April 16 2024 Whoremonger In Chief: Stormy Daniels Hush Money Trial Begins

In the Stormy Daniels hush money trial of our former Whoremonger In Chief, Traitor Trump, a shifting constellation of evils is displayed before the stage of the world; sin and depravity, secrecy and the catch and kill system of bent journalism as subversion of our elections, criminality in service to power, and the manufacture of false identity and history as idolatry; yet the bottomless depths of Trump’s perversions and use of sexual terror neither begin nor end here.

Beginnings are such curious things; the origins of the Trump family fortune in the trafficking of Native American women during the Klondike gold rush, which finds reflection in Trump’s use of the modeling and beauty pageant system he once owned to exploit and globally traffic teenage girls, like the crimes of his buddy Epstein but industrialized on a mass scale.

Often have I wondered if Trump hired Stormy Daniels to prove to the world and his donors that he has normal sexual identity, in the wake of the loss of the beauty and modeling network amid exposure of his peeping at young girls, the exposure and fall of the Epstein trafficking network, of his rape of E Jean Carroll, and of his public use of his daughter from childhood as an erotic proxy. And these are only the perversions we know about.

Imagine the family dynamics created by the kind of crimes possible when only fear and power are real and have meaning; did the Trump Patriarch commit acts including the raiding and burning of villages, abduction, and mass enslavement of women kept in chains like livestock in the Trump string of brothels over a century ago, tortured and horsewhipped into submission and sometimes exhibited like trained animals in grotesque circus acts? Here I merely question, for I was not there nor do I possess historical documents of witnesses; but how if such horrors form the basis of the Trump family crime syndicate as a multigenerational cult of sexual terror?

When the Republicans speak of family values, this is what they really mean; the right of a man to do anything imaginable to women as patriarchal sexual terror and the dehumanization of women authorized by theocracy.

And remember, friends, you can always tell the secret name of a Republican; it’s their act of treason plus their sex crime.

As I wrote of the iconic mug shot which defines the character of Traitor Trump and the meaning of his criminal regime in our history in my post of

August 27 2023, Behold the Monster: Trump Surrenders to Justice; Here is a Mirror of Dorian Grey wherein America may behold the monster of our soul which lives beneath the mask of normality, in the mug shot of Our Clown of Terror, Traitor Trump. Here the nadir of our atrocities, perversions, amoral nihilism, degenerate brutality and atavisms of animal instinct glare back at us with the malign and savage rage of a baboon, and like Nietzsche’s Abyss we must beware lest our shadow capture us in the mirror of its gaze.

Half our nation remains under its spell, while those still free mock and poke the beast with a stick. Trump has surrendered to justice with no mass protests by loyal followers despite his threats and plots of coup, terror, and civil war, and we rejoice in his pathetic diminishment and humiliation, yet the danger has not passed.

Both the Fourth Reich which has infiltrated the state and Trump as its figurehead are still fundraising off of hate speech, possess a largely intact and unimpeded propaganda network, and control not only the Republican Party but also much of the state through their agents in the legislative and judicial branches of government as well as its security services.

In this moment, under the glare of the police photographer’s lights, the orders of a judge, and the scrutiny of history, Trumps thinks of himself as a doomed king at bay, like King Kong, a film which is an allegory of fascism as a flawed response to the fall of civilization from the mechanical failures of its internal contradictions, an American version of the Wagnerian end in fire with which Hitler was obsessed and ended in his suicide in an underworld labyrinth.

What remains to be determined is whether America sees Trump as its tragic savior, cast in the part of Cyrus the Great in a myth of Exile as our new faith of QAnon has him, and chooses to fall with him and bring two thousand years of democracy as a dream of liberty and equality crashing down into fascist tyranny.

While most of us are hoping that being sent to prison for treason and espionage will remove the threat of a second Trump Presidency, many among the Party of Treason, Patriarchal Theocracy, and White Supremacist Terror will and are using the indictments and lawsuits to escalate commitment among those already decided, and abandoning overtures to swing voters and independents in recognition of a totally polarized political and cultural moment wherein few persuadable voters remain. After all, prison did not prevent Trump’s role model Adolf Hitler from becoming the Fuhrer; why should it derail rather than help Trump’s capture of the state and subversion of democracy?

Why is it cute and adorable when Jenna Ortega does the Kubrick Stare as Wednesday Addams, and repulsive when Trump does it? Wednesday doesn’t drop her chin to present glowering menace, a pose Trump carefully copies from Jack Nicholson in The Shining because he intends it as a threat and a demonstration of power; Jenna’s Wednesday faces us directly as total openness and honesty, a Nietzschean yes to life, to its horror and depravity as well as its exaltation and beauty, which denies nothing; an Otherness which accepts and affirms all otherness as equal. She challenges us to risk saying yes to ourselves and those truths written in our flesh; while Trump desires only our subjugation. Herein is the true difference between the Democratic and Republican Parties.

What does Trump’s mugshot and the polarized reactions to it tell us about America and the moment we now live in? As written by Chris McGreal in The Guardian, in an article entitled Belligerence and hostility: Trump’s mugshot defines modern US politics; “Mugshots define eras.

Bugsy Siegel peering malevolently from beneath his fedora in a 1928 booking photo summed up the perverse romance of gangsters in the prohibition age.

Nearly half a century later, mugshots of David Bowie, elegantly dressed but dead-eyed after his arrest for drug possession, and a dishevelled Janis Joplin, detained for “vulgar and indecent language”, spoke to the shock waves created by 1960s counterculture.

Now comes what Donald Trump Jr described as “the most iconic photo in the history of US politics” before the booking picture of his father glaring into the camera was even taken. But whether deeply divided Americans view the first ever mugshot of a former president as that of a gangster or a rock star is very much in the politics of the beholder.

Trump’s hostility shines through as he turns his eyes up toward the camera above him and in his taut, downturned mouth as he is booked into the Fulton county jail on charges of trying to steal the 2020 presidential election. Dressed in a blue suit, white shirt and red tie, he makes no attempt to put on a smile like some of his co-defendants in their mugshots.

