November 2 2025 Native American Heritage Month and the Hidden Costs of Unequal Power in the Falsification and Erasure of History as Authorized Identities: Case of the Phantom Ancestor, Day of the Dead Part Two

      In contemplation of the echoes of our past as multigenerational history and of our ancestors as ghosts who possess us, literally as our DNA and metaphorically as family stories, I find intriguing the effects of falsified and erased history on self-construal, autonomy, and the creation and ownership of identity.

     We bear the shape of our stories as a prochronism, a history expressed in out form of how we have made choices in adaptation to change across vast epochs of time, under imposed conditions of struggle.

     How if intrusive forces impose conditions of struggle which interfere with this process as assimilation, silence and erasure, or internalized oppression?

     Three days remain before our elections, which will to a degree determine the course of human history and the fate of humankind as well as throw the switch between democracy and tyranny in America, a free society of equals or the endless prison of a theocratic patriarchal and white supremacist state of force and control wherein we are divided into masters and slaves, hierarchies of elite membership in hegemonies of wealth, power, and privilege defined by authorized identities and fascisms of gender, blood, faith, and soil, and each of us must answer which future we will choose. 

     Among the myriad interdependent and recursive systems of oppression from which we must liberate ourselves and one another through Resistance, seizures of power, and revolutionary struggle, the historical and social construction of race and national identity, and its imposed conditions of struggle remains central to our personal and social identity and the central question of democracy; who chooses who we are and may become?

     Here I have a ready example in the case of a phantom Native American ancestor substituted for an erased African one as internalized oppression under conditions of survival and resistance to slavery.

     November is Native American Heritage Month, a subject shaped by vast historical forces of conquest and resistance and the ambiguous and often violent relationships between indigenous peoples and European empires as a ground of struggle which authorizes identity, here I shall begin the questioning of my own historical identity as an example.

     As Virginia Woolf teaches us; “If you do not tell the truth about yourself, you cannot tell it about other people.”

     As I wrote in my post of January 25 2021, The Search for Our Ancestors and a Useful Past: Family Histories as Narrative Constructions of Identity; One of the great riddles of history is untangling the knots of meaning, often shaped by erasures, silences, lies, and misdirections, which arise from the motives of our sources.

     Today is my sister Erin’s birthday; I sent her a greeting which referenced some of the Defining Moments of her personal history as I remember them; “I remember our family’s discovery when you were in seventh grade that you were writing poems and stories in some of Tolkien’s invented languages, had puzzled out his sources and taught yourself a working knowledge of several ancient languages in order to write in them (Old Norse, Old Welsh, Gothic, and Old English), when you gave the Valedictorian Address for the International College at UC Santa Cruz as a graduate in Soviet Foreign Policy and Russian Language.  and then became Pushkin Scholar at a Soviet University in Moscow, when Rolling Stone called your reporting on the Fall of the Soviet Union the best political writing in America, and when we celebrated your six hundredth publication. I have always been glad that in writing and the world of literature you have found your bliss.”

     Among the messages which followed Erin posted a photograph which symbolizes her search for belonging, membership, and connection through the family history of our ancestors, a typically American quest for meaning as many of us share a trauma of historical abandonment and displacement, and  pathologies of identity falsification and disconnectedness from relationships with families and communities, anchorages which in traditional societies nurture wellness and growth. These maladaptive disruptions and obfuscations often result from intentional breaks with the past as liberation on the part of new immigrants who wish to create themselves in no image but their own; but often they are legacies of denial, silencing, and erasure by authority as well.

     Our family history claimed Cherokee as the identity of an ancestor who we recently discovered was not a Native American but African, and probably a slave of the Cherokee, the descendants of which the tribe refuses to recognize as tribal members. As the only nonwhite General in the Confederate Army was a Cherokee, this erasure of disturbing history and inconvenient truths is unsurprising; and authorized lies can become truths when there are no counternarratives.

     The truths with which authority is uncomfortable are the ones which are crucial to seizures of power and liberation, and it is to the empty spaces in our narratives of identity, the voices of the silenced and the erased, and to stories which bear the scars of rewritten history, to which we must listen most closely.

     The Four Primary Duties of a Citizen are Question Authority, Mock Authority, Expose Authority, and Challenge Authority.

     Erin has claimed Native American Cherokee as her racial and historical identity since childhood, enthralled with the story of an Indian great grandmother, studied traditional drumming and made pilgrimages to pow wows, learned to the point of obsession what vestiges of Cherokee language and culture she could find, and as an adult went to the tribal archives in search of our ancestor.

     There she hit a wall of silence; no records of such a tribal member exist. Worse, no living speakers of Sa La Gi could be found; when asked where the native language speakers were, the curator of the tribal historical archive pointed to an old vinyl record which held the voices of the last known bearers of an extinct language. All was dust, lost on the Trail of Tears.

     No crime against humanity can be more terrible than the erasure of an entire people and civilization, as the United States of America perpetrated against many indigenous peoples both on our continent and throughout the world as imperial conquest and colonial dominion. Like slavery with which it is interdependent and parallel, colonial imperialism is a central legacy of our history for which we have yet to bring a Reckoning.

     Like many tribes and peoples, the Cherokee had been eaten by our systems of unequal power as human sacrifices, and had no truths or songs of becoming human to offer. Here was an unanswerable tragedy of loss of meaning and belonging, which finds echo in our modern pathology of disconnectedness.

     Or was deliberate obfuscation; what didn’t they want known?

     Like many Americans, Erin pursued our elusive history and ambiguous identity for decades through genealogical research and recently the Pandora’s Box of DNA testing, where she struck gold; her test revealed no discoverable Indian ancestry, but instead an intriguing African heritage. Near her fifth decade of life, suddenly she was no longer Native American and Cherokee, a discovery which must have been a life disruptive event, but one balanced with the gift of an unlooked-for membership and belonging.

    More importantly as regards race and other constructions of identity, who decides? And what happens if those you claim do not in turn claim you?  

    For literary examples of this unreciprocated claim of belonging I look to Jerzy Kosinski, a Polish Catholic possibly assassinated by the Polish state for telling inconvenient truths about the Holocaust in The Painted Bird, and Philip Roth, a Jewish American author declared an enemy of the Jewish people by Gershom Scholem for his once-scandalous portrayal of sexuality in Portnoy’s Complaint, though a nearer parallel in the interrogation of race, history, and identity as systems of oppression and themes in literature may be found in African American authors such as Toni Morrison in The Bluest Eye and Colson Whitehead in The Underground Railroad.

    Of my sister’s Non-European DNA; 1.2% sub-Saharan Africa, including: .9% Ghana / Liberia / Ivory Coast / Sierra Leone and .3% Senegambian and Guinean. There is also an Islamic Diaspora and/or Asian component; .7% North Africa, including: .2% Egypt and Levant and .5% broadly West Asia and North Africa, and .5% Central and South Asia including: .2% North India and Pakistan and .3% South India and Sri Lanka. These probably represent two different lines of descent, occurring at between five and eight generations of separation respectively.

     Who were these mysterious and wonderful ancestors, and where was the cherished Native American heritage? Like much of nature, DNA is tricky; each generation is a total randomization of information potential, so you can inherit traits from ancestors anywhere in your history back to the dawn of humankind, in virtually any proportion of traits from any combination thereof.

     On average, you will have a quarter from each grandparent at two generations of separation, and if grandmother only passes on 20%, grandfather must pass on 30%. Sometimes gene sequences are not passed on, so its possible for a known ancestor to be unconfirmable by a DNA test, and for siblings to have differences. I look like our mother, of Austrian family with hazel eyes and near rice powder white skin though sadly I did not inherit her glorious red hair; my sister looks like our father whose black hair fell in tight wringlets around his shoulders, and whose skin was the mahogany of old railroad ties used on the British Cape to Cairo line over a century ago.

     At seven generations distance you will probably inherit less than one percent from each of the 128 ancestors in that generation, or be undetectable; the percentages are 12.5 for great grandparents at the third generation from you, 6.25 at the fourth, 3.12 at the fifth, 1.56 at the sixth, and .78 at the seventh.

    DNA tests from cousins can be used with a family tree to triangulate and identify which DNA components came from which ancestors; a female cousin from one of my father’s two brothers, blue eyed and blonde, tests as 70% Northwestern Europe and England/Wales, 19% Ireland and Scotland, 6% Sweden, and 5% Norway. A male cousin from my father’s second brother, dark as was he, tests as 1% Benin and Togo and 1% Cameroon, Congo, and Southern Bantu peoples, an approximate match with my sister’s Sub Saharan Africa descent, the remainder being 47% Northwestern Europe and England/Wales, 32% Norway, 11% Ireland & Scotland, and 4% Sweden.

     My sister’s European DNA tests as 44.7% French & German, and why these are scientifically identical boggles the imagination, 24.8% British & Irish, 19.5% broadly northwestern European, .2% Scandinavian, and 5.8% southern European, which includes 3.1% Italian and 1.1% Spanish and Portuguese.

    Illustrative of the vagaries of inheritance are the differing proportions among three first cousins, two of whom inherit nothing from a paternal grandmother shared by all three, whose family came from Genoa Italy after the Napoleonic Wars. They were still living in an enormous stilt house in Bayou La Teche built from their ship, guarded by ancient cannon, when my mother visited them in 1962. 

     But the best way to discover our origins is through family history, which can be consistent over great epochs of time. So we come to the origin story of the photograph and of my family in America, well documented as Kentucky and Revolutionary War history whose dates can be confirmed precisely by public records, of how a mixed and diverse community of Revolutionary War survivors came to be living in Cape Girardeau, Missouri.

     A direct patrilineal ancestor of mine, Henry, had been captured along with much of his family in the June 21 1780 British assault on Ruddle’s Fort during Bird’s Invasion of Kentucky. One hundred fifty British Regulars of the 8th and 47th Regiments, Detroit Militia, and six cannon of the Royal Regiment of Artillery, with one thousand or more warriors from the Shawnee, Huron, Lenape, and other tribal allies of Britain, compelled the surrender of the fort by cannon fire and a guarantee of status as British prisoners of war offered by Bird, who when the gates were opened broke his word and loosed the native troops to sack the fort and take slaves.

