamond smuggling operation run by American gangster Al Capone.

Bolstered by publicity stunts, Tintin in the Congo was a commercial success, and appeared in book form shortly after its conclusion. Hergé continued The Adventures of Tintin with Tintin in America, and the series became a defining part of the Franco-Belgian comics tradition. In 1946 it was re-drawn and coloured in Hergé's distinctive ligne-claire style for republication by Casterman, with further alterations made for a 1975 edition. In the late 20th century, Tintin in the Congo came under criticism for its racist attitude to the Congolese and glorification of big game hunting.

Synopsis

Belgian reporter Tintin and his fox terrier Snowy travel to the Belgian Congo, where the pair are greeted by a cheering crowd of native Congolese.[1] Hiring a native boy, Coco, to assist him in his travels, Tintin rescues Snowy from a crocodile. A stowaway criminal attempts to kill him, but is knocked unconscious by coconuts thrown by monkeys. One of the monkeys kidnaps Snowy, who is rescued by Tintin.[2]

The next morning, Tintin, Snowy, and Coco crash their car into a train, which the reporter fixes and tows to the village of the Babaorum tribe. He is greeted there by the king, and accompanies him on a hunt the next day, where Tintin is knocked unconscious by a lion. Snowy rescues him by biting the lion's tail off. Tintin gains the admiration of the natives, which makes the Babaorum witch-doctor Muganga jealous; with the help of the stowaway, he plots to accuse Tintin of destroying the tribe's sacred idol. Imprisoned by the villagers, Tintin is rescued by Coco and shows the villagers footage of Muganga conspiring with the stowaway to destroy the idol, which enrages the villagers. Tintin becomes a hero in the village, and a local woman bows down to him, saying, "White man very great! Has good spirits ... White mister is big juju man!"[3]

Angered, Muganga starts a war between the Babaorum and their neighbours, the M'Hatuvu, whose king leads an attack on the Babaorum village. Tintin outwits them, and the M'Hatuvu cease hostilities and also come to idolise Tintin. Muganga and the stowaway plot to kill Tintin while framing it on a leopard, but Tintin survives, while saving Muganga from a boa constrictor; Muganga pleads mercy and ends his hostilities. The stowaway attempts to capture Tintin again, and eventually succeeds disguised as a Catholic missionary. They fight across a waterfall, and the stowaway is eaten by crocodiles.[4] After reading a letter from the stowaway's pocket, Tintin finds that someone called "A.C." has ordered that he be killed. Tintin captures a criminal who tried to rendezvous with the stowaway, and learns that "A.C." is American gangster Al Capone, who was trying to gain control of African diamond production. Tintin and the colonial police arrest the rest of the diamond smuggling gang before he returns to Belgium.[5]

History

Background

Georges Remi—best known under the pen name Hergé—had been employed as an illustrator at [Le XXe Siècle] Error: {{Lang}}: text has italic markup (help) ("The 20th Century"), a staunchly Roman Catholic and conservative Belgian newspaper based in Hergé's native Brussels. Run by the Abbé Norbert Wallez, the paper described itself as a "Catholic Newspaper for Doctrine and Information" and disseminated a far-right and fascist viewpoint.[6] According to Tintinologist Harry Thompson, such political ideas were not unusual in Belgium at the time, where "patriotism, Catholicism, strict morality, discipline and naivety were so inextricably bound together in everyone's lives that right-wing politics were an almost inevitable by-product."[7] Wallez appointed Hergé editor of a children's supplement for the Thursday issues of [Le XXe Siècle] Error: {{Lang}}: text has italic markup (help), titled [Le Petit Vingtième] Error: {{Lang}}: text has italic markup (help) ("The Little Twentieth").[8] Propagating Wallez's socio-political views to its young readership, it contained explicitly pro-fascist and anti-semitic sentiment.[9]

"For the Congo as with Tintin in the Land of the Soviets, the fact was that I was fed on the prejudices of the bourgeois society in which I moved… It was 1930. I only knew things about these countries that people said at the time: 'Africans were great big children… Thank goodness for them that we were there!' Etc. And I portrayed these Africans according to such criteria, in the purely paternalistic spirit which existed then in Belgium."