The picture does not flatter but it does convey the message many of Trump’s supporters want to hear – belligerence.

The six-pointed star of the Fulton county sheriff’s office badge and the name of the sheriff, Patrick Labat, sits in the top left hand corner of the picture. But some will be disappointed that Trump is not seen in the classic pose holding a board in front of his chest with his name and date of arrest.

Still, the mugshot will now enter the pantheon of famous-name booking photos, alongside Frank Sinatra looking unperturbed after his arrest in 1938 for “carrying on with a married woman”, and Hugh Grant after he was found with a sex worker on Sunset Boulevard. Trump has some way to go to catch up with the American actor Lindsay Lohan’s eight-year run of mugshots for theft, drugs and driving offences.

The former president’s supporters are already embracing the booking photo as a badge of honour and defiance. It will be held up as evidence that their man will not give up the fight against a system his followers see as ever more determined to bring him down and prevent him returning to the White House.

Far-right congresswoman Lauren Boebert led the way with a tweet proclaiming: “Not all heroes wear capes.”

The president’s detractors, on the other hand, will see the booking photo as evidence that even a man who was once the most powerful person in the land cannot escape the might of the justice system. Some will welcome anything that makes him look even a little bit more criminal as a confirmation that sooner or later he is going to prison. The accused may be presumed innocent until a plea or a jury says otherwise but mugshots can have a way of conveying guilt.

For Trump though, the picture is likely to prove yet another money spinner. Within hours, his campaign fundraising website was advertising T-shirts, bumper stickers and coffee mugs glorifying a martyred Trump with the booking photo above the words “never surrender!”. Sales are likely to be brisk given the enthusiasm with which the former president’s supporters now treat each public humiliation as an accomplishment.

Two impeachments and four sets of indictments, from financial fraud to a slew of charges over the 2020 election, have done little to damage Trump’s standing among the true believers, and have only bolstered his run for the Republican presidential nomination. Such is the strength of that belief that a recent CBS poll showed Trump voters trust him more than their own family members and religious leaders.

Ordinary Americans have already got creative in response to the flood of indictments by mocking up pictures of the former president in an orange jump suit a la Guantánamo prison and in printing T-shirts with Trump in various states of detention with slogans declaring “Trumped up charges”, “Guilty AF”, “Guilty of winning” and “Legend”.

There will be plenty who will challenge Don Jr’s claim that the mugshot has instantly become the most iconic photo in US political history. Pictures of John F Kennedy’s assassination or Martin Luther King Jr leading the march for freedom or a host of other historic moments will surely prove more enduring.

But as with the gangsters and rock stars, Trump’s booking photo may come to define an era – one of unusual political turmoil that has yet to resolve whether his next mugshot is as an inmate.”

What would Trump’s imprisonment mean for the future? As written by Martin Kettle in The Guardian, in an article entitled America on trial: the charges against Trump will decide the fate of a nation; “History teaches us few wider lessons. But there are rare exceptions. One of these is that for a nation to put its former leaders on trial is never straightforward. Although such cases are rare, when they do occur they frequently involve the pushing of pre-existing legal boundaries and the reshaping of constitutional norms and assumptions. The evolution of the doctrine of crimes against humanity after the Nuremberg trials in 1945 is the most significant modern example of this.

Both at the time they occur and subsequently, the arguments that surround trials of this kind are almost inescapably political to a significant degree. That was true of the trial and execution of Charles I in 1649, an event that divided England then; and some of those divisions of the 17th century can still be felt today. But it will unquestionably also be true of the trials of the former US president Donald Trump, of which the latest step is due to be taken in Atlanta on Thursday.

It is important to see that this stubborn political reality applies just as much in the Trump cases as in Charles I’s. In part, this is because many will go out of their way to deny it. Trump’s prosecutors – and many of his political critics – will undoubtedly argue that Trump is simply a defendant like any other, and that their cases are designed to show that no one, not even a former president and commander-in-chief, is above the law. They will be adamant that this is not a political trial, and that it is not Joe Biden’s revenge.

In some very fundamental senses, they are right about that. The law is not being altered in order to prosecute Trump. The investigations have followed long-established rules. The verdicts are not foregone conclusions. This is neither a witch-hunt nor a show trial. Yet, however true these points and however honourably such claims are made, they cannot be quite the whole story. The two cases are very different, yet in both 1649 and 2023, the indictments against the king and the president take a stand on behalf of a conception of the nation against a leader set on subverting it.

Four separate cases against Trump are now on course for trial. The first three sets of allegations cover: falsification of business records in the Stormy Daniels hush money case; withholding of classified federal documents in his Florida home; and attempting to prevent the US Congress from validating Biden’s 2020 election. This week’s case alleges that Trump tried to interfere with the counting and validation of Georgia’s vote for Biden. All four cases are due in court in the first half of 2024, before the presidential election in which Trump aims to be a candidate.

All of these cases also contain multiple allegations. Two – the Florida document cases and the US Congress case – will be heard in federal courts. The others have been brought at state level by New York and Georgia. All the charge sheets are extremely detailed. In the documents case, for instance, the indictment now stretches to 60 pages, with Trump facing 40 separate charges. In the 6 January case, the indictment stretches to another 45 pages, and centres on four separate charges.

Like it or not, though, these carefully crafted cases take the US into new legal territory. That is not simply because Trump is the first serving or former American president in the nation’s history to face criminal charges. Nor is it even because, being Trump and still running for office, he will treat the courtroom as a political platform. It is also because a large number of the charges, and the way in which the judges and juries will be asked to test them, relate umbilically to his roles as head of state and upholder of the constitution. These cases are a test of the constitution and, in the broadest sense, of the nation.

All of these points repeatedly echo aspects of cases from the past. The Trump cases are still, in the end, an attempt to hold a past leader to account and judge him for the way he handled his office. That was also what the cases against earlier rulers were ultimately about too. The indictments against Charles I for his “crimes and treasons” or against Louis XVI of France for having “plotted and formed a multitude of conspiracies to establish tyranny in destroying liberty” are maybe not a world away from those against Trump, after all.