      Over two hundred pioneers were killed in the attack; the remains of twenty of them were later put in iron caskets specially made in Philadelphia and sealed in a cave by a descendant of one of my family’s survivors who had moved back near the site of Ruddle’s Fort, where they remain today. The inscription on the stone archway on a cliff overlooking the Licking River reads, “Please do not disturb the rest of the sleeping dead, A.D. 1845”. I have often wondered what was so terrifying about ones own family that they needed to be entombed in iron and sealed in a cave, and why they are called “the sleeping dead’.

     Near the site of the burial chamber was The Cedars, a stone home rebuilt in 1825 at a cost of $40,000 by Charles Lair, a Ruddles Fort descendant using one of the many variants of our family name. The Cedars burned in 1930; it had fifteen rooms including six bedrooms and two kitchens, a drawing room with a carved mantel, dining room, library, and a hall with a staircase. 

     Henry and his brothers George Jr and Peter were listed among the 49 men of the Ruddle’s Fort garrison, and many had their families with them. Survivors were marched with those of other raided forts, four hundred seventy in all, to the heartland of the Shawnee nation in Ohio and to villages of their captors along the way, though Bird still had 300 prisoners with him when he reached his base at Fort Detroit, six hundred miles from Kentucky; some were then sent another 800 miles to Montreal. Britain did not release its prisoners until fifteen years after the war, and many never found their families again. 

     Henry was held as a slave and/or prisoner of war until he married into the tribe four years later, making him fully Shawnee under tribal law though he was by modern constructions of race an ethnic European. His story is interwoven with that of his childhood friend and neighbor Daniel Boone, and he was among those with whom Boone discovered a route through the Cumberland Gap and explored Kentucky. I like to imagine Henry as the hero in the film Last of the Mohicans, a fictionalization of the July 14 1776 abduction and subsequent rescue of Boone’s daughter Jemima and two daughters of Colonel Richard Callaway, Elizabeth and Frances, from Chief Hanging Maw of the Overhill Cherokee, leading a mixed band of Cherokee and Shawnee.

    Henry joined George Washington’s army, possibly during the retreat from the Battle of Long Island in the fall of 1776, fought in the Battles of Trenton and Princeton that December, at Brandywine on September 11, 1777, and in the victory at the Second Battle of Saratoga on October 7 1777 which nearly ended the war and brought help from France.

    Among the family members at Ruddle’s Fort were Henry’s two brothers. Peter, who was killed in action, his wife Mary who was captured with their two daughters, of whom Katarina was rescued in 1786 and another is mentioned as married and living in Sandwich Canada in an open letter written by Mary published in the Kentucky Gazette on April 7 1822 to their third child Peter, who vanished after the battle and whose fate is unknown. It reads in part; ”I was taken at Fort Licking commanded by Captain Ruddle, and was brought into upper Canada near Amherstburgh (Fort Malden) where I now live having been 16 years among the Indians. Your eldest sister is now living in Sandwich, but the youngest I could never hear of. Now, my dear son, I would be very glad to see you once more before I die, which I do not think will be long, as I am in a very bad state of health, and have been this great while. I am married to Mr Jacob Miracle (fellow captive from Ruddle’s Fort Jacob Markle) for whom you can enquire.” These are the words of a woman who had been coerced into marrying one of her captors by torture and had a son by him whom she raised with her youngest daughter by a husband who died defending her and their children from capture, two of whom had vanished in the cauldron of war and whose fates she never learned, though her youngest daughter was safe with George Jr’s family.

     Also present were Henry’s second brother George Jr and his wife Margaret, who were captured and later freed, and their children Johnny, George III, Eva, Margaret, and Elizabeth. Johnny, 1776-1853, four years old when captured, was raised with Tecumseh and fought at his side as a British ally through the War of 1812. He married Mary Williams in 1799; they had eight children. Of Margaret we know only that she survived to marry Andrew Sinnolt in 1793. Eva, captured when 14 years old and taken to Canada, ran the gauntlet to win her freedom after six years of enslavement and two years later in 1788 married fellow Ruddles Fort survivor Casper Karsner.

      Elizabeth Lale, 1752-1832, eldest of the children at 28, escaped from the Shawnee capitol city of Piqua on the Great Miami River in Ohio and survived a solo trek of hundreds of miles through the wilderness back to the colonies, then with Washington and Jefferson planned and guided General Clark with 970 soldiers in a raid which liberated many of the other prisoners of war held as slaves at the Battle of Piqua, August 8 1780. With her was Daniel Boone, who had also been held captive at Piqua by Blackfish, Great Chief of the Shawnee, between his capture at the Battle of Blue Licks on February 7, 1778 and his escape six months later in June. In 1783 Elizabeth married John Franks; they had two children.

     And George III, 1773-1853, captured when seven years old, was taken in 1781 to a camp in Cape Girardeau Missouri, base of a Shawnee trade empire from which the entire Mississippi basin could be navigated, becoming the first white pioneer in the region, near the land which in 1793 was granted by Baron Carondelet to the Black Bob Band of the Hathawekela Shawnee.

      Nearby was a Spanish land grant awarded to Andrew Summers for service in the Cape Girardeau Company of the Spanish-American Militia by Governor Lorimier, during a six week campaign in 1803. Andrew Summers had married Elizabeth Ruddle, daughter of Captain George Ruddle and granddaughter of Isaac Ruddle; Andrew and Elizabeth moved with their family to their land in Cape Girardeau after the War of 1812; later her father joined them, as did George Lale III and his wife Louisa Wolff. George and Louisa’s seven children were born there; the old Summers cemetery where George III is buried lies two miles SW of Jackson Missouri.

      Many of my family who survived the Revolutionary War moved to Cape Girardeau where the families of George III Lale and Andrew Summers had established a community of pioneers and former slaves of Indians, apparently both African and European, and the Indians they had fought alongside and against, been captured by and intermarried with. In the end I think they understood each other better than those who had not survived the same collective trauma and shared history.

     Our great grandmother Lilly Summers could claim direct patrilineal descent from the Summers family of Fairfax Virginia, descended from Sir George Summers, who commanded the Sea Venture, one of the ships which brought over the Jamestown colony in 1607, through the first settler in Alexandria, John Summers, who lived from 1687 to 1790 and had at the time of his death four generations of descendants, including some four hundred individuals. Lilly was equally descended from her mother, M.B. Croft who is listed as Dutch which probably means German, and her father John William Summers, of English lineage but designated as Cherokee in family records, which we now know is a fiction describing descent from a probable African slave of the Cherokee.

      It is also possible that this ancestry came into the Summers line from fellow soldiers who served with them during the Battle of New Orleans in the War of 1812, among them free Black militia companies which pre-existed the war, including slaves promised freedom and armed by Andrew Jackson as the first Black company of the American army, a former Spanish colonial Black militia with whom Andrew Summers had served alongside against France, and Major D’Aquin’s Battalion of Free Men of Color from Haiti who were elite professional revolutionaries and soldiers who had once been part of the French army. The origin of this DNA can be no nearer than Lilly’s paternal grandmother, at five generations separation from my sister and I. 

    Among the documents of my genealogy and family history research I have a daguerreotype from the 1840’s of Elizabeth Lale, named for her ferocious aunt, daughter of parents from opposing sides of the Revolutionary War, Me Shekin Ta Withe (White Painted Dove) of the Shawnee and Henry Lale.

      Born in 1786, Elizabeth had four sisters and two brothers including my ancestor George Washington Lale, named for the future President with whom Henry crossed the Delaware, and whose battle cry at Trenton in 1776, Victory or Death, Henry adopted as our family motto on our coat of arms.

     My sister and I are the fifth generation from Henry, and sixth from the original immigrant Hans George Lale who arrived with his family in Philadelphia in 1737 on the ship Samuel, sailing from Rotterdam.

     As our family history and myth before coming to America is beyond the subject of my inquiry here, epigenetic trauma and harms of erasure and internalized oppression in the case of a phantom ancestor in the context of relations between indigenous and colonial peoples, I will question this in future essays.

     Here are the generations of our family in America; my parents A.L. Lale and Meta (Austrian), Enoch Abraham Lale and Gertie Noce (Italian), Andrew Jackson Lale 1840-1912 and Lilly Summers, George Washington Lale 1790-1854 and Elizabeth Ross, Henry Lale 1754-1830 and White Painted Dove, and Hans George Lale 1703-1771 and Maria Rudes.

     But its never as simple as that, each of us a link in a chain of being which encompasses the whole span of human history; migrations, wars, and the rise and fall of civilizations. Often our ideas of identity as nationality and ethnicity would have been incomprehensible to the people we claim membership with.

     Take for example my family name; its original form is on Trajan’s Column in Rome, and Cicero wrote his great essay on friendship, Laelius de Amicitia, about an ancestor of mine; Gaius Laelius, whose political and military career as an ally of Scipio Africanus spans the Iberian campaign of 210- 206 BC where he commanded the Roman fleet at New Carthage, the African campaign of 204-202 commanding the cavalry at Zama, enjoyed two terms as praetor of Sicily from 196 and was granted the province of Gaul about 190, and in 160 BC met the historian Polybius in Rome, becoming his eyewitness source for the Second Punic War in The Histories.

     Here I signpost that all of us are connected with the lives of others across vast millennia of history, often in surprising ways. A mere thousand years ago, we all have more ancestors than the total number of humans living at the time, at 30 generations distance; meaning many are convergent lines of descent due to pedigree collapse and that we are all interrelated ultimately. The mathematics of ancestry is interesting; somewhere around one hundred thousand to three hundred thousand years ago we reach the point of a single common ancestor. As written by Steve Olson in Nature magazine describing his research; ““No matter the languages we speak or the color of our skin, we share ancestors who planted rice on the banks of the Yangtze, who first domesticated horses on the steppes of the Ukraine, who hunted giant sloths in the forests of North and South America, and who labored to build the Great Pyramid of Khufu.”

     If I accounted my identity and ethnicity as where my ancestors immigrated to America from, I would be German and not Roman, but it would not be the whole truth. We lived in Bavaria for generations until 1586, when we were driven out as werewolves and sorcerers during the start of an eighty year witchburning craze; Martin Luther called us Drachensbraute, Brides of the Dragon, which we adopted as a title. During this time we absorbed many of the pre Christian myths gathered as Grimms Fairytales, which was represented to me as a child as our family history. And still a half truth, as this tallies only my patrilineal descent, and nothing of the half of myself from my Austrian descended mother, whose stories I will tell another time.