Hergé, talking to Numa Sadoul.[10]

Following the success of Tintin in the Land of the Soviets, serialised in Le Petit Vingtième from January 1929 to May 1930, Hergé wanted to send Tintin to the United States. However, Wallez insisted he write a story set in the Belgian Congo (modern-day Democratic Republic of the Congo), then a part of the Belgian Empire.[11] Belgian children were taught about the Congo in school, and Wallez hoped to encourage colonialist and missionary zeal in his readership.[12] He believed that the Belgian colonial regime needed promotion at a time when memories "were still fairly fresh" of the publicised 1928 visit to the colony by the Belgian King Albert and Queen Elisabeth.[13] He also hoped that some of his readers would be inspired to work in the Congo in older life.[14]

Hergé characterised Wallez's instructions in a sarcastic manner, saying Wallez referred to the Congo as "our beautiful colony which has great need of us, tarantara, tarantaraboom".[15] He already had some experience in illustrating Congolese scenes; three years previously Hergé had provided two illustrations for the newspaper that appeared in an article celebrating the fiftieth anniversary of Henry Morton Stanley's discovery of the Congo. In one of these, Hergé depicted a native Congolese individual bowing before a European colonialist, a scene that he would repeat in Tintin in the Congo.[16]

Just as in Land of the Soviets, where Hergé had based his information about the Soviet Union almost solely on a single source, in Tintin in the Congo he used limited source material to learn about the country and its people. The story was largely based on literature written by missionaries, with the only added element being that of the diamond traffickers, possibly adopted from the "Jungle Jim-type serials".[17] Hergé visited the Colonial Museum of Terveuren, examining their ethnographic collections of Congolese artefacts, including the costumes of the Leopard Men.[18] He adopted hunting scenes from André Maurois' novel The Silence of Colonel Bramble, while his animal drawings were inspired by Benjamin Rabier's prints.[16] He also listened to tales of the colony from some of his colleagues who had been there, but disliked their stories, later claiming: "I didn't like the colonists, who came back bragging about their exploits. But I couldn't prevent myself from seeing the Blacks as big children, either."[14]

Original publication, 1930–1931

A comic strip panel in black-and-white. A heavily caricatured African stands to the left, looking down at a Caucasian boy seated and tied to a wooden post in the centre. The African says, "Tomorrow, when sun rise again, Babaorum put you to death ..."
Muganga taunts the captured Tintin in the 1931 and 1946 versions.

Tintin in the Congo was serialised in Le Petit Vingtième from 5 May 1930 to 11 June 1931, and was then syndicated to the French Catholic newspaper Coeurs Vaillants.[19] Drawn in black and white, it followed the same formula employed in Land of the Soviets, remaining "essentially plotless" and consisting of largely unrelated events that Hergé improvised each week.[20] Hergé later commented on the process of writing these early adventures, stating that "The [Petit Vingtième] Error: {{Lang}}: text has italic markup (help) came out on Wednesday evening, and I often didn't have a clue on Wednesday morning how I was going to get Tintin out of the predicament I had put him in the previous week."[15] It also adopted a similar visual style to its predecessor.[21] In the first instalment of the story, Hergé featured a cameo of Quick and Flupke, two young boys living in Brussels whom he had recently introduced in a comic strip in Le Petit Vingtième on 23 January 1930.[22]

Like Land of the Soviets, Tintin in the Congo was popular in Belgium. On the afternoon of 9 July 1931, Wallez repeated the publicity stunt he had used when Soviets had ended by having a young actor, Henry de Doncker, dress up as Tintin in colonial gear and appear in Brussels and then Liège, accompanied by 10 African bearers and an assortment of exotic animals hired from a zoo. Co-organised with the Bon Marché department store, the event was popular and attracted 5000 spectators in Brussels.[23] In 1931, the story was collected together in a single volume by Brussels-based Éditions de Petit Vingtième, and a second edition was published by Casterman in 1937.[19] The series' success led Wallez to increase Hergé's salary in a renegotiated contract, and he was given the freedom to work from home if he wished.[24]

Second version, 1946

The opening frames from the 1932 and 1946 versions of the book. In the crowd of the original are Quick and Flupke; they are joined by Hergé, E.P. Jacobs and Thomson and Thompson in the latter.