Nor is it a world away from the much more recent example of Marshal Philippe Pétain’s trial for treason after the liberation of France in 1945. Pétain was charged with treason for his role as head of the collapsing French government in 1940, when he signed an armistice with Hitler’s invaders, and then as head of the puppet Vichy regime that collaborated with the Germans until the allied victory in 1945. Pétain was tried and convicted in Paris that same summer. His death sentence was immediately commuted to life imprisonment by Charles de Gaulle.

As described in Julian Jackson’s masterly recent book, France on Trial, the Pétain case has many differences from those facing Trump, but also some similarities. Pétain was put on trial after a war, not an election. His was an unashamedly political trial. The jury was stacked against him, and the outcome a foregone conclusion.

But at the same time it was also the trial of a nation, its recent history, its dilemmas and its sense of itself. It was, in the end, a moment of catharsis for postwar France. It was a trial that had to happen, and it was vitally important for the future of France that the former leader in the dock was not acquitted. For all the many differences between the two cases, the exact same applies to the US on the eve of the Trump trials.”

Who is Donald Trump? Glowering, feral, with the dead eyes of a cornered but dangerous animal, his fake blond hair, fake history of success, and fake identity? Traitor Trump has been the cuckoo in our nest, ambush predator and pathological liar, rapist and enemy agent, worshipper of Moloch, Demon of Lies, and disciple of Adolf Hitler.

As I wrote in my post of August 7 2019, Psychopathy and the Nature of Evil: the Parallel Cases of Donald Trump and Adolf Hitler; How are monsters created, and how does evil arise as a shaping force which grants them the power to change the topography of human souls and the course of history?

While sorting through Trump’s tweets and speeches by keyword looking for answers, I was reminded of another such project, the now-classic study of Adolf Hitler from his speeches and writings, The Psychopathic God by Robert G. L. Waite, which I read enthusiastically the year of its publication while a junior in high school. I had just finished reading Jerzy Kosinski’s novel The Painted Bird, which led me to an interest in the origins and consequences of evil, the route by which I developed a serious interest in psychology and its intersections with history, philosophy, and literature.

The parallels between Hitler and Trump are amazing and instructive, both in terms of the personal and political origins, shaping forces, and consequences of madness and evil.

Dr Justin Frank’s book Trump on the Couch is an excellent resource, particularly illuminating on Trump’s erotic relationship with his daughter, the fantasies of violence and power which are rooted in his childhood relationship with his tyrannical and abusive father, and his inability to love or empathize with others as a result of his abandonment by his mother.

Pathological lies, poor impulse control, and grandiose fantasies and delusions complete the picture of a narcissistic personality and psychopathic predator.

I’ve said it as a joke, but its quite true; how do you spell Trump? Treason, Racism, Untruth, Misogyny, Predator.

Actually, Donald Trump is very easy to understand, because literature provides a ready portrait of him in Frankenstein’s monster, which I have described in my celebration of Mary Shelly and her luminous novel as the figure of an abandoned and tormented child, “a vessel of rage and vengeance, with the merciless iron will to enact subjugation of others in their turn, terrible and pathetic and with the grandeur of a tortured defiant beast trapped in the same flesh as the innocent who needs to be loved and cannot understand why he seems monstrous to others.”

How Trump’s particular madness is expressed in our national policy is a horror which can described with precision; his fear of contamination and faecal fixation translate into his signature campaign against nonwhite others and a policy of ethnic cleansing and racist state terror, his misogyny into a patriarchal wave of legal disempowerment of women’s reproductive rights, his fragile ego, identity confusion, and narcissistic need for attention into a governance of Nuremburg-like rallies, the cultivation of despicable autocrats, and the obsessive vengeance against anyone who refuses to offer adoration and submission.

Above all what unites Trump and Hitler as parallel figures and historical forces is the theory of politics as theatre of cruelty and government as performance art.

As I wrote in my post of June 9 2023, We Celebrate the Indictment of Traitor Trump, Russian Spy and Most Effective Enemy Agent Ever to Attack America, For Espionage in the Theft of State Secrets; How do you spell Trump? Treason, Racism, Untruth, Misogyny, Predator.

Take a moment to savour with me the indictment of Trump for the crime of espionage. Ahhh, the bliss.

A commentator on MSN’s Eleventh Hour this night pronounced the magic words which I hope will awaken our nation from the long nightmare of capture by the Fourth Reich; “I think Trump is done.”

It has been a fairytale from which we may learn many kinds of morals, a story which begins in the 1980 capture of the Republican Party by Jerry Falwell’s Moral Majority movement as a fundamentalist theocracy and the Presidency of its figurehead Ronald Reagan, and found its true form in the Presidency of a pedophile rapist and Russian agent who for years slept with a copy of Hitler’s Mein Kampf on his nightstand in place of a Bible.

Here in the trial of Traitor Trump is a morality play which is also a Rashomon Gate of our possible futures, for it is more than a legal last stand of the rule of law and the idea of democracy in America against a rigged electoral process which offers capture of the state to its enemies, but also a trial of democracy in America and of our infiltrated and subverted justice system whose court of ultimate appeal is a Supreme Court which is become a whorehouse.

What is the meaning of the Trump regime in the story of America and our future possibilities of becoming human as a free society of equals?

As I wrote in my post of November 3 2020, One Hundred Years of Racist Vote Suppression and White Supremacist Terror: Anniversary of the Ocoee Massacre; This election has seen attempts at vote suppression unknown in our lifetimes; Trumps mission to subvert democracy includes intimidation by calling for armed white supremacists to deny nonwhite citizens access to the polls, an attack on Biden’s campaign caravan by the Trump Train mobile force, failed assassination attempts against Biden and other political figures, sabotage of the postal system, politization of the Justice department, and his farcical declaration of victory before the vote is counted, among his many treasonous crimes.

Today liberty and tyranny play for the soul of America and the freedom of the world.

I spent some time today at a Trump rally trying to defuse a hate crime in the making. A hey rube went up that a rally staged between our local mosque here in Spokane and a Middle Eastern grocery was becoming a violent mob; while others responded as a protection detail and placed themselves with great courage between potential perpetrators and their victims, I blended into the rally to assess and shape its development as an incubator of violence and work to defuse it through dialog and negotiation.