     As events become more remote in time and memory, the boundary between historical and mythopoeic truth becomes ambiguous, interdependent, and co-evolutionary with shared elements which reinforce each other. This is true for narratives of national identity as well as self-construction in the personal and family spheres, in which such processes may be studied in detail. Stories are a way of doing exactly thing; both creating and questioning identity.

     Often with family history we are confronted with discontiguous realms of truth as self-representation and authorized identity, always a ground of struggle as a Rashomon Gate. Such stories are true in the sense that we are their expressions as living myths, but are these narratives we live within and which in turn inhabit us also history?

      Who are we, we Lales?

     Native American, yes, if to a lesser degree and from different sources than we had previously imagined as an authorized identity and historical construction, Shawnee rather than Cherokee and generations more distant.    

     Indian also in the sense of an ancestor from Mughal India over three hundred years ago, great grandmother of Henry the revolutionary, and that complex. Who this grand and mysterious ancestor and source of our Indian and Eqyptian-Levantine DNA was remains an open question, though she was literate in Persian and claimed to have once been a courtier of the Mughal princess and poet Zeb-un-Nissa which is another story. And in the place of the phantom Cherokee great grandmother, an African voice among the cacophony of multitudes sings of liberation.

      In retrospect, that my father practiced Voodoo as the traditional family faith should have been an enormous clue to his ethnicity, what is now classified as Louisiana Creole meaning of mixed European-African-Native American ancestry. He described himself as Cajun, which means French speaking and is a cultural and historical claim.

     Of my father who is my link to this history of the founding of America as a reborn Rome with all of its shifting ideas of nationality and identity, who in this our Day of the Dead I honor among my ancestors, I say this; he was my high school English, Forensics, and Drama teacher, who taught me fencing and chess and took me to martial arts lessons from the age of nine, gave me a copy of Thus Spake Zarathustra in eighth grade which became a counter text to the Bible for me, and was an underground theatre director who collected luminaries like William S. Burroughs who told fabulous stories after dinner and Edward Albee whose plays he directed while I sat beside them as a child and listened with rapt attention to their conversations. He it was who taught me the principle of action; “Politics is the art of fear”. For one day he was arguably the greatest swordsman in the world, having defeated all the national champions at an international reclassification tournament, and went on to become a coach of  Olympic fencers. He grew up fencing and playing the treasured family Stradivarius, lost now on the seas of time like so much else, and his favorite story from childhood was how he got his nickname, Gator Bait; grandpa used to tie a rope around his waist and throw him in the swamp to splash about and attract alligators to shoot. One story he never told but his friend from the Korean War did, was that they had escaped a North Korean POW camp with three others, one of whom died in the breakout, and the four survivors carried the dead soldier all the way back to South Korea. His last years were spent in seclusion flyfishing on a remote wilderness mining claim in Montana.

      Before immigration to America, we were Bavarian, generally European, and originally Roman, unquestionably; along the way from Gaius Laelius and the conquest of Carthage to myself, our family once briefly ruled what is now France, Germany, Spain, and the British Isles, in the Gallic Empire of 260-274 A.D. As a university student influenced by classical studies I responded to questions about my historical identity, nationality, and ethnicity in this way; “I am a citizen of the Roman Empire; that it has not existed for fifteen hundred years is irrelevant.”

      I did so once to the wife of a poetry professor, who immediately whipped out a notebook and thereupon began taking notes on our conversations; this was Anne Rice, who based her character of Mael in Queen of the Damned on me as I was in my junior year at university, over forty years ago now, before the summer of 1982 which fixed me on my life course as a hunter of fascists and a member of the Resistance.

      Its always interesting to see ourselves through the eyes of others, and how we are transformed by their different angles of view; such changes and transforms of meaning are the primary field of study in history and literature as songs of identity and a primary ground of revolutionary struggle.

     Anne Rice’s idea of Mael as the caretaker of Those Who Must Be Kept came from a comment of mine about the dead white men whose books created our culture for both good and ill during a discussion of the canon of literature; There are those who must be kept, and those from whom we must escape, and if we are very lucky they are not always the same.

      Who are we, we Americans, we humans?  

      Identity, history, memory, which includes changing constructions of race and nationality; these hinge on questions which often have no objective answers.

     We are as we imagine ourselves to be; the stories we tell about ourselves, to ourselves and to others, and the groups and historical legacies in which we claim membership, and who claim us in return.

    Family history is always a personal myth of identity, though it may also be history. We bear within us thousands of other lives, in multiple states of time across vast gulfs of history, possessed by the ghosts of our ancestors literally as DNA and metaphorically as stories; we are legion.

     As with all history, as narratives of authorized identities and in struggle against them as seizures of power, autonomy and self-ownership, and self-creation, a Rashomon Gate of relative and ambiguous truths, the most important question to ask of a story is this; whose story is this?

Last of the Mohicans film

https://ok.ru/video/967004064409

Mapping Human History: Genes, Race, and Our Common Origins,

Steve Olson

Henry Louis Gates Jr on the myth of the Indian ancestor in modern Black culture

https://www.theroot.com/high-cheekbones-and-straight-black-hair-1790878167

DESTRUCTION OF RUDDLE’S AND MARTIN’S FORTS

IN THE REVOLUTIONARY WAR

RUDDLES FORT AND THE BRITISH INVASION OF KENTUCKY

A talk to the Bourbon County Historical Society

https://www.frontierfolk.net/ramsha_research/beansite.html

The Kentucky Kidnappings and Death March: The Revolutionary War at Ruddell’s Fort and Martin’s Station, by Russell Mahan

Ruddell’s Fort Captives List

https://www.frontierfolk.net/ramsha_research/captivesite.html

Lale/Lail Family Ruddle’s Fort Survivors

https://www.frontierfolk.net/ramsha_research/Lail.html

The Worlds the Shawnees Made: Migration and Violence in Early America,

Stephen Warren

Gathering Together: The Shawnee People through Diaspora and Nationhood, 1600–1870, Sami Lakomaki

Boone: A Biography, Robert Morgan

https://www.goodreads.com/book/show/1097676.Boone?ref=rae_2

Tecumseh and the Prophet: The Shawnee Brothers Who Defied a Nation,

Peter Cozzens

https://www.goodreads.com/book/show/49829876-tecumseh-and-the-prophet?ref=rae_5

The Queen of the Damned, by Anne Rice

references on the origins of my family

https://en.wikipedia.org/wiki/Gaius_Laelius

https://en.wikipedia.org/wiki/Gaius_Laelius_Sapiens

Laelius, on Friendship and the Dream of Scipio, by Marcus Tullius Cicero), J.G.F. Powell (Editor)

Gallic Empire: Separatism and Continuity in the North-Western Provinces of the Roman Empire, Ad 260-274

https://www.goodreads.com/book/show/15616858-gallic-empire

November 1 2025 Dia de los Muertos: In Honor of Our Ancestors

    Here in our celebration of the Day of the Dead my hopes and fears for the future of humankind become manifest and dance with us in the streets, and speak to us in our dreams of secrets and the silences of our history.

    I hope we are at the beginnings of our story of becoming human, and not at its end. I fear that our historical legacies may become traps, falsifications, assimilative and colonizing narratives wherein tyrannies of authorized identities may steal our souls. This is the problem of the Hobgoblin’s broken mirror in Anderson’s The Snow Queen; we are lost in a world of distorted images, captured echoes, fragmented identities, and dangerous illusions.

   Divisions of exclusionary otherness and hierarchies of belonging, including those of race, gender, class, nationality, faith, and the tyranny of history, not only subjugate us to authority through the pathology of our disconnectedness from others but also alienate us from ourselves.

   Authorized identities, rewritten histories, and the performance of our honored ancestors as subversions of imposed orders of being and meaning work like the discontiguous timelines of alternate histories and realities; there are myriads of such universes, and they are all right here, layered one within another. Here is a ground of struggle between falsification and authenticity, subjugation and liberation as ownership of ourselves. What has always interested me are the interfaces and boundaries between them as belief systems, and the possibilities of unknown silences and empty spaces.

      As we learn from John Cage in music, Harold Pinter in theatre, and Piet Mondrian in art, it is the blank spaces which define and order meaning; and in history it is the silenced and erased voices to which we must listen most carefully, for here the emptiness speaks to us of secret power and of the key functions and relationships which authority must conceal to maintain its hegemony over us.

     How may we grow into the Unknown spaces and discover, create, reimagine, and transform our true and best selves in becoming human, and in how we choose to be human together?  

    This is one of the true purposes and functions of our celebration of our ancestors; seizure of power as reclaiming our histories. With this is its interdependent and parallel praxis of social action; emergence from the legacies of our history as epigenetic and multigenerational trauma, among these harms and systems of oppression being racism, patriarchy, slavery, and colonialism.

     Always there remains the struggle between the masks that others make for us and those we make for ourselves; this is the first revolution in which we all must fight.

     We are the stories we tell about ourselves, to ourselves and to others, our identities shaped by memory and history and the echoes and reflections of our ancestors. Disrupt or falsify this continuance and we become unmoored from our anchorages and set adrift; while this can be used intentionally to seize ownership of ourselves and create ourselves anew, it can also be used by others as an instrument of conquest and subjugation.

    As examples we may look to the Pandemic and the generalized and overwhelming fear it unleashed, when weaponized by elite interests as a tool of division, repression, erasure, and colonization as in our border with Mexico which weaponizes disparity to create a vast underclass of exploitable labor, or one of fascism and tyranny as in America, as used by Trump and the amoral plutocracy of a theocratic, patriarchal, white supremacist, kleptocratic, and  totalitarian police state he represents against humankind to centralize wealth and power.

     The first day of the Dia de los Muertos festival is sacred to all children as holy innocents, whose lives are seeds like the dragon’s teeth sown by the Phoenician prince Cadmus in the earth from which warriors arise, and may bear forward and realize our dreams of liberation struggle against regimes of unequal power. Herein I honor as I have for far too many years now the migrant children stolen from their parents by order of Traitor Trump for his unspeakable perversions and those of his Epstein circle and still missing; now also do I remember the children of Ukraine abducted into slavery and torture brothels by the Russian military and the Butterfly Collectors syndicate, and the mass murder of Palestinian children in Israel’s campaign of ethnic cleansing and genocide ongoing in Gaza. These three regimes of tyranny and terror together represent the abandonment of our humanity and collapse of our civilization, and define the limits of the human; but sadly are far from unique in human history.