In the 1940s, when Hergé's popularity had increased, he redrew many of the original black-and-white Tintin adventures in color using the ligne claire ("clear line")[a] drawing style he had developed, so that they visually fitted in with the new Tintin stories that he was creating. Tintin in the Congo was one such of these books, with the new version being published in 1946. As a part of this modification, Hergé also cut the page length down from 110 plates to the standard 62 pages, as suggested to him by the publisher Casterman. For the 1946 version, Hergé made several changes to the actual story, cutting many of the references to Belgium and colonial rule. Farr claimed that this decision was made to broaden its appeal to international readers rather than to reflect the increasing anti-imperialist trend across Africa.[26]

For example, in the scene where Tintin teaches Congolese school children about geography, he states in the 1930–31 version that "My dear friends, today I'm going to talk to you about your country: Belgium!" whereas in the 1946 version, he instead gives them a mathematics lesson, asking "Now who can tell me what two plus two make?... Nobody".[26] In another change, the character of Jimmy MacDuff, the owner of the leopard that attacks Tintin, was changed from a black manager of the Great American Circus into a white "supplier of the biggest zoos in Europe".[26]

In the 1946 colourised version, Hergé added a cameo appearance from Thomson and Thompson, the two detectives that he had first introduced in the fourth Tintin story, Cigars of the Pharaoh (1932–34), which was chronologically set after the Congolese adventure. Adding them to the first page, they are featured in the backdrop, watching a crowd surrounding Tintin as he boards a train and commenting that it "Seems to be a young reporter going to Africa..."[13] In the same frame, Hergé also inserted illustrated depictions of both himself and his friend Edgar P. Jacobs (who was the colourist who worked with him on the book), as members of the crowd seeing Tintin off.[27]

Later alterations and releases

When The Adventures of Tintin's Scandinavian publishers first released Tintin in the Congo in 1975, they objected to page 56, where Tintin drills a hole into a live rhinoceros, fills it with dynamite, and blows it up. They asked Hergé to replace this page with a less violent scene which they believed would be more suitable for their young readership. Hergé agreed, as he had come to regret the scenes of animal abuse and big game hunting in the work soon after producing it. The altered page involved the rhinoceros running away after accidentally firing a sleeping Tintin's gun; it was later used in publications in other languages.[28]

Although the 1946 coloured version had become the most widely available version, Tintinologists and collectors became interested in the original 1931 version. For this reason, Casterman reissued the original version in the first volume of the French-language Archives Hergé collection, collected with Tintin in the Land of the Soviets and Tintin in America.[29] Casterman then released the 1931 version of Tintin in the Congo as a stand-alone volume in 1982.[29]

Although it had been published in many languages, English publishers refused to publish Tintin in the Congo for many years due to its controversial content. In the late 1980s, Nick Rodwell, then agent of Studio Hergé in the United Kingdom, told reporters of his intention to finally publish it in English and stated his belief that, by publishing the original 1931 black and white edition, it would cause less controversy than its later 1946 counterpart would.[27] After much debate, it was agreed to publish the 1931 version in 1991, and was the last of The Adventures of Tintin to appear in English.[10] The 1946 version then saw English-language publication in 2005 through Egmont Publishing.[30]

Critical analysis

Hergé biographer Pierre Assouline believed that the cartoonist's drawing became more assured throughout the story without losing any of its spontaneity.[16] He believed that the story began in "the most inoffensive way" while Tintin was portrayed throughout as a Scout, reflecting Hergé's "moral debt" to Wallez.[16] Biographer Benoît Peeters opined that Tintin in the Congo was "nothing spectacular" with some "incredibly cumbersome" monologues, but he thought that the illustrations were "a bit more polished" than in Tintin in the Land of the Soviets.[31] Believing the plot to be "extremely simple", he thought that Tintin's character was like a child manipulating a world populated by toy animals and lead figurines.[24] Michael Farr felt that, unlike in the previous Tintin adventure, some sense of a plot emerges at the end of the story with the introduction of the American diamond-smuggling racket.[20] Philippe Goddin thought the work to be "more exciting than ever" and argued that Hergé's depiction of the native Congolese was not mocking but parodied past European militaries.[32] In contrast, Tintinologist Harry Thompson believed that "Congo is almost a regression from Soviets", having no plot or characterisation; he described it as "probably the most childish of all the Tintin books".[33]