Today these angry young men chose not to allow fear, rage, and hate to master and dehumanize them, nor provoke them into violence which would be the ruin of their lives; what will all of the other angry young men choose tomorrow?

I’d like to believe this incident is atypical and not being played out a thousand times over across America; but I wouldn’t bet on it.

Tyranny weaponizes overwhelming and generalized fear as an instrument of subjugation. This we must resist, but unless we speak directly to those fears we cannot heal the divisions of our society which authority has so skillfully manipulated.

In the words of Sigmund Freud, “Civilization begins when we throw words instead of stones.” Sadly, we humans have often chosen stones when words would serve us better.

In all the madness of this election and of the deranged perversions and assaults upon our liberty, equality, truth, and justice of our Clown of Terror, Traitor Trump’s kleptocracy of state terror and tyranny, we must not forget that though he exploited the flaws of our society to orchestrate the Fall of America and of democracy throughout the world, he did not originate them.

Trump has revealed, tested, and hammered at our flaws, yet we remain unbroken and unconquered. This we should celebrate; in the main we are voting and not shooting, because our faith in one another and in the ideals on which our society is founded remain intact, though the institutions of our government may need radical and revolutionary change.

Nor is there anything new in the threat to democracy of vote suppression; today is the one hundred year anniversary of the Ocoee Massacre, the most terrible incident of racist vote suppression in the history of our nation since the Civil War. What may give us hope now that failed us then is the emerging consensus of racial equality and the mass coalition for racial justice won for us by the Black Lives Matter movement and the heroic citizens who have seized the streets of our cities in an unparalleled months long mass action.

Regardless of the election results, anyone who wishes to actually govern must do so at the head of these protests and not barricaded against the will of the people. This is the true meaning of this years seizure of power by our citizens, and it is a genie which cannot be returned to the prison of its lamp, for each of us is now a Living Autonomous Zone.

As I wrote in my post of November 5 2020. Trump’s Last Coup Attempt and Subversion of Democracy as His Ship of Fools Sinks in Pathetic Failure; As Trump’s Ship of Fools comes apart at the seams and sinks beneath the waves in pathetic failure, our Clown of Terror collapses in infantile tantrums and tries to take democracy down with him, a final gesture of madness and idiocy in his delusional quest to subvert our values and institutions of liberty and seize tyrannical power.

We must never forget how close we came to a repeat of the 1933 German Federal Election that set Hitler on the path to a tyranny of absolute power; this is clearly the most important electoral event in the history of humankind since then, and the two elections are terrifyingly parallel. Trump tried three times to use the Black Lives Matter protests to create fear and legitimize the federal occupation of America under the pretext of re-establishing law and order in an exact duplication of Hitler’s successful strategy using the Reichstag Fire, and failed.

We have escaped the jaws of the Fourth Reich which have held us fast for four years, since the Stolen Election of 2016, while Trump and his cabal of Gideonite fundamentalist patriarchs, white supremacist terrorists, and plutocratic robber barons have violated everything about America which is noble and true, plundered the public wealth, dehumanized and divided us, sabotaged and subverted the institutions of our freedom, equality, truth, and justice, betrayed our allies and emboldened our foes, lost the American hegemony of global power and privilege and our position as a guarantor of democracy and universal human rights and a beacon of hope to the world.

Let us never forget the bottomless depravities, treasons, and amoral predation and greed of Trump’s many enablers and conspirators in the Fall of America as we struggle in the years ahead to reclaim our nation and our souls. We must hold them to account, but we must also reimagine our society and the many systemic and structural flaws by which we came to this broken and lost state.

As I wrote in my post of June 9 2022, The Greatest Show on Earth: Presenting the January 6 Committee; Tonight our puppets will dance upon the stage of history and our imaginations, while a chiaroscuro of light as truth and democracy versus darkness as fascist tyranny and falsification, lies, illusions, rewritten histories, alternate realities, conspiracy theories and propaganda play for the kingdom of our souls and the fate of America and the world.

Who do we want to become, we humans? A free society of equals or a prison planet of masters and slaves?

Now begins a great Reckoning, and we shall see.

As I wrote in my post of February 10 2021, Treason, Tyranny, and Terror on Trial: As the Second Impeachment of Traitor Trump Begins, I Submit Charges Before the People’s Tribunal of Crimes Against Humanity for Which Trump and His Collaborators Should Now Be On Trial; Among the many crimes against humanity for which Traitor Trump and his collaborators should be on trial but are not yet include the genocide and ethnic cleansing of Mexican and other nonwhite migrants, the concentration camps at our border, the orphaning and torture of children, and the state tyranny and terror of fascist and racist violence as national policy perpetrated by the ICE and Border Patrol components of Homeland Security, forces of repression which are racist and antidemocratic by their nature and which should be abolished as a top priority of the Restoration of America.

Just as villainous and reprehensible is the parallel program of racist police violence and the carceral state to re-enslave Black American citizens and enforce systemic forms of inequality and injustice through state terror, repression of dissent, the force of a militarized police and the counterinsurgency model of policing which has transformed our security services into an army of occupation with primarily political objectives, and the control of pervasive and endemic surveillance and propaganda, lies, illusions, and subversions of the truth.

Our Clown of Terror, Traitor Trump, and his circus of fools, degenerates, and barbarians, his enablers and collaborators both within the government and his shadow forces rallying under the Confederate flag to bring violence and insurrection to our nations capital and to the streets of our cities throughout America, are co-conspirators and instigators in the murders of every Black American killed by police shooting or other racist violence since its authorization by Trump in the wake of Charlottesville.

And every missing child kidnapped by the state and disappeared into what abominable slavery or human trafficking designed in the diseased imagination of Trump and his Epstein buddies we know not of, every migrant of the huddled masses yearning to be free who died in the quest to reach the safety of America because the water caches had been intentionally sabotaged by criminals in the uniform of our nation who were “just following orders” like their counterparts in the SS during the Holocaust, every prisoner who died in custody because they were denied water or medical care; the blood of these and countless other victims of Trump’s narcissistic self-aggrandizement and regime of fascist corruption, racism, and patriarchal sexual terror is on the hands of every Republican who voted for him and fails now in this trial to repudiate him publicly and renounce his works as among those of the devils which he serves.

