The Telegraph, Toby Clements argued that McCarthy's work, and literary criticism of Hergé's comic strips in general, cut "perilously close" to simply feeding "the appetite of those willing to cross the line between enthusiast and obsessive" in the Tintinological community. Controversy The earliest stories in The Adventures of Tintin have been criticised for displaying racial stereotypes, animal cruelty, colonialism, violence, and even fascist leanings, including ethnocentric, caricatured portrayals of non-Europeans. While the Hergé Foundation has presented such criticism as naïveté and scholars of Hergé such as Harry Thompson have said that "Hergé did what he was told by the Abbé Wallez", Hergé himself felt that his background made it impossible to avoid prejudice, stating: "I was fed the prejudices of the bourgeois society that surrounded me". In Tintin in the Land of the Soviets, the Bolsheviks were presented as villains. Hergé drew on Moscow Unveiled, a work given to him by Wallez and authored by Joseph Douillet, the former Belgian consul in Russia, that is highly critical of the Soviet regime, although Hergé contextualised this by noting that in Belgium, at the time a devout Catholic nation, "anything Bolshevik was atheist". In the story, Bolshevik leaders are motivated by personal greed and a desire to deceive the world. Tintin discovers, buried, "the hideout where Lenin, Trotsky, and Stalin have collected together wealth stolen from the people". In 1999 the issue of Tintin's politics was the subject of a debate in the French parliament; this event prompted the British weekly newspaper The Economist to publish an editorial on the matter. Tintin in the Congo has been criticised as presenting the Africans as naïve and primitive. In the original work, Tintin is shown at a blackboard addressing a class of African children: "My dear friends. I am going to talk to you today about your fatherland: Belgium". Hergé redrew this in 1946 to show a lesson in mathematics. Hergé later admitted the flaws in the original story, excusing it saying: "I portrayed these Africans according to ... this purely paternalistic spirit of the time". Sue Buswell, who was the editor of Tintin at Methuen, summarised the perceived problems with the book in 1988 as "all to do with rubbery lips and heaps of dead animals", although Thompson noted her quote may have been "taken out of context". Drawing on André Maurois' Les Silences du colonel Bramble, Hergé presents Tintin as a big-game