Farr believed that the 1946 colour version was a poorer product than the black and white original, having lost its "vibrancy" and "atmosphere" with the new depiction of the Congolese landscape being unconvincing, appearing more like a European zoo than the "parched, dusty expanses of reality."[10] Peeters took a more positive attitude towards the 1946 version, commenting that it contained "aesthetic improvements" and a "clarity of composition" due to Hergé's personal development in draughtsmanship, as well as an enhancement in the dialogue, which had become "more lively and fluid."[34]

In his psychoanalytical study of the series, Tintinologist Jean-Marie Apostolidès highlighted that in the Congolese adventure, Tintin represented progress and the Belgian state as a model for the natives to imitate. In doing so, he argued, they could become more European and thus civilised from the perspective of Belgian society, but that instead they ended up appearing as parodies.[35] Opining that Tintin was imposing his own view of Africa onto the Congolese, Apostolidès remarked that Tintin appeared as a god-figure, with evangelical overtones in the final scene.[36] Literary critic Tom McCarthy concurred that Tintin represented the Belgian state, but also suggested that he acted as a Christian missionary, even being "a kind of god" akin to the character of Kurtz in Joseph Conrad's Heart of Darkness (1899).[37] Commenting on Tintin's exposure of Muganga as a fraud, McCarthy compared the scene to that in which the character of Prospero exposes the magician in William Shakespeare's The Tempest.[37] Simon Kuper of the Financial Times criticised both Land of the Soviets and Tintin in the Congo as the "worst" of the Adventures, being "poorly drawn" and "largely plot-free".[38]

Criticism

Racism

A comics strip panel. A heavily-caricatured African king jumps in the air angrily, saying, "Curses! ... Our military done for! ... By my ancestors, me myself kill miserable white man!"
The King of the M'Hatuvu angry at his failure in battle against Tintin, from the 1946 version of the book; such depictions have widely been labelled racist.

In the latter 20th and early 21st centuries, several campaigners and writers characterised Tintin in the Congo as racist due to its portrayal of the Congolese as infantile and stupid.[39] According to McCarthy, Hergé depicted the Congolese as "good at heart but backwards and lazy, in need of European mastery."[40] There had been no such controversy when originally published,[41] because it was only following the collapse of European colonial rule in Africa from the 1950s to the 1970s that typical western attitudes towards Africans became more positive.[10] Tintinologist Harry Thompson argued that Tintin in the Congo should be viewed in the context of European society in the 1930s and 1940s, and that Hergé had not written the book to be "deliberately racist". He argued that it reflected the average Belgian view of Congolese people at the time, one which was more "patronising" than malevolent.[33] This idea was supported by Tintinologist Jean-Marie Apostolidès,[42] biographer Benoît Peeters, who asserted that "Hergé was no more racist than the next man",[14] and Farr, who after meeting Hergé in the 1980s commented that "you couldn't have met someone who was more open and less racist".[43]

Contrastingly, biographer Pierre Assouline stated that in 1930s Belgium, Hergé would have had access to literature by the likes of André Gide and Albert Londres that was critical of the colonial regime. Instead, Assouline claimed that Hergé actively chose not to read such reports because they conflicted with the views of his conservative milieu.[44] President of the International Bande Dessinee Society, the University of Glasgow academic Laurence Grove, concurred, remarking that Hergé adhered to prevailing trends in his work, and that "When it was fashionable to be a colonial racist, that's what he was."[43]

Farr and literary critic Tom McCarthy stated that Tintin in the Congo was the most popular Tintin adventure in Francophone Africa.[45] Thompson claimed that the book remained hugely popular in both the Belgian Congo and, after it achieved independence in 1960, in its successor nation-state, Zaire.[46] This however has not prevented it being viewed with anger by certain Congolese people; for example, in 2004, when the Congolese Information Minister Henri Mova Sakanyi described remarks by the Belgian foreign minister critical of the chaos in the Congolese government as "racism and nostalgia for colonialism", he remarked that it was like "Tintin in the Congo all over again".[47]

File:Pappa in Afrika.jpg
Anton Kannemeyer's parody of Hergé's work, Pappa in Afrika.