For in his actions Trump has been not only a foreign agent and Putin’s puppet whose mission is the subversion of democracy and the Fall of America, but also a slave of Moloch the Seducer, Demon of Lies, in that he is not merely a pathological liar but also an idiot madman who cannot distinguish truth from lies, and who has weaponized his delusions and psychopathy as instruments of our falsification and subjugation in his quest for tyrannical power.

The bizarre and lurid dark fairytales of the QAnon conspiracy theory movement, like the charges of the Inquisition and the Nazis which othered witches and Jews on which QAnon is constructed, serves as deflection from Trump’s loathsome perversions and sexual terrorism. What terrors did he conceal behind the beauty pageant and modeling syndicate he once controlled?

His Stop the Steal campaign is a similar deflection which shields him from inquiry into the Stolen Election of 2016 and the fact that his Presidency was entirely illegitimate and due to Russian interference; it was also the rhetorical and organizational basis of his final attempted coup on January 6, for which he is now being impeached for the second time.

We must cast out the monsters from among us, the racists and white supremacist terrorists, the Gideonite fundamentalists and patriarchs of Christian Identity fascism and sexual terror, and the amoral forces of repression of those who would enslave us and who enforce hegemonies of elite power and privilege and hierarchies of exclusionary otherness armed with guns and badges and the authority of a government which has been infiltrated by the Fourth Reich, an implacable and relentless enemy which has come just short of seizing us in its jaws.

We must give fascism no second chances.

As I wrote in my post of January 11 2021, Allegories and Symbols of the Fall of America: the January 6 Insurrection as Theatre of Cruelty; Here is an expanded version of my post of January 6 on the Surrealist film Gummo as a satire of the Deplorables who committed treason and armed insurrection against our nation at the command of Our Clown of Terror, Traitor Trump; on Insurrection Day, I offer for your consideration the film Gummo, a sensitive and elegant documentary of the Deplorables from whom the Fourth Reich cadre who staged the assault on Congress were recruited, and an allegory of America.

Bacon? Stapled to the wall, a strip of bacon captures ones attention as a symbol of degeneration and barbarian atavisms of instinct. Werner Herzog signposted it for our attention, and it persists as a symbol of degeneration to an animal state, like a trophy of wealth which is also offal above a bathtub filled with filth as our young protagonist eats spaghetti, his mouth smeared with red like a cannibal; an unforgettable image of the fallen American Dream.

It is the little things which disturb, provoke, and incite us to challenge normality, the tyranny of other people’s ideas of virtue, the authorized identities of hegemonic elites and divisions of otherness, and to transgress the boundaries of the Forbidden with glorious sins of beatification.

Here as always, all true art defiles and exalts.

We dine in filth on the carrion of others lives and by their labor. This is a Surrealist film intended as an allegory of America and a thematic interrogation of our flaws and dark legacies of injustice, and in large part restates Nietzsche’s critique of Shakespeare’s Measure For Measure and the idea of the innate depravity of man, an extension of the doctrine of original sin, on which all our law is based, as Nikos Kazantzakis argues in his thesis Friedrich Nietzsche on the Philosophy of Right and the State, an anarchist analysis of authority as dehumanization which underlies all his later work.

So also does the film restate William S. Burroughs’ analysis of capitalism and imperialism as the Algebra of Need, in which drug addiction becomes a metaphor of our addiction to wealth, power, and privilege, an engine of self-destruction, commodification, and dehumanization which feeds on and worsens our most atavistic instincts. Here the flaws of our humanity, fear and rage, vanity and jealousy, the need to dominate and control, become the instruments of our subjugation to hegemonic elites through divisions of exclusionary otherness and to tyrants of force and control and the imperial and carceral states of those who would enslave us.

The film itself is brutally shocking, grotesque, and borders on the obscene; which is why I adore it so. I must warn you that while I like it as an allegory of America’s flaws, and to poke fun at Trump’ s followers, this is brutal and depressing; anyone with suicidal ideation should avoid it. This debut of a heralded wonder of the new age as director was not understood as a critique of state power as a force of dehumanization and regression to an animal state, like that of the Deplorables, and unjustly derailed a promising career; a historical injustice I would like to redeem, because Gummo is a film we need now.

We must see the enemies of Liberty as they truly are, if we are to heal our nation from the primary trauma of fracture they enacted in the January 6 Insurrection.

Both the Insurrection and the film Gummo, like the Trump presidency as a whole, must be interpreted as performances of the Theatre of Cruelty as articulated by Antonin Artaud in his manifesto The Theatre And Its Double. Trump is a figure of the mad emperor from his great novel Heliogabalus; or, the Crowned Anarchist; his performances as a clown of terror, disruption, and sadism were also brilliantly prophesized by Robert Coover in The Public Burning, A Political Fable, written as a satire of Nixon.

Let us see beyond the lies and illusions with which Trump and his Deplorables conceal their subversions of democracy, sabotage of our institutions, and violations of our ideals of liberty, equality, truth, and justice.

Always pay attention to the man behind the curtain. As Dorothy says to Oz, he’s never anything but “just an old humbug.”

As I wrote in my post of February 11 2021, Profiles in Treason and Terror; The dishonorable and the mad, the delusional and the sadistic epicures of brutality and perversions, the feral predators hooting and champing before the gallows and guillotines they have brought to murder members of congress with and their partners in uniform unleashing racist terror and gun violence in the streets, and the amoral and predatory grifters and puppetmasters of fascism who have subjugated and enslaved them and stolen their honor and their souls; these are among the idolators of Traitor Trump who conspired, enabled, and collaborated in his plot to subvert democracy and overthrow America in the January 6 Insurrection which attempted to seize Congress and execute its members, which like Hitler’s Beer Hall Putsch on which it was modeled was intended to decapitate the government of the people in a single stroke.