      We grieve, but in this public ritual of grieving let us hold fast in solidarity to the purpose of remembrance and witness. For the dead and the past we can do nothing; it is the living who must be avenged, and the future that must be redeemed.

     The world does not need our grief; the world needs our solidarity of action.

     As long ago, in an America which now seems remote, I wrote to Kamala Harris on the occasion of her visit to the concentration camps we maintain at our border as instruments of racist state terror and colonial exploitation;

Dear Vice President Harris,

     As long as you’re going to look into the faces of our victims, whose nations we have devastated economically, ecologically,  and politically and left in the wake of our greed as a shattered postapocalyptic region of blighted doom, then left abandoned to the mercies of a Mexico whose government is powerless before its criminal syndicates, you might as well end our program of genocide and enslavement, tear down the Wall, disarm and repurpose the Border Patrol  to provide humanitarian aid and help refugees reach the safety of our shores, rebuild democracy, the sacrosanct rights of humankind, the inviolability of unionized labor, and the material basis of wealth in the ecologies of the Dry Corridor of Central America, enact citizenship by declaration, and restore to our nation our heart.

Very Truly Yours, Jay Lale

    To this I received no reply.

     We are all of us engaged in the great struggle of our time between authority and autonomy, waged in the streets and in our hearts, which will define what is human and either dehumanize and enslave us or liberate us and the infinite possibilities of becoming human.

    Always pay attention to the man behind the curtain. Authority will use lies and illusions to deceive us, but their true motives cannot survive exposure, nor their legitimacy survive disbelief, nor their power withstand disobedience.

     On this and every day let us remember who we truly are, dance the ghosts of those who made us possible and helped create us as informing, motivating, and shaping forces, recite and perform their stories, and renegotiate the boundaries of human being, meaning, and value which they offer us.

LA MARTINIANA | Canción de día de Muertos

‘See death in a different way’: The history of Day of the Dead and how to celebrate this year

https://www.msn.com/en-us/tv/celebrity/see-death-in-a-different-way-the-history-of-day-of-the-dead-and-how-to-celebrate-this-year/ar-AA1j9mmn

Skulls to the Living, Bread to the Dead: The Day of the Dead in Mexico and Beyond, Stanley Brandes

This Party’s Dead: Grief, Joy and Spilled Rum at the World’s Death Festivals,

Erica Buist

Tales of the Plumed Serpent: Aztec, Inca and Mayan Myths, Diana Ferguson

Mesoamerican Mythology: A Guide to the Gods, Heroes, Rituals, and Beliefs of Mexico and Central America, Kay Almere Read, Jason J. Gonzalez

Spanish

1 de noviembre de 2025, Día de los Muertos: En honor a nuestros ancestros

En esta celebración del Día de los Muertos, mis esperanzas y temores por el futuro de la humanidad se manifiestan y danzan con nosotros en las calles, y nos hablan en nuestros sueños de secretos y silencios históricos.

Espero que estemos en los albores de nuestra historia de humanidad, y no en su fin. Temo que nuestros legados históricos se conviertan en trampas, falsificaciones, narrativas asimilacionistas y colonizadoras donde la tiranía de las identidades autorizadas robe nuestras almas. Este es el problema del espejo roto del Duende Verde en La Reina de las Nieves de Anderson; estamos perdidos en un mundo de imágenes distorsionadas, ecos capturados, identidades fragmentadas e ilusiones peligrosas. Las divisiones de la alteridad excluyente y las jerarquías de pertenencia, incluidas las de raza, género, clase, nacionalidad, fe y la tiranía de la historia, no solo nos subyugan a la autoridad mediante la patología de nuestra desconexión con los demás, sino que también nos alienan de nosotros mismos.

Las identidades autorizadas, las historias reescritas y la representación de nuestros venerados ancestros como subversiones de los órdenes impuestos del ser y el significado funcionan como las líneas temporales discontinuas de historias y realidades alternativas; existen miríadas de tales universos, y todos están aquí, superpuestos unos dentro de otros. Aquí reside un terreno de lucha entre falsificación y autenticidad, subyugación y liberación como propiedad de nosotros mismos. Lo que siempre me ha interesado son las interfaces y los límites entre ellos como sistemas de creencias, y las posibilidades de silencios desconocidos y espacios vacíos.

Como aprendemos de John Cage en la música, Harold Pinter en el teatro y Piet Mondrian en el arte, son los espacios en blanco los que definen y ordenan el significado. Y en la historia, son las voces silenciadas y borradas a las que debemos escuchar con mayor atención, pues en ellas el vacío nos habla del poder oculto y de las funciones y relaciones clave que la autoridad debe encubrir para mantener su hegemonía.

¿Cómo podemos adentrarnos en lo desconocido y descubrir, crear, reimaginar y transformar nuestra verdadera esencia, nuestra mejor versión, al humanizarnos y al elegir ser humanos juntos?

Este es uno de los verdaderos propósitos y funciones de nuestra celebración de nuestros ancestros: la toma del poder como reivindicación de nuestra historia. A esto se suma su praxis interdependiente y paralela de acción social: el surgimiento de los legados de nuestra historia como trauma epigenético y multigeneracional, entre cuyos daños y sistemas de opresión se encuentran el racismo, el patriarcado, la esclavitud y el colonialismo.

Siempre persiste la lucha entre las máscaras que otros nos imponen y las que nos imponemos nosotros mismos; esta es la primera revolución en la que todos debemos luchar. Somos las historias que contamos sobre nosotros mismos, a nosotros mismos y a los demás; nuestras identidades se moldean por la memoria, la historia y los ecos y reflejos de nuestros ancestros. Si se interrumpe o falsifica esta continuidad, nos desarraigamos y quedamos a la deriva. Si bien esto puede usarse intencionalmente para apropiarnos de nosotros mismos y reinventarnos, también puede ser utilizado por otros como instrumento de conquista y subyugación.

Como ejemplos, podemos observar la pandemia y el miedo generalizado y abrumador que desató, cuando fue instrumentalizada por intereses de élite como herramienta de división, represión, invisibilización y colonización, como en nuestra frontera con México, donde se instrumentaliza la desigualdad para crear una vasta subclase de mano de obra explotable, o una de fascismo y tiranía, como en Estados Unidos, utilizada por Trump y la plutocracia amoral de un estado policial teocrático, patriarcal, supremacista blanco, cleptócrata y totalitario que representa, para centralizar la riqueza y el poder contra la humanidad. El primer día del Día de los Muertos es sagrado para todos los niños, considerados inocentes, cuyas vidas son semillas como los dientes de dragón sembrados por el príncipe fenicio Cadmo en la tierra, de las cuales surgen guerreros que pueden seguir adelante y hacer realidad nuestros sueños de lucha por la liberación contra regímenes de poder desigual. En este día, honro, como lo he hecho durante demasiados años, a los niños migrantes arrebatados de sus padres por orden del traidor Trump para sus indescriptibles perversiones y las de su círculo de Epstein, y que aún permanecen desaparecidos; recuerdo también a los niños ucranianos secuestrados y convertidos en esclavos y torturados en burdeles por el ejército ruso y el sindicato de los Coleccionistas de Mariposas, y el asesinato en masa de niños palestinos en la campaña de limpieza étnica y genocidio que Israel lleva a cabo en Gaza. Estos tres regímenes de tiranía y terror representan juntos el abandono de nuestra humanidad y el colapso de nuestra civilización, y definen los límites de lo humano; pero, lamentablemente, no son casos únicos en la historia de la humanidad. Nos afligimos, pero en este ritual público de duelo, mantengámonos firmes en solidaridad con el propósito de recordar y dar testimonio. Por los muertos y el pasado no podemos hacer nada; es a los vivos a quienes debemos vengar, y al futuro al que debemos proteger.

El mundo no necesita nuestro dolor; el mundo necesita nuestra solidaridad y acción.

Hace mucho tiempo, en una América que ahora parece lejana, le escribí a Kamala Harris con motivo de su visita a los campos de concentración que mantenemos en nuestra frontera como instrumentos de terror estatal racista y explotación colonial;

Estimada Vicepresidenta Harris:

Ya que va a mirar a los ojos a nuestras víctimas, cuyas naciones hemos devastado económica, ecológica y políticamente, dejando tras de sí, fruto de nuestra codicia, como una región postapocalíptica desolada y abandonada a merced de un México cuyo gobierno es impotente ante sus sindicatos criminales, bien podría poner fin a nuestro programa de genocidio y esclavitud, derribar el muro, desarmar y reconvertir a la Patrulla Fronteriza para que brinde ayuda humanitaria y ayude a los refugiados a llegar a la seguridad de nuestras costas, reconstruir la democracia, los derechos humanos fundamentales, la inviolabilidad del trabajo sindicalizado y la base material de la riqueza en los ecosistemas del Corredor Seco de Centroamérica, promulgar la ciudadanía por declaración y devolverle a nuestra nación su esencia.

Atentamente, Jay Lale

No recibí respuesta. Todos estamos inmersos en la gran lucha de nuestro tiempo entre autoridad y autonomía, librada en las calles y en nuestros corazones, que definirá nuestra humanidad y que o bien nos deshumanizará y esclavizará, o bien nos liberará y nos abrirá las infinitas posibilidades de la humanidad.

Prestemos siempre atención a quien está detrás de la cortina. La autoridad usará mentiras e ilusiones para engañarnos, pero sus verdaderos motivos no pueden sobrevivir a la exposición, ni su legitimidad a la incredulidad, ni su poder a la desobediencia.

Hoy y siempre, recordemos quiénes somos en realidad, honremos la memoria de quienes nos hicieron posibles y contribuyeron a nuestra formación como fuerzas inspiradoras, motivadoras y transformadoras, recitemos y representemos sus historias, y redefinamos los límites del ser humano, el significado y el valor que nos ofrecen.

October 31 2025 A Hymn to Chaos and Transgression: Halloween

     On this Halloween let us enact reversals of order, play tricks which open the gates of our prisons to paths of change, pursue the sacred calling of the truth teller, perform the four primary duties of a citizen; question authority, expose authority, mock authority, and challenge authority, and the reimagination and transformation of ourselves, our society, and the systems and structures of our civilization.