In July 2007, human rights lawyer David Enright told the British Commission for Racial Equality that he came across the book in the children's section of Borders bookshop while shopping with his black wife and two sons. The commission called on bookshops to remove the comic, while Borders moved the book to an area reserved for adult graphic novels, stating that it was committed to letting its "customers make the choice". Another British retailer, W H Smith, said that the book was sold on its website but with a label that recommended it for readers aged 16 and over.[48] The commission's attempts at banning the book were criticised by Conservative Party politician Ann Widdecombe, who remarked that the organisation had more important things to do than regulate the accessibility of historical children's books.[49] In November 2011, UK book seller Waterstones removed the book from its children's section lest it "fall into the wrong hands".[50] Publisher Egmont UK also responded to racism concerns by placing a protective band around the book with a warning about its content, and writing an introduction describing its historical context.[50] Tintin in the Congo also came under criticism in the United States; in October 2007, in response to a complaint by a patron, the Brooklyn Public Library in New York City placed the graphic novel in a locked back room, only permitting access by appointment.[51]

In August 2007 a complaint was filed in Brussels by Congolese student Bienvenu Mbutu Mondondo, who claimed that the book was an insult to the Congolese people and required banning. Public prosecutors investigated, and a criminal case was initiated, although the matter was transferred to a civil court in April 2010.[52] Mondondo's lawyers argued that Tintin in the Congo amounted to "a justification of colonisation and of white supremacy", with Mondondo calling it "racist and xenophobic."[52] Alain Berenboom, lawyer for the book's publishers Casterman and the Moulinsart company which control Hergé's estate, argued that the cartoonist's depiction of the Congolese "wasn't racism but kind paternalism" and that banning it would set a dangerous precedent for the availability of works by other historical authors like Charles Dickens or Jules Verne.[52] In February 2012, the court ruled that the book should not be banned because it was "clear that neither the story, nor the fact that it has been put on sale, has a goal to... create an intimidating, hostile, degrading or humiliating environment" and therefore did not break Belgian law.[52]

The perceived racist nature of the book has been parodied by the South African comic writer Anton Kannemeyer in order to highlight the continuing racist undertones of South African society. In Kannemeyer's Pappa in Afrika (2010), a satire of Tintin in the Congo, Tintin is portrayed as a white Afrikaner with racist views of the indigenous people.[53]

Hunting and animal cruelty

Tintin in the Congo shows Tintin taking part in "the wholesale and gratuitous slaughter" of animals by shooting several antelope, killing an ape to wear its skin, ramming a rifle vertically into a crocodile's open mouth, injuring an elephant for ivory, stoning a buffalo, and (in earlier editions) slaying a rhinoceros with dynamite. Big game hunting was popular among whites and affluent visitors in Africa during the 1930s.[10] Hergé later felt guilty about his portrayal of animals in Tintin in the Congo, and became an opponent of blood sports; when he made Cigars of the Pharaoh (1934), he had Tintin befriend a herd of elephants living in the Indian jungle.[54]

Tintinologist Philippe Goddin stated that the scene in which Tintin shoots a herd of antelope was "enough to upset even the least ecological reader" in the 21st century.[55] When India Book House first published the comic in India in 2006, that nation's branch of the People for the Ethical Treatment of Animals issued a public criticism, with chief functionary Anuradha Sawhney stating that the book was "replete with instances that send a message to young minds that it is acceptable to be cruel to animals".[56]

Notes

  1. ^ Hergé himself didn't use the term ligne claire to describe his drawing style; cartoonist Joost Swarte first used the term in 1977.[25]