As details emerge of the internal operations and massive scale of the plot against America, in terms of its central coordination and logistics under direct operational command of Trump and his cabal of conspirators, we are offered not only the spectacle of his aberrance and monstrosity as a mad idiot Clown of Terror drooling and gloating in bestial depravity at the destruction of our values and institutions, the violation of our ideals and the endless suffering he has caused, but of those of his freakish and degenerate followers as well.

The role of deniable forces of the Fourth Reich such as the Proud Boys, the Oathkeepers, and other organizations of white supremacist terror, and of their partners and infiltration agents within our police, military, and security services, in the January 6 Insurrection is by now well documented and will become more so as the greatest manhunt in our history exposes and entraps more of its perpetrators.

The images we have been witnessing of their assault on liberty during the Second Impeachment trial will be remembered in the history of the world as the true legacy of an era of fascist tyranny under the figurehead of Trump which nearly ended America as a guarantor of global democracy and universal human rights, and had we fallen as the primary domino and a beacon of hope to the world both democracy and human rights would be lost to humankind for unknown ages; the last time civilization fell it took a thousand years for the idea that government derives its authority from its citizens and not by divine right, the idea that no one of us is better than any other by right of birth, and that freedom, equality, truth, and justice are the foundational values of our society and truths of human being and meaning, to reawaken.

And it took centuries of wars and revolutions to do so; how if this time civilization falls not to hordes of barbarians seeking nothing but pillage and destruction, but to regimes of totalitarian force and control?

This is the great contradiction of the forces of repression and subjugation to authority which overran our capitol on January 6; they have been betrayed by their masters in believing they were acting to restore our traditional values and civilization, when in fact they had been weaponized in service to its destruction. Here is a clear and present danger, but also an opportunity; shared motives can be redirected to heal divisions, for they too want an American Restoration. As yet we just disagree on our definition of terms.

When fear is overwhelming and generalized, it can be shaped through submission to authority by lies, illusions, alternate realities, especially when pervasive and endemic surveillance, big data, and propaganda are available as instruments of state control. Authority achieves submission through falsification and the theft of the soul, but this is also the weakness of control which cannot stand against truth, just as the weakness of force is that it is powerless against resistance, disobedience, and refusal to submit.

The election of Biden and Harris, the failure of Trump’s sixth coup attempt on January 6, and the public exposure and shaming of his co-conspirators, collaborators, and enablers before the stage of the world of the Second Impeachment trial; in these events we have witnessed a turning of the tide from fascism to a restoration of democracy.

Once the Reckoning has been achieved, the Restoration must heal our divisions; and this means we must embrace and transform the fear that lives at the heart of hate, and drives the rage, violence, and need to conquer and dominate others which shadows our historical inequalities and injustices.

Fear, Power, Force; such is the Ring of Power which enslaves us, and which we must abandon if we are to become whole.

Herein I offer a previous version of the role of Trump as Angelo in the savage morality play Measure For Measure, a work luminous with Kafka-esque Absurdism, Freudian horror, and a brilliant interrogation of the dynamics of patriarchy and power asymmetry in gender relations in the brilliant review of the Simon Godwin production, critiqued with marvelous insight by Geoffrey O’Brien in the New York Review of Books; entitled “Shakespeare’s Pornography of Power by Geoffrey O’Brien.

“This is the disgusting, stinking world of medieval Vienna. The darkness of this world is absolutely necessary to the meaning of the play…When this play is prettily staged, it is meaningless—it demands an absolutely convincing roughness and dirt.” Thus Peter Brook, who directed a legendary production in 1950, on his vision of Shakespeare’s Measure for Measure. Simon Godwin’s pathway into the play at the Polonsky Shakespeare Center in Brooklyn is by way of a corridor through Mistress Overdone’s brothel, along a narrow basement path lined with discreetly closed cubicles and arrays of lubes, dildos, anal plugs, shackles and handcuffs, multicolored condoms, an inflatable sex doll. It is a space dimly lit but by no means medieval, an ingratiatingly tacky emporium more likely to amuse than repel the New York theatergoers passing through.

Given the perennial relevance of the various injustices it circles around—the sexual exploitation and pious hypocrisy and persecution of whistleblowers—Measure for Measure invites updating. The virginal Isabella, realizing that no one will believe her story of victimization against that of the all-powerful Angelo—who has been named regent of Vienna by its absent duke—cries out: “To whom should I complain? Did I tell this, / Who would believe me?”—language so direct it could be lifted from the latest celebrity harassment trial, especially when spoken with the angry clarity that Cara Ricketts gives the line.

Angelo—the moral disciplinarian with a spotless reputation who, once given power, swiftly succumbs to his most predatory impulses—can be envisioned almost too neatly as the sort of high-minded conservative who from time to time finds himself indicted for sexual malfeasance. There is no problem with Thomas Jay Ryan’s performance: Ryan’s delineation of Angelo’s ethical collapse and his half-hearted efforts to justify himself to himself have the barely controlled panic of a public figure realizing how little he knows himself. The regent lies, and the most unhampered truth-telling comes from sex workers and criminals who make no pretense to any credo beyond their own self-interest, as in the unarguable defense of the tapster Pompey, arrested for procuring: “Truly, sir, I am a poor fellow that would live.”

But it’s in the nature of Measure for Measure that whatever contemporary analogies are invoked cannot quite make sense of what happens. In its early stages the play is centered on the three characters whose destinies collide so violently: Angelo, Isabella, and her brother Claudio, who has been condemned for fornication. The scenes in which they confront each other have the amplitude of the tragedies that were to follow: Isabella pleading for Claudio’s life, Angelo demanding her virginity as the price of her brother’s pardon, Claudio overwhelmed by the terror of death, Isabella (in a moment that challenges any audience’s sympathy) denouncing her brother for his weakness of character when she realizes he is willing to see her give in to Angelo’s demands.