     Let us bring the Chaos.

     What will you be for Halloween? For the rest of your life? If we can dance our true and secret selves before the stage of the world on this night, why not every night?

    Celebrate with me Halloween as a liminal and transformative time of exploring unknowns beyond the boundaries of the Forbidden, the defiance of authority, the sabotage of hierarchies and systems of force and control, and the violation of norms.

     Normal doesn’t live here anymore.

     Norm, not our old family retainer and master of curious devices but a literary figure of my invention here representing normality and the tyranny of other people’s ideas of virtue, is downstairs in the game room tied to an electric chair from the old McKay Carnival I call the Throne of the Sublime, because it is a forge of making angels, though wrathful ones. And it is possessed by the monstrous and deranged souls it has unleashed as an instrument of the Law and the carceral regime of torture and the repression of dissent which it symbolizes, and from which it was liberated decades ago by an Industrial Workers of the World direct action team in a raid on a prison.

      Once this was an instrument of state terror, the ultimate resort of institutions of power empty of legitimacy and with only force and violence to control, silence, and erase all who refuse to submit and all Others who are excluded from circles of the elite and the god-authorized Elect, but now serves different purposes in seizures of power and those truths immanent in nature and written in our flesh, set free in exaltation, rapture, and vision, as we are sublimed in the electric arclight of captured bolts from the heavens.

      As a carnival game it was converted from terror to joy and from pain to ecstasy as an erotic electro-stimulation device, much like the reference to the game of Gentlemen, Start Your Engines in Neil Gaiman’s telenovela Lucifer, season 2 episode 11.

     Is any of this story true? Maybe, maybe not. The dialectics of revolutionary struggle and state tyranny and terror in the Wagnerian Ring of fear, power, and force are a Schrodinger’s Cat problem wherein many things are both true and false at once, as Rashomon Gate Events of ambiguous and relative truths.

     Such questions we must ask America, who like our ideas of what is normal is now being transformed in the crucible of our darkness and the consequences of the January 6 Insurrection and the capture of the state by a fascist cabal in America with the Second Trump Regime and by our complicity in the Israeli genocide of the Palestinians, both now nightmare realms of derelict antiquities from whose historical shadows of authorized identities we must emerge.

     This year I have made a game of masquerading as an ICE agent, blending in among them and making mischief as I may, and vanishing like a rumor of gremlins who sabotage the machine of power which they serve.

    In the immortal words of Mario Savio; “There’s a time when the operation of the machine becomes so odious—makes you so sick at heart—that you can’t take part. You can’t even passively take part. And you’ve got to put your bodies upon the gears and upon the wheels, upon the levers, upon all the apparatus, and you’ve got to make it stop. And you’ve got to indicate to the people who run it, to the people who own it that unless you’re free, the machine will be prevented from working at all.”

     Last year in 2024 I was costumed as an Israeli soldier spattered with the blood of numberless innocents who have been butchered with aberrant glee in Palestine for over two years now, where American tax dollars buy the deaths of children and of our civilization. No more terrible and horrific figure of the limits of the human exits than this, the Israeli enforcer of tyranny and state terror authorized to commit genocide by a monstrous god of theocratic violence and fascisms of blood, faith, and soil as imperial conquest and dominion, nor that of his American co-conspirators in crimes against humanity.

     For the Beast Netanyahu has a showman, Trump, Rapist In Chief, idiot, madman, slave of Moloch the demon of Lies, and who puts him through his paces as an entertainment for the hegemonic elites of wealth, power, and privilege as defined and anointed by theocratic authority as an Elect, just as Israel is a mirage of American imperialism, and as Trump dances to the tune of his puppetmaster in the capture of the state as Vichy America, the subversion of democracy, and the fall of civilization, his old KGB handler from the simple days when Trump was merely a Soviet agent, human trafficker, and money launderer for crime syndicates, Vladimir Putin.

     I find it illuminating how the meaning of our monsters changes with the context of their signs; last year I wore this costume of protest against state terror, cruelty, and dehumanization to a neighborhood barbeque, like the Red Death at the Masque in Poe’s story, drawn by the music to a backyard full of Trump signs and men adorned with guns as preposterous masculine jewelry, and everyone ran away, even the bikers. I congratulate you, O Israel; if you intended to become a symbol of terror and horror, you have succeeded.

     The seduction of power as security is something I understand all too well; but security is an illusion. And it comes with a price.

     Some things, however, are certain and unavoidable; first among them the violence of the birth of new possibilities of becoming human and the agony of liberating ourselves from divisions and hierarchies of elite belonging and exclusionary otherness, and from fascisms of blood, faith, and soil. As Trotsky teaches us, the violence of the slave master cannot be compared to the violence of the slave in breaking his chains.

      And the second? Normality is deviant. Normal is half our nation voting for treason, subjugation to Russia, theocracy, patriarchal sexual terror and white supremacist terror, and the subversion of our Constitution and the values of the Enlightenment on which it and the whole of western civilization is founded.

      To fascist tyranny and theocratic terror let us say with the glorious rebel Ahab in Moby Dick; “To the end I will grapple with thee, from Hell’s heart I stab at thee, I spit my last breath at thee.”

      Let us run amok and be ungovernable.

     As I wrote in my post of November 25 2020, Using Chaos and Transgression as Revolutionary Acts to Transform Law and Order Into Liberty and Equality; I am against law and order because law serves power and order appropriates and divides us into hierarchies of elite power and categories of exclusionary otherness, whereas chaos autonomizes and empowers and transgression and the violation of norms and the tyranny of other people’s ideas of virtue, truth, and beauty liberates and seizes power.

    Order appropriates; Chaos autonomizes. Law serves power, and there is no just Authority.

     Rejoice with me in this time of reversals of order through the performance of Acts of Transgression and Chaos. Let us dance our best and secret selves on the stage of the world, forge new truths, destroy and create ourselves and transform the systems and structures of oppression and tyranny, patriarchy and white supremacist terror, forces of exclusionary otherness and fascisms of blood, faith, and soil, into a diverse and inclusive free society of equals.

    Dance with us in joy, revolution, and the frightening of the horses.

     As I wrote in my post of October 25 2024, A Hymn to Chaos; Tonight a window opens beyond our universe, letting angels through, or devils; and I welcome them both, figures of the twin sides of our nature and the limitless possibilities of becoming human, forces trapped within our flesh in titanic struggle or truths written in our flesh as transformative harmony.

    Herein is a liminal time in which we may shape ourselves anew, reimagine our lives and grow beyond the boundaries and limits of our horizon, explore unknowns in the unclaimed empty spaces of our topologies of human being, meaning, and value marked Here Be Dragons, discover new Best Selves and be reborn, become enraptured and exalted beyond ourselves as we ascend through the gaps of the heavens to embrace the wonder and terror of our total freedom in a universe bound by no Law and without any being, meaning, or value other than our own which we ourselves create.

     On Halloween night in 2020 I put a curse on Donald Trump and all who voted for him in that election after four years of subversion of democracy and sabotage of America as a Russian agent and figurehead of the Fourth Reich, of white supremacist terror, patriarchal sexual terror, robber baron capitalism and ecological disaster which may include the extinction of humankind for the ephemeral profit of elites, tyranny and state terror in the brutal and criminal police repression of the Black Lives Matter protests, and a relentless multifront campaign against our ideals of liberty, equality, truth, and justice, and the institutions which serve them including a secular state, an independent and impartial judiciary, and a press free from propaganda and disinformation, especially that of authorities and their carceral states of force and control, free from hate speech, conspiracy theories, rewritten histories, alternate realities; an open public forum of debate free from identitarian politics as fascisms of blood, faith, and soil and of fear and division weaponized in service to power, and an education system which produces citizens rather than slaves as a precondition of democracy.

     Curses and wishes give form and direction to vast imaginal forces of poetic vision as reimagination and transformation, and may change the balance of power in the world and the fate of humankind as an unfolding of our intention and the will to become. This one has been reasonably successful from my point of view; presaging the Restoration of America in the Biden Presidency, a brief holding action against the tide of fascist tyranny and terror but one which bought us time to organize a Total Resistance, and the exposure and purging of our betrayers from among us in the largest manhunt in our nation’s history as we bring a Reckoning to the fascist infiltrators of the January 6 Insurrection and their financiers, apologists, and puppetmasters, and to all those who would enslave us.

    This year as I did last, and on every Halloween to come, for evermore, I shall perform the rituals of Cursing the Tyrants and the Casting Out of the Unclean Fascists that it may become final and eternal, propagating outwards into infinity as a wave of change and gathering force as it grows, like revolutionary struggle unstoppable as the tides, and I ask all of you to do the same; but I will balance it as well with wishes of blessing, protection, and good luck for all those whom Frantz Fanon called the Wretched of the Earth, the powerless and the dispossessed, the silenced and the erased, and those champions who stand with them in solidarity and for a free society of equals.

     In this moment, with half the tens of thousands dead in Gaza and throughout Palestine being women and children as well as civilians helpless before the bombs of vengeance as blood sacrifices to fear, rage, and hate, I know who my people are, and with whom I stand even if it is only to die with them.

    I will be sixty six years old in a couple weeks, November 14 2025, and have been fighting throughout the world and in Palestine and Lebanon since the summer of 1982, and I must question how many more fights I have left in me, especially ones which cannot be won. Far too many such lost causes and forlorn hopes, yet I cannot leave Last Stands unfought. I intend to go down fighting; when you’re all that stands between a people and genocide, between resistance and dehumanization, between liberty and slavery, there is no mustering out.

     No one should have to die alone, abandoned and erased from history by a fallen civilization for whom our universal human rights and solidarity as each other’s guarantors of our humanity no longer has meaning or value.

     No Band of Brothers, we, but complicit in all evils we do not oppose or remain silent in witness of; especially we Americans whose taxes purchased the bombs of ethnic cleansing and genocide.

     Herein I claim both the peoples of Palestine and of Israel, versus the theocratic tyrants and terrorists on both sides who seek to subjugate them through fascist divisions of blood, faith, and soil and through fear weaponized in service to power. For the alt-right regime of Netanyahu has conspired with elements of Hamas in the October 7 attack for two purposes; first to stop the growing interdependence and mutual aid of the anticolonial Palestinian Independence movement with the Israeli democracy and peace movements which threatens authority in both Gaza and Israel and may yet emerge as a united and nonsectarian democracy, second to create a casus belli for Netanyahu’s conquest of the region including areas of Lebanon and Syria as a Second War of Independence, and third to delegitimize democracy as a guarantor of universal human rights by making its guarantor states complicit in unforgiveable war crimes in the ethnic cleansing and genocide of the Palestinians by America’s client state of Israel.