References

Footnotes

  1. ^ Hergé 2005, pp. 1–11.
  2. ^ Hergé 2005, pp. 11–18.
  3. ^ Hergé 2005, pp. 19–28.
  4. ^ Hergé 2005, pp. 44.
  5. ^ Hergé 2005, pp. 44–52.
  6. ^ Peeters 1989, pp. 20–29; Thompson 1991, p. 24.
  7. ^ Thompson 1991, p. 24.
  8. ^ Peeters 1989, pp. 31–32; Thompson 1991, pp. 24–25.
  9. ^ Assouline 2009, p. 38.
  10. ^ a b c d e Farr 2001, p. 22.
  11. ^ Assouline 2009, p. 26; Lofficier & Lofficier 2002, p. 24.
  12. ^ Assouline 2009, p. 26.
  13. ^ a b Farr 2001, p. 21.
  14. ^ a b c Peeters 2012, p. 46.
  15. ^ a b Thompson 1991, p. 33.
  16. ^ a b c d Assouline 2009, p. 27.
  17. ^ Lofficier & Lofficier 2002, p. 25.
  18. ^ Assouline 2009, p. 27; Peeters 2012, p. 46.
  19. ^ a b Assouline 2009, p. 28; Lofficier & Lofficier 2002, p. 24.
  20. ^ a b Farr 2001, p. 21–22.
  21. ^ Lofficier & Lofficier 2002, p. 26.
  22. ^ Assouline 2009, p. 27; Farr 2001, p. 21.
  23. ^ Assouline 2009, p. 28; Peeters 2012, p. 47; Thompson 1991, p. 41.
  24. ^ a b Peeters 2012, p. 47.
  25. ^ Pleban 2006.
  26. ^ a b c Farr 2001, p. 25.
  27. ^ a b Thompson 1991, p. 42.
  28. ^ Farr 2001, pp. 23, 25.
  29. ^ a b Lofficier & Lofficier 2002, p. 24.
  30. ^ Hergé 2005, p. inset.
  31. ^ Peeters 2012, pp. 46–47.
  32. ^ Goddin 2008, p. 75.
  33. ^ a b Thompson 1991, p. 40.
  34. ^ Peeters 1989, pp. 30–31.
  35. ^ Apostolidès 2010, pp. 12–15.
  36. ^ Apostolidès 2010, pp. 15–16.
  37. ^ a b McCarthy 2006, p. 51.
  38. ^ Kuper 2011.
  39. ^ Cendrowicz 2010.
  40. ^ McCarthy 2006, p. 37.
  41. ^ Assouline 2009, p. 28.
  42. ^ Apostolidès 2010, p. 14.
  43. ^ a b Smith 2010.
  44. ^ Assouline 2009, pp. 29–30.
  45. ^ Farr 2001, p. 27; McCarthy 2006, p. 37.
  46. ^ Thompson 1991, pp. 41–42.
  47. ^ Cendrowicz 2010; BBC News staff 2004.
  48. ^ BBC News staff 2007; Sky News staff 2007; Fernandez 2007; Beckford 2007.
  49. ^ Beckford 2007.
  50. ^ a b Telegraph staff 2011.
  51. ^ Leigh Cowan 2009.
  52. ^ a b c d Samuel 2011; BBC News staff 2012.
  53. ^ Mail & Herald staff 2010; Heller 2011.
  54. ^ Thompson 1991, p. 41.
  55. ^ Goddin 2008, p. 70.
  56. ^ Chopra 2006.