The grandeur of these scenes becomes most fully alive through Cara Ricketts’s Isabella, intensely focused, supremely pointed in her argumentation, but with a hint of an absolute commitment to the ideal that helps account for her harsh dismissal of her condemned brother’s terror of dying; an altogether serious person, too serious for the world she finds herself inhabiting, perhaps too serious for the madcap Duke when he proposed to her at the very end of the play. Her reaction to Angelo’s harassment goes beyond physical repulsion into profound moral contempt—expressing itself in angry laughter—at the triviality of his character. Her ultimate forgiveness of Angelo—at a moment when she still believes her brother to have been executed—is dramatically the most difficult of all, couched as it is in a nice legal argument, but Ricketts brought a somber conviction to it.

An audience that wants to take the play as readily grasped satire cannot evade the puzzlements and reversals of judgment that come in its later scenes—reversals of judgment that do not end even when the play is done. Measure for Measure is a perpetual questioning machine, exquisitely functional, set to a relentless tempo, yet a machine that bristles and crackles in its joints with contradiction and discomfort. Harold Bloom has described it as “a comedy that destroys comedy.” It is a comedy that threatens to destroy or at least wear down its own characters by subjecting them to the only mechanism—a mechanism demanding elaborate subterfuges and unlikely changes of heart—by which they can avoid a tragic fate. By the end we might imagine them as the exhausted, socially viable remnants of those conflicted, passionate beings we saw tearing apart everything including themselves scene after scene, during the first three acts. They are saved, and some of them have saved others, but for what fate we can only wonder.

In Godwin’s production, to emerge from the brothel’s passageway into the main theater is to find the Polonsky transformed into what looks like an oversize banqueting hall, the playing area laid out as an immense table decked with candles and balloons and trays of drinks, a few audience members seated around the edge. Drunken revelers stagger noisily across the tabletop stage, leaving behind a solitary figure sprawled on its surface, shooting up (presumably) heroin and then wrapping himself up in a tangle of sheets. A woman in business attire approaches him, studying him like a corporate assistant confronted by a messy but familiar management problem. He, it quickly emerges, is Vincentio, Duke of Vienna, and she is Escalus, the “ancient Lord” who serves him, transmuted into Escala, a tightly controlled executive who in January LaVoy’s reading sometimes evokes a less murderous version of Tilda Swinton’s scheming pharmaceuticals exec in Michael Clayton.

As the Duke (Jonathan Cake) rouses himself from his nod he delivers the play’s opening speech, in a broken rhythm suggesting that the passage’s roundabout prolixity reflects his faltering attempt to shake himself out of his opiate daze. It is one way to get the play going: pitched forward headlong, off-balance from the start, the unanswered and perhaps unanswerable questions piling up before we even know where we are. What manner of being is the Duke really? Why is he leaving Vienna in such haste and putting in his place a temporary regent, the “precise” Angelo, known for his rigorous strictness? Why does he choose to linger, disguised as a friar, to observe what happens in his absence? Having learned that his moralistic stand-in is attempting to blackmail Isabella—a young woman just about to enter a convent—into sex in order to save her brother Claudio (Leland Fowler) from a death sentence, why does he intervene in such needlessly tortuous fashion, subjecting innocents to agonies of misinformation? When in one of the play’s most eloquent speeches he more or less persuades Claudio that life is not especially worth living—“Be absolute for death”—does he speak his own sincerest thoughts or is this merely part of the role he is playing as prison confessor?

To cast the Duke as a junkie is one way of providing him with a motive. His addiction perhaps discourages him from exercising moral authority; perhaps he sees it as a weakness rendering him unfit to enforce Vienna’s laws with the necessary severity; perhaps he even harbors the thought that those laws are unnecessarily severe; perhaps he simply needs to take some time out. In any event his drug habit, as far as I could observe, comes up only once more (a quick glance at the track marks on his arm, lest he forget), and from the moment he dons his disguise he grows steadily more assured, though it is an assurance boosted by waves of antic humor to which Cake at times gives an almost Monty Pythonish edge. A certain hilarity gives him courage to dream up and carry out his preposterous scheme, which more and more comes to resemble a baroque sting operation.

We can hardly expect to find out who the Duke really is in the course of the evening, since Shakespeare’s text leaves that question so hauntingly open. Even if he assures a confederate early on that he has “a purpose / More grave and wrinkled than the aims and ends / Of burning youth,” he never articulates what that purpose is. He is more than central to the play—as the narrative advances he becomes its directing force, moving plot elements around like game pieces—while remaining to the end a fascinating cipher. He is memorably termed “the Duke of dark corners”—a secret devotee of hidden vices—by the witty reprobate Lucio, but Lucio is by no means averse to making things up. If nothing else the Duke can be said to behave very much like a playwright working with improvisatory energy on his play’s last act, an act that will feature a succession of agonizingly drawn-out revelations, a string of pardons, and an unlooked-for proposal of marriage.

The lust of the hypocritical Angelo is not triggered by the attractive power of beauty but perversely by the notion of violating purity: the pornography of power, relished by a man for whom execution and torture are primary tools of policy. There is a terror at the heart of everything. The Duke’s exhortation to Claudio to resign himself to death cannot match in dramatic effect Claudio’s subsequent speech—roughly the play’s midpoint—on the horror of dying: “The weariest and most loathed worldly life / That age, ache, penury, and imprisonment / Can lay on nature, is a paradise / To what we fear of death.”

Sometimes the play feels like a series of decentered snapshots of city dwellers shuffling between sex and death. It is the only Shakespeare play concerned with how a city is run, and what that is like for the people who live there. (Romeo and Juliet is also a city play of sorts, but it centers on the operation of clans, not the municipal government that so ineffectively intervenes in their never-ending feud; and that play’s poetry—so unlike the gnarled, combative, often tensely legalistic exchanges of Measure for Measure—constantly evokes spaces beyond the immediate setting.) In Measure for Measure everything is local, in the most oppressive way. We look at things from the top down and from the bottom up, and the judgment is ambivalent, or rather multivalent. Godwin’s staging conveys very well the sense of airless interconnecting interiors, all linked as part of the same system: claustrophobic offices, claustrophobic cells of both prisons and convents, but mostly of prisons. It could almost be called a prison play, a point underlined here by the cell walls constantly rolling in and out of the foreground.