     If America sends military aid to Israel rather than humanitarian aid to Palestine, the enemy regimes of Netanyahu and Hamas win, and the peoples of both states and our own lose.

     To refuse to submit is to become Unconquered, and this is a victory and a kind of power which cannot be taken from us, and through which we may find the will to claw our way out of the ruins and make yet another Last Stand.

     How do we create ourselves anew and emerge from the legacies of our histories?

      As I wrote in my post of May 28 2023, The True and False Crows: a Fable; A crow confronts his image in a pool of water, and as Nietzsche warned the darkness looks back. Of this I have written a paragraph on the Nietzschean idea of the Abyss, and of tragedy as failure to embrace our monstrosity and those truths immanent in nature and written in our flesh; the wildness of nature and the wildness of ourselves.

      As Nietzsche’s warning in Beyond Good and Evil goes.; “He who fights monsters should be careful lest he thereby become a monster. And if thou gaze long into an abyss, the abyss gazes back into thee.”

      It is also an origin of evil as the Wagnerian Ring of fear, power, and force; written in the tyrannies and systems of unequal power which hold humankind in their iron grip of force and control as Kristevan abjection and learned helplessness, and the ecological catastrophe which threatens our species extinction as disconnection from nature, control of nature as capitalist exploitation of resources and theft of the commons, carceral states of force and control as embodied violence, and our falsification, commodification, and dehumanization through the Wilderness of Mirrors.

     All of this requires the renouncement of love, as Wagner’s figure of tyranny Alberich the Dwarf must do to seize the Ring of power and dominion, a story more familiar to us as Tolkien’s retelling of the Nibelungenlied in his trilogy of novels which recast World War Two as an allegory of the abandonment of addiction to power. This has a corollary; the redemptive power of love, like the power of poetic vision to reimagine and transform ourselves, can free us from the Ring of Power and bring healing to the flaws of our humanity and the brokenness of the world.

     As written by Jean Genet in Miracle of the Rose; “A man must dream a long time in order to act with grandeur, and dreaming is nursed in darkness.”

     Here follows the paragraph of my thoughts on seeing this image, which if considered as a poem I now think of as the True and False Crows: a fable.

                              True and False Crows: a fable

     Who is this imposter? If he is me, where now am I? Avaunt, my nemesis, for I shall pursue retribution for this theft of myself beyond all wrath now remembered, through death and hell and the terrors of our nightmares. Come and let us grapple for the truth of ourselves in this place where angels fear, and end not in silence but in exaltation and fire, with roars of defiance hurled against the chasms of our nothingness, supernal and magnificent as the Morningstar, and illuminate for all humankind the path of escape from this prison of illusions and lies.

     To this my sister replied, Such poetry!

    This is as direct as I can be, o my sister. Should I merit some kind of monument one day, an absurd fantasy as I mean nothing to history and will vanish from the world without a trace, and nothing to anyone beyond yourself as the remnants of family, Dolly my partner, and those few friends and allies who know my true identity, inscribe this therein.

     I have tried to salvage something of our humanity and to become a fulcrum and change the balance of power in the world these past forty years since I was sworn to the oath of the Resistance by Jean Genet, and often failed, but this is not what is important.

     What is important is to refuse to submit.

     And one thing more; to act with solidarity in revolutionary struggle. As the Oath of the Resistance created in Paris 1940 by Jean Genet from the oath of the Foreign Legion in which he once served, and given to me in Beirut 1982 in a burning house, in a lost cause, in a Last Stand beyond hope of victory or survival, and which I offer to all of you as a tradition to bear forward into the future; “We swear ourselves to each other, to resist and cease not, and abandon not our fellows.”

     In this my chosen life mission I have held true, for if each and every one of us stands in solidarity with others regardless of how different they may be from ourselves, we will become liberators and guarantors of each other’s uniqueness, and in refusal to submit will be victorious and free.

     He said it was the finest thing he ever stole, the Oath of the Resistance, but I often think of this in terms of a definition of the beauty of human beings; to become Unconquered and free as self created beings in refusal to submit to authority and its instruments of violence, force and control, and the repression of dissent, to refuse our dehumanization and the theft of our souls and autonomy and to do all of this in solidarity and absolute loyalty to each other. 

    As he once said to me; “Is this not the beauty of men, to resist and never yield, to cede nothing to the enemy, not love nor hope, not our history nor the chance for a future of our own choosing, neither our monstrosity nor our grandeur, nothing of our humanity nor of any human being whose life is in our power to harm or help, to live beyond all limits and all laws and to risk everything to do this for each other?”

    I dream of a future something like the future envisioned by Gene Roddenberry in Star Trek. Infinite Diversity in Infinite Combinations; the idea first put forth in the episode Is There In Truth No Beauty?, described in the first issue of the fanzine Inside Star Trek as; “that beauty, growth, progress — all result from the union of the unlike. Concord, as much as discord, requires the presence of at least two different notes. The brotherhood of man is an ideal based on learning to delight in our essential differences, as well as learning to recognize our similarities.” As stated in the episode The Savage Curtain; “I am pleased to see that we have differences. May we together become greater than the sum of both of us.”

     Liberty as freedom from authorized identities and truths, and equality and its corollary solidarity; these are the personal and social preconditions of democracy as a free society of equals.

    With all of the horrors I have witnessed in a life lived in the unknown spaces of our maps of becoming human marked Here Be Dragons, beyond the limits of the human and the boundaries of the Forbidden, through wars and revolutions  as a maker of mischief for tyrants and a monster who hunts other monsters for the chance to salvage something of our humanity, though in this I often fail as I did last spring in Mariupol and in the year of the fall of Afghanistan, regardless of the brokenness of the world and the flaws of our humanity, something in us refuses to submit to the abjection and learned helplessness of authoritarian systems and reaches toward exaltation and freedom. Whether such hope is a gift or a curse remains for each of us to discover in how we live our lives.

     In this I speak to you of truths which are immanent in nature and written in our flesh; we must embrace our darkness and claim our truths, and celebrate what Walt Whitman called the songs of ourselves as victorious seizures of power, freedom, and joy.

     Love and desire are innate capacities of reimagination and transformative rebirth, which like Dorothy’s magic ruby slippers cannot be taken from us and bear the power to send us home to our heart’s desire, to restore to us the self  which is truly ours.

      My flesh is a map of private holocausts, written with silent screams, nameless loves, causes lost and won, ephemeral signs of our secret histories and the lies and illusions which capture and distort our images in a wilderness of mirrors and the pathologies of our falsification and disconnectedness.

     We have but one escape from the limits of our flesh and the flags of our skin; and this is love. In love we transcend ourselves and become exalted; through the redemptive power of love we may heal the flaws of our humanity and the brokenness of the world.

     Love is crucial both to poetic vision and as solidarity in action as processes of self-construal and becoming human; Siegfried walks through the fire and becomes human. There’s a good retelling of it in Buffy the Vampire Slayer’s musical episode, Once More With Feeling; plus it contains a marvelous re-enactment of the myth of Persephone.

     Let us always take the risks of our humanity, and place our lives in the balance with all those whom Frantz Fanon called The Wretched of the Earth; the powerless and the dispossessed, the silenced and the erased.

     In the end all that matters is what we do with our fear, and how we use our power.

     My friends, please feel free to perform and enact this spell with me; A Hymn to Chaos and Transgression:

     I invoke Chaos, freedom, and the limitless possibilities of becoming human against Order, Authority, and the boundaries of the Forbidden.

    I perform acts of transgression by which to break the chains of law and illusion woven by those who would enslave us, to seize our power and our autonomy from hierarchies of elite wealth, power, and privilege, from authorized identities and divisions of exclusionary otherness, to create myself in the image of my own imagination and no other, and to shape human being, meaning, and value to the forms of my desires.

     In this time of the turning of the tides I refuse and resist subjugation by force and control, I become Unconquered and free, I run amok and am ungovernable, and to Authority I reply with the Four Sacred Acts in pursuit of Liberty and Truth; Question Authority, Expose Authority, Mock Authority, and Challenge Authority.

     By these invocations of Chaos and Transgression (Herein be free to make wishes, and to consecrate acts of defiance of tyranny, disruptions and subversions of good order and discipline, violations of normality, seizures of power, and celebrations of autonomy and living beyond all limits in the glorious embrace of our monstrosity, of the wildness of nature and the wildness of ourselves) I curse all fascisms of blood, faith, and soil, patriarchy, state terror and tyranny, elite hegemonies of wealth, power, and privilege, and inequalities of power.

     On this night of the renewal of the world in which the old order is consumed in fire and the spirit world moves among us and is unified with our own in its reimagination and transformation, I name to my brothers and sisters of Chaos these enemies of humankind as rightful prey; first, upon all tyrants and their forces of repression of dissent and enforcement of the Law, for order appropriates, law serves power, and there is no just authority; second upon Donald Trump (herein please feel free to name tyrants whom you oppose and seek to cast down from their thrones; mine include Vladimir Putin, Benjamin Netanyahu, and many others) and all who serve and support him and the cause of fascism, and all those who in voting for him in the Presidential election of November 3 2020 and in this coming election of November 5 2024 have signed the confession of their treason and allegiance to white supremacist terror, Gideonite patriarchal sexual terror,  and to the tyranny and terror of a police state.

     So upon Trump, his puppetmaster Vladimir Putin, and all who claim him as their own do I place my curse and invoke ruin upon their fortunes and their lives and destruction upon their cause. May they be forgotten and become nothing.

     This I balance with equal blessing, protection, and good luck upon the lives, fortunes, and causes of liberty and equality upon all who are powerless and dispossessed, marginalized by exclusionary otherness, falsified, commodified, dehumanized, silenced and erased, and those who place their lives in the balance with them in solidarity as champions and bearers of the Torch of Liberty and a free society of equals.

     Tonight our wildness will eat the moon and set it free.