Bibliography

Apostolidès, Jean-Marie (2010) [2006]. The Metamorphoses of Tintin, or Tintin for Adults. Jocelyn Hoy (translator). Stanford: Stanford University Press. ISBN 978-0-8047-6031-7. {{cite book}}: Invalid |ref=harv (help)
Assouline, Pierre (2009) [1996]. Hergé, the Man Who Created Tintin. Charles Ruas (translator). Oxford and New York: Oxford University Press. ISBN 978-0-19-539759-8. {{cite book}}: Invalid |ref=harv (help)
BBC News staff (22 October 2004). "DR Congo slams 'Tintin' minister". BBC News. {{cite news}}: Invalid |ref=harv (help)
BBC News staff (12 July 2007). "Bid to ban 'racist' Tintin book". BBC News. Retrieved 11 March 2011. {{cite news}}: Invalid |ref=harv (help)
BBC News staff (13 February 2012). "Tintin in the Congo not racist, court rules". BBC News. Retrieved 6 June 2013. {{cite news}}: Invalid |ref=harv (help)
Beckford, Martin (12 July 2007). "Ban 'racist' Tintin book, says CRE". The Telegraph. Retrieved 3 November 2011. {{cite news}}: Invalid |ref=harv (help)
Cendrowicz, Leo (4 May 2010). "Tintin: Heroic Boy Reporter or Sinister Racist?". TIME. New York City. Archived from the original on 6 June 2013. Retrieved 6 June 2013. {{cite news}}: Invalid |ref=harv (help)
Chopra, Arush (3 February 2006). "Tintin in trouble: Congo book slammed". Daily News Analysis. Mumbai. Archived from the original on 6 June 2013. Retrieved 6 June 2013. {{cite news}}: Invalid |ref=harv (help)
Farr, Michael (2001). Tintin: The Complete Companion. London: John Murray. ISBN 978-0-7195-5522-0. {{cite book}}: Invalid |ref=harv (help)
Fernandez, Colin (12 July 2007). "'Racist' Tintin is banished to the adult section of bookshops". The Daily Mail. London. Retrieved 11 March 2011. {{cite news}}: Invalid |ref=harv (help)
Goddin, Philippe (2008). The Art of Hergé, Inventor of Tintin: Volume I, 1907–1937. Michael Farr (translator). San Francisco: Last Gasp. ISBN 978-0-86719-706-8. {{cite book}}: Invalid |ref=harv (help)
Heller, Maxwell (10 December 2011). "Picturing South Africa in New York". The Brooklyn Mail. New York City. Archived from the original on 6 June 2013. Retrieved 6 June 2013. {{cite news}}: Invalid |ref=harv (help)
Hergé (2005) [1946]. Tintin in the Congo. Leslie Lonsdale-Cooper and Michael Turner (translators). London: Egmont. ISBN 978-1-4052-2098-9. {{cite book}}: Invalid |ref=harv (help)
Kuper, Simon (11 October 2011). "Tintin and the war". Financial Times. London. Archived from the original on 11 April 2013. Retrieved 6 June 2013. {{cite news}}: Invalid |ref=harv (help)
Leigh Cowan, Alison (19 August 2009). "A Library's Approach to Books That Offend". The New York Times. New York City. Archived from the original on 6 June 2013. Retrieved 6 June 2013. {{cite news}}: Invalid |ref=harv (help)
Lofficier, Jean-Marc; Lofficier, Randy (2002). The Pocket Essential Tintin. Harpenden, Hertfordshire: Pocket Essentials. ISBN 978-1-904048-17-6. {{cite book}}: Invalid |ref=harv (help)
Mail & Guardian staff (23 August 2010). "Pappa in Afrika". Mail & Guardian. Retrieved 6 June 2013. {{cite news}}: Invalid |ref=harv (help)
McCarthy, Tom (2006). Tintin and the Secret of Literature. London: Granta. ISBN 978-1-86207-831-4. {{cite book}}: Invalid |ref=harv (help)
Peeters, Benoît (1989). Tintin and the World of Hergé. London: Methuen Children's Books. ISBN 978-0-416-14882-4. {{cite book}}: Invalid |ref=harv (help)
Peeters, Benoît (2012) [2002]. Hergé: Son of Tintin. Tina A. Kover (translator). Baltimore, Maryland: John Hopkins University Press. ISBN 978-1-4214-0454-7. {{cite book}}: Invalid |ref=harv (help)
Pleban, Dafna (7 November 2006). "Investigating the Clear Line Style". ComicFoundry. Retrieved 2 October 2008. {{cite web}}: Invalid |ref=harv (help)
Samuel, Henry (18 October 2011). "Tintin 'racist' court case nears its conclusion after four years". The Telegraph. Retrieved 6 June 2013. {{cite news}}: Invalid |ref=harv (help)
Sky News staff (12 July 2007). "Tintin Book Embroiled in Race Row". Sky News. Retrieved 11 March 2011. {{cite news}}: Invalid |ref=harv (help)
Smith, Neil (28 April 2010). "Race row continues to dog Tintin's footsteps". BBC News. Retrieved 6 June 2013. {{cite news}}: Invalid |ref=harv (help)
The Telegraph staff (3 November 2011). "Tintin banned from children's shelves over 'racism' fears". The Telegraph. Retrieved 3 November 2011. {{cite news}}: Invalid |ref=harv (help)
Thompson, Harry (1991). Tintin: Hergé and his Creation. London: Hodder and Stoughton. ISBN 978-0-340-52393-3. {{cite book}}: Invalid |ref=harv (help)
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