The motives of the three main characters are seen from many angles, by each other and by bystanders and street-corner commentators of all sorts, from the generously inclined Provost of the prison, realized with great feeling by Oberon K.A. Adjepong, to the unavoidable Lucio, amusingly played by Haynes Thigpen as a self-satisfied comedian a little too hip for the room, always there to speak up for ordinary human vice (“a little more lenity to lechery would do no harm”) although contemptuous of the whores he sleeps with, constantly hovering at the edge of what goes on so he can get his digs in and almost managing to avoid getting called on it. The comedy provides not so much relief as an obverse view, consistently deflating and needling, and it is rarely clear where exactly the boundaries are, or who can truly be called central in this world fallen askew.

Consider the late emergence of Barnardine, a murderer who for nine years has been awaiting execution. The Duke determines to substitute his head for that of Claudio, demanded by Angelo in proof that he has been put to death, but when Barnardine—already described as “a man that apprehends death no more dreadfully but as a drunken sleep; careless, reckless, and fearless of what’s past, present, or to come”—emerges from his cell, he simply refuses to die—“I have been drinking hard all night, and I will have more time to prepare me… I swear I will not die today for any man’s persuasion”—and staggers back to his cell. It was a disappointment to see this episode treated as a comic interlude, with too much hokum and unneeded verbal additions. (Zachary Fine did much in his other role as the simple-minded constable Elbow.)

It’s the most surprising scene in Measure for Measure and ought to stop the proceedings in their tracks, with its after beat the Duke’s astonishing pardon of the murderer in the last act. I can still recall being taken to see John Houseman’s production of the play at age eight—a memorable outing to the Shakespeare theater in Stratford, Connecticut in 1956—and however dimly I apprehended its stew of bawdry and sexual extortion, there was no mistaking the uproarious force of Barnardine’s unconditional refusal. The actor was Pernell Roberts, of later Bonanza fame, and he must have delivered Barnardine’s few lines with great vigor, since the scene has lingered in memory ever since. In a play of punitive laws, complex masquerades, and tortuous mutually annihilating arguments, it briefly upholds the intoxicating possibility of simply walking away.”

As I wrote in my post of June 15 2022, Act Three of the Greatest Show on Earth: Where Do We Go From Here?; Where do we go from here?

Democracy in America survived its most terrible moment of peril from internal threat in the January 6 Insurrection, yet here we are, witness to the public exposure of the plot and its treasonous conspirators on television as Congress brings a Reckoning to the Fourth Reich.

Like the Beer Hall Putsch of 1923 on which it was modeled, it failed; but in doing so also achieved all of its strategic goals, moving our great enemy nearer to victory by staging a Lost Cause which established the fascist counternarrative as iconography that Trump remains our legitimate President. Next time, and there will always be a next time, we may not be so lucky.

Not only do the forces of fascism remain an active threat, through open allegiance to the Lost Cause which echoes horrifically with that of the Confederacy and the KKK whose adherents are among the networks of deniable assets now among us as they were at the Capitol on that fateful day, but the vast resources of wealth and power at their command after seventy years of infiltration of global elites and governments remain undiminished.

But none of this is relevant to the true threat which fascism poses to us all today; for America has been divided against itself, and as we are warned by Abraham Lincoln in 1858 in his House Divided speech in reference to the synoptic Gospels of Luke 11:17, Mark 3:25, and Matthew 12:25; “If we could first know where we are, and whither we are tending, we could better judge what to do, and how to do it.

We are now far into the fifth year, since a policy was initiated, with the avowed object, and confident promise, of putting an end to slavery agitation.

Under the operation of that policy, that agitation has not only, not ceased, but has constantly augmented.

In my opinion, it will not cease, until a crisis shall have been reached, and passed –

“A house divided against itself cannot stand.”

I believe this government cannot endure, permanently half slave and half free.

I do not expect the Union to be dissolved – I do not expect the house to fall – but I do expect it will cease to be divided.

It will become all one thing, or all the other.”

As we are taught with the lyrics of the song Where Do We Go From Here?, in Buffy the Vampire Slayer episode 7 of season 6, Once More With Feeling, possibly the greatest musical episode of any telenovela yet created;

“Where do we go from here

Where do we go from here

The battle’s done,

And we kinda won.

So we sound our victory cheer.

Where do we go from here.

Why is the path unclear,

When we know home is near.

Understand we’ll go hand in hand,

But we’ll walk alone in fear. (Tell me)

Tell me where do we go from here.

When does the end appear,

When do the trumpets cheer.

The curtains close, on a kiss god knows,

We can tell the end is near…

Where do we go from here

Were do we go

from here?”

Here is an elegy for the Fall of America, a hymn to a dying hope and the lost grandeur of a fallen nation. When in a distant future the artifacts of our civilization begin to puzzle whatever beings arise from our carrion, and they ask who were the Americans, I hope such music as this lamentation remains to guide their questions.

Yet hope remains when all is lost, and whether it becomes a gift or a curse is in our hands. These lyrics speak of the modern pathology of disconnectedness, of the division and fracture of our Solidarity, of subjugation through learned helplessness and the dominion of fear. But this is not the end of the story, nor of ours.

Once More With Feeling ends not with abjection, but with The Kiss, between the Slayer and Spike, one of the monsters she hunts. A very particular kind of monster, who is also the hero of the story in its entire seven year arc; one who is made monstrous by his condition of being and forces beyond his control, against which he struggles for liberation and to recreate and define himself as he chooses, a monster who reclaims his humanity and his soul. This is why we continue to watch the show twenty years after its debut; we are all Spike, locked in titanic struggle for the ownership of ourselves with authorized identities and systemic evils, a revolution of truths written in our flesh against imposed conditions of struggle and orders of human being, meaning, and value.

Buffy the Vampire Slayer is an allegory of Sartrean freedom in a world without inherent value or meaning, of the joy of total freedom versus the terror of our nothingness, and above all a song of the redemptive power of love to return to us our true selves.

This is how we defeat fascist tyranny in the long game, after we bring a Reckoning for its crimes against humanity and its subversion of democracy; let us answer hate with love, division with solidarity, fear with hope, and bring healing to the flaws of our humanity and the brokenness of the world.

The Treason Mob: Trump and His Circus of Treason