Buffy The Vampire Slayer Season 2 Episode 6 Halloween

https://www.dailymotion.com/video/x5valfb

Walk Through the Fire, song from Buffy the Vampire Slayer, episode Once More With Feeling

Lucifer, Season 2 episode 11

A Crow Confronts His Image

Ring of Power: Symbols and Themes Love Vs. Power in Wagner’s Ring Circle and in Us: A Jungian-Feminist Perspective, Jean Shinoda Bolen

https://www.goodreads.com/book/show/451808.Ring_of_Power?ref=nav_sb_ss_2_13

Powers of Horror: an Essay on Abjection, Julia Kristeva

http://users.clas.ufl.edu/burt/touchyfeelingsmaliciousobjects/Kristevapowersofhorrorabjection.pdf

Miracle of the Rose, Jean Genet

“Is There in Truth No Beauty?” episode 5 season three, Star Trek

https://dai.ly/x76xzq0

The Music of the Night – Gerard Butler | Andrew Lloyd Webber’s The Phantom of the Opera Soundtrack

Masquerade scene – 2004 Film The Phantom of the Opera

Camille Saint-Saëns – Danse Macabre – Sefa Emre İlikli

The Wretched of the Earth, Frantz Fanon

The Beast proclaims a Second Holocaust: Netanyahu declares a ‘second war of independence’ as fears for Gazans grow

https://www.theguardian.com/world/2023/oct/28/netanyahu-declares-a-second-war-of-independence-as-fears-for-gazans-grow

          Final Thoughts

    Bury me at sea, for I belong to the world

Send me out in flames, for this is how I have lived

Not silent but incandescent in the night

An agent of change and illumination, like fire itself                     

October 30 2025 Anniversary of the Trump Train Attack on the Biden Campaign Bus Convoy

     Among the acts of violation and terror committed by Traitor Trump and his lunatic brownshirts, the attack of the Trump Train on the Biden campaign bus convoy on October 30 2020, abetted and enabled by co-conspirators within the security services whose sworn duty it was to protect all of our citizens and defend our free elections, remains a symbolic nadir of the depravity and brutality of the Trump regime.

     What is the difference between free speech and assault? Like assault, hate speech is a form of violence. As written by AP of the trial; “The defense lost a bid last month to have the case ruled in their favor without a trial. The judge wrote that “assaulting, intimidating, or imminently threatening others with force is not protected expression.”

      As we witness the depravities and violations of the Trump regime and his loathsome subversions of America, let us remember always the crimes for which he is yet to face a Reckoning; political assassinations such as this attempt to eliminate a rival and the lynchings and beheadings of members of Congress of both parties which he authorized in the January 6 Insurrection. 

     Remember, and bring a Reckoning.

     As written by Diane McWhorter in The Guardian, in an article entitled How a ‘Trump train’ attack on a Biden bus foreshadowed January 6 – and echoed bloody history; “barely responded. History shows the fruits of such inaction;

The bane of raw intelligence – and history – is that you can always look back and find the signs, but you can’t necessarily look ahead and see where they’re pointing. Many questions remain about the intelligence failures that enabled an insurrectionist mob to lay siege virtually unimpeded to the US Capitol. But here’s one sign that’s been flashing in my head since 6 January 2021.

     Four days before the 2020 election, a “Trump Train” of motorists swarmed a Biden-Harris campaign bus on Interstate 35 between San Antonio and Austin. Kamala Harris would have been on the bus but for a last-minute schedule change, according to Wendy Davis, then a Texas congressional candidate and the campaign surrogate onboard. The videotaped vehicular harassment – tailgating, sudden braking, passing the bus within inches – got nationwide coverage, courtesy of participants’ back-slapping on social media and Donald Trump’s high-five in return. Though no one was hurt, it took little imagination to see how a 20-ton container of flammable fuel moving in heavy traffic could have turned into a highway bomb. But to the Trump Train, one of its founders, Steve Ceh, told me, the razzing of the Democrats was simply “fun” – “like a rival football game”.

     No local arrests were reported, but the FBI in San Antonio confirmed it was investigating. Presumably (albeit against Trump’s tweeted wishes) it was still investigating two months later when the explosion came: a massive incarnation of the Trump Train rioting against President-elect Biden in Washington. It was then that I started getting flashbacks to another historic act of domestic terrorism, one also presaged by a difficult bus ride and lately back in the news.

     Sixty years ago, on 15 September 1963, when Ku Klux Klansmen bombed the 16th Street Baptist Church in Birmingham and killed four Black girls attending Sunday school, the shock to the country exceeded the moral language to express it. Both President John F Kennedy and Martin Luther King Jr cast political blame on Alabama’s “Segregation forever!” governor, George Wallace. At the time he seemed a pariah, the only “vicious racist” King singled out in his I Have a Dream speech 18 days earlier, at the March on Washington. In fact, Wallace was the spearhead of a proto-Maga minority that more than half a century later captured the White House for Trump. And now political violence is so “normal” that we have a former southern governor, Mike Huckabee of Arkansas (whose daughter, Trump’s former spokesperson Sarah Huckabee Sanders, is the current governor), effectively endorsing civil war should the prosecution of Trump over a violent coup attempt derail his return to power.

     More often than not, though, the slope is slipperier than the cliff of depraved extremism over which Trump led a “conservative” political party. Instead, it is an inertial slide driven by institutional blind spots and choices that were professionally expedient in the moment. Thus it was, more than 60 years ago in Alabama, that the FBI turned a half-closed eye to harassers of a bus and wound up reaping shockwaves that killed children.

     On Mother’s Day 1961, a Greyhound bus carrying a protest group of integrated Freedom Riders was chased down the highway by a caravan of white Alabamians, who managed to sideline the vehicle outside Anniston and firebomb it. Meanwhile, a second freedom bus headed toward a Ku Klux Klan ambush in Birmingham. FBI agents there had been told by their Klan informant – the eventually notorious double agent Gary Thomas Rowe Jr – that his klavern was coordinating the attack with local police and city hall. But the bureau did nothing to stop the bloody assault. Nor were any arrests made of Rowe’s Klan brothers, certainly not after a widely published news photo showed the informant himself joining in the bludgeoning.

     When Rowe’s consorts bombed the 16th Street Baptist Church two years later, the FBI was so familiar with them that four or five prime suspects were identified within days. (Rowe was apparently not an active participant.) The first prosecution – of the suspected ringleader, by the Alabama attorney general – did not take place for 14 years and met with stonewalling if not resistance from the FBI. (A couple of decades later, the bureau provided “cooperation from top to bottom,” says Doug Jones, the federal prosecutor who won convictions against the last two living Klansmen in 2001 and 2002. He went on to become Alabama’s brief Democratic senator before losing in 2020 to Tommy Tuberville, who recently said of white nationalists, “I call them Americans”.)

     In contrast to the Freedom Rider attacks, which sent multiple victims to hospital, the buzzing of the Biden team had only one known instance of physical contact, a black pick-up videotaped bumping a campaign car in the bus’s wake. The owner of the pick-up was Eliazar “Cisco” Cisneros, a middle-aged, long-gun-toting San Antonian who had made news six weeks earlier by driving the same Trump-bedecked truck through a peaceful defund-the-police protest. He was not arrested then, but the FBI did talk to him about the Trump Train, according to his lawyer, the former Republican congressman Francisco Canseco. However, Canseco says it was his client who initiated the call, to complain that “his rights were being violated”, meaning the right of Americans “to demonstrate their support for a candidate”. Cisneros claimed the Biden car was the aggressor, despite having boasted on Facebook, “That was me slamming that fucker … Hell yea.” (The available videotape is not definitive, but the analysis by snopes.com contradicts Cisneros’s version.)

     Perhaps the FBI had bigger Maga fish to fry than the Trump Train, even though the San Antonio paper reported weeks before the election that the group’s raucous Thursday-night parades 30 miles up I-35 in New Braunfels had featured a man dragging a Black Lives Matter flag behind his pick-up. (A social-media post of his surfaced from a few years earlier: “I’m not apart of the kkk … just hate black people.”) Some African American residents were reminded of the 1998 white supremacist dragging murder of a black man, James Byrd Jr, 300 miles east in Jasper. But by the time the New Braunfels Trump Train caught up with the Biden bus on 30 October, the bar for actionable political intimidation had been set pretty high. Earlier that month in Michigan, the FBI along with state authorities arrested 14 Maga men in connection with an alleged plot to kidnap the governor, Gretchen Whitmer.

     Way back in segregated 1961, within hours of the freedom bus burning, the Kennedy justice department found a statute allowing for a politically neutered prosecution: 18 U.S. Code § 33, covering the destruction of motor vehicles engaged in interstate commerce. A paragraph conceivably pertinent to what happened in Texas – on a federal highway – penalizes one who “willfully disables or incapacitates any driver … or in any way lessens the ability of such person to perform his duties as such”. At any rate, when even symbolic federal charges failed to materialize, the Biden bus driver, Wendy Davis and two others filed a civil suit against (ultimately) eight Trump Train members, including Cisneros and Ceh, under the Reconstruction Ku Klux Klan Act of 1871. They sued the San Marcos police department separately, as the only force along the route that the complaint says ignored SOS calls – though its alleged abdication was more like “we can’t help you” than the Birmingham police’s promise to give the Klan 15 minutes to work over the Freedom Riders.

     Davis et al filed their suits six months after January 6. While hastening to say that “we can’t begin to compare what happened on the bus to that violence”, Davis calls it “part and parcel of the same trend”. It was intimidating enough to cause the campaign to cancel the rest of the tour. A trial date for the Trump Train case has been set for next year. Two defendants settled separately in April 2023 and have been removed from the suit.

     Among the plaintiffs’ exhibits included in a court filing on Friday is the transcript of a text chain from late December 2020 about “the March in dc”, in which a message purportedly coming from Cisneros’s phone discusses delivery dates for bear mace and a collapsible baton. Two other defendants, Ceh and his wife, Randi – named in the complaint as leaders of the New Braunfels Trump Train – were among the faithful in Washington on January 6. Steve Ceh told me they did not enter the Capitol but watched “antifa thugs in black breaking windows” and “people in Trump hats telling them to stop”. When I asked if he thought the hundreds of people arrested for their role in the riot were antifa (including a former FBI agent from New Braunfels), he said: “I’m not saying that some people weren’t pretty emotional.”

     Ceh says the FBI contacted him after he was fired from his job (as a supervisor for a large Texas construction firm) in the aftermath of January 6. “There are a lot of liberals, a lot of Satanists, in this town,” he told me, explaining that they “doxxed” him. Ceh says he invited the FBI man who questioned him (“a very good guy”) to attend the “relevant church” he recently founded. He says the bureau did not seek him out after the Trump Train episode, not even for one of its unofficial “knock and talks”, and in their later interview about the Capitol riot, he says, the Biden bus “never came up”.

     The FBI office in San Antonio declined to make Ceh’s interviewer available for comment and, in response to my request for a Biden bus update, said the bureau did not either confirm or deny the existence of an investigation, apparently even one it previously confirmed. That’s not the worst policy in the world, as then FBI director James Comey painfully demonstrated in 2016 when he violated justice department guidelines with public statements in the Hillary Clinton emails case, arguably giving us President Donald Trump and thereby helping normalize terrorism the bureau is mandated to prevent.

     John Paredes, one of the many civil rights lawyers representing the bus plaintiffs, says he does “not read anything into [federal officials’] determination not to bring a prosecution”. The US Attorney’s Office for the Western District of Texas emailed its refusal to comment on “the existence or non-existence of investigations”. Still, I have a sneaking feeling that the FBI’s reaction to the vehicular threat on I-35 would have been a little different if, say, those road warriors had been Muslims rather than white Christians.

     Sixty years ago, the Birmingham church bombing helped unify the country around a consensus that state-sponsored racism had to end and, along with the assassination of President Kennedy two months later in Texas, eased the posthumous passage of the Civil Rights Act of 1964, which abolished legal segregation. Since the domestic terrorism of January 6, though, the partition of hate has only widened. And so, I got a little jolt of hope and change from Ceh’s surprise answer to my pro forma question about whether he was supporting Trump in 2024.

    “I’m waiting,” he said. “We have transitioned.”

     I wish I could say the quote ended there, but he went on to talk about how the issue is no longer “about what man’s in there”, because “we’ve got to turn to God”. If I had to interpret those signs, I would take them to mean that things could get worse. Apocalyptic, maybe.”

     And what this means for our future, both as a nation and globally, was summarized in an article of 2020 by Lois Beckett as written in The Guardian, entitled Scholars warn of collapse of democracy as Trump v Biden election looms: Dozens of experts on fascism warn of global danger, calling for action from ordinary people: ‘It is not too late’; “y is extremely fragile and potentially temporary, requiring vigilance and protection,” the scholars wrote in the letter released on Sunday. “It is not too late to turn the tide.”

     More than 80 signatories, including professors and other scholars at universities in the US, Canada, and Europe, do not agree on whether to label Donald Trump a “fascist”. The fragility of democracy worldwide, they write, will continue to be an issue “irrespective of who wins the American presidency”.

     “Whether Donald J Trump is a fascist, a post-fascist populist, an autocrat or just a bumbling opportunist, the danger to democracy did not arrive with his presidency and goes well beyond 3 November 2020,” the scholars write, referring to election day on Tuesday, when Trump will face Joe Biden at the polls.

     However, the historians warn, particularly in the wake of the coronavirus pandemic, “the temptation to take refuge in a figure of arrogant strength is now greater than ever”. They suggest citizens must be ready not only to defend democracy at the ballot box, but “if necessary, also through non-violent protests in the streets”.

     “That’s the lesson, to not be complacent in moments like this,” said Jennifer Evans, a professor of German history at Carleton University in Canada and one of the lead organizers of the open letter. “This is a very dangerous time, and we all have a responsibility to prop up democracy.”

     Among the many warning signs that democracy is at risk, the historians argue, are the spread of disinformation, inequality, the “politics of internal enemies” and politically motivated violence.

     “We need to reveal and denounce any and all connections between those in power and those vigilante and militia forces using political violence to destabilize our democracies,” the letter urges.

     Evans said she was particularly disturbed by the evidence of “the infiltration of the far right” in police and military organizations around the world, including in the US, Germany, and Canada.

     Signatories to the letter include several authors who have commented on authoritarianism and fascism during Trump’s presidency, including Ruth Ben-Ghiat, a professor at New York University, and Jason Stanley, the author of How Fascism Works.”

    Here follows the letter, How to Keep the Lights On in Democracies: An Open Letter of Concern by Scholars of Authoritarianism: “Regardless of the outcome of the United States’ election, democracy as we know it is already imperiled. However, it is not too late to turn the tide.

     Whether Donald J. Trump is a fascist, a post-fascist populist, an autocrat, or just a bumbling opportunist, the danger to democracy did not arrive with his presidency and goes well beyond November 3rd, 2020.

     While democracy appeared to be flourishing everywhere in the years following the end of the Cold War, today it seems to be withering or in full-scale collapse globally. As scholars of twentieth century authoritarian populism, fascism, and political extremism, we believe that unless we take immediate action, democracy as we know it will continue in its frightening regression, irrespective of who wins the American presidency in early November.

     In contrast to the hollow proclamations of economic and political liberalism’s “inevitable” triumph over authoritarianism in all its iterations, studying the past demonstrates that democracy is extremely fragile and potentially temporary, requiring vigilance and protection. Scholars of race, colonialism, and imperialism have further deepened our perspectives by reminding us of how the myths of national “greatness” were and continue to be written on the backs of largely silenced, marginalized and oftentimes enslaved or unfree, “others.”

     We study the conditions that have historically accompanied the rise of authoritarian and fascistic regimes. In nearly every case, we have observed how profound social, political, and economic disruptions, including the ravages of military conflicts, depressions, and the enormous pressures caused by globalization, deeply shook people’s confidence in democracy’s ability to adequately respond to their plights, or even provide basic forms of long-term security.

     We have seen all of these patterns in our study of the past, and we recognize the signs of a crisis of democracy in today’s world as well. The Covid-19 pandemic has exposed profound inequalities of class and race across the globe. As the last four years have demonstrated, the temptation to take refuge in a figure of arrogant strength is now greater than ever.

     To meet the challenge at hand, there are several things we must do.

     We must boldly and unapologetically safeguard critical thinking based on evidence. This includes demonstrating the virtues of entertaining a wide array of positions and perspectives, and support, both in word and deed, for investigative journalism, science and the humanities, and freedom of the press. We need swift and tangible commitments from corporate media organizations and governments to tackle the dangers of misinformation and media concentration. We must encourage coalitions organized across differences of race, class, gender, religion and caste, while respecting the perspectives and experiences of others. We need to reveal and denounce any and all connections between those in power and those vigilante and militia forces using political violence to destabilize our democracies. Much like the active democratic movements across the globe from Nigeria to India, Belarus to Hong Kong, we must be prepared to defend pluralism and democracy against the growing dangers of communal violence and authoritarianism at the ballot box but, if necessary, also through non-violent protest in the streets. We must defend the integrity of the electoral process and ensure the widest possible voter turnouts, not just in this election but in every election large and small in all of our hometowns. And we must re-commit to a global conversation on support for democratic institutions, laws, and practices both within and between our respective countries. This includes directly confronting the unfettered greed that drives global inequality, which has unleashed geopolitical rivalries over access to resources, international migrations, and collapsed state sovereignties all over the world.

     We need to turn away from the rule by entrenched elites and return to the rule of law. We must replace the politics of “internal enemies” with a politics of adversaries in a healthy, democratic marketplace of ideas. And above else, we need to work together to find ways to keep the light of democracy shining in our countries and all over the world. Because if we don’t, we will indeed face dark days ahead.”

Signed,

Zoltán Ádám | Associate Professor of Economics, Corvinus University of Budapest (Hungary)

Giulia Albanese | Professor of History, Università degli Studi di Padova (Italy)

Anjali Arondekar | Associate Professor of Feminist Studies and Director of the Center for South Asian Studies, University of California-Santa Cruz (United States of America, USA) *

Kai Arzheimer | Professor of Political Science, University of Mainz (Germany) *

Luis Herran Avila | Assistant Professor of History, University of New Mexico (USA)

Jonathan Bach | Professor of Global Studies, The New School for Social Research (USA) *

Luca Baldissara | Associate Professor of History, University of Pisa (Italy)

Shelley Baranowski | Distinguished Professor Emerita of History, University of Akron (USA)

Deborah Barton | Assistant Professor of History, Université de Montréal (Canada)

Michele Battini | Professor of the Intellectual and Political History of Modern Europe, University of Pisa (Italy)

Heike Bauer | Professor of Modern Literature and Cultural History, Birkbeck, University of London (United Kingdom, UK)

Cristina A. Bejan | Adjunct Professor of History, Metropolitan State University of Denver (USA)

Ruth Ben-Ghiat | Professor of History and Italian Studies, New York University (USA)

Waitman Wade Beorn | Senior Lecturer of History, Northumbria University (UK)

Mabel Berezin | Professor of Sociology, Cornell University (USA)

Andrew Stuart Bergerson | Professor of History, University of Missouri-Kansas City (USA)

Anna Berg | Assistant Professor of History, University of Pennsylvania (USA)

Paul Betts | Professor of Modern European History, University of Oxford (UK)

Frank Biess | Professor of History, University of California-San Diego (USA)

Stephen Bittner | Professor of History, Sonoma State University (USA)

James Björk | Reader in Modern European History, King’s College London (UK)

Monica Black | Associate Professor of History, University of Tennessee-Knoxville (USA)

Adam A. Blackler | Assistant Professor of History, University of Wyoming (USA)

Vivian Blaxell | Professor of History and Politics, Marlboro College (USA)

Richard Bodek | Professor of History and Director of European Studies, College of Charleston (USA)

Pascale Rachel Bos | Associate Professor of German Studies, Jewish Studies, Gender Studies, European Studies, University of Texas at Austin (USA)

Marco Bresciani | Research Fellow of Political and Social Sciences, University of Florence (Italy)

Benjamin Brower | Associate Professor of History, University of Texas at Austin (USA)

Christopher R. Browning | Frank Porter Graham Professor Emeritus of History, University of North Carolina at Chapel Hill (USA)

Hubertus Buchstein | Professor of Political Theory, Greifswald University (Germany)

Darcy Buerkle | Associate Professor of History, Smith College (USA)

Renato Camurri | Professor of History, University of Verona (Italy)

Mauro Canali | Professor of Contemporary History, University of Camerino (Italy) *

Raul Carstocea | Lecturer in Modern European History, University of Leicester (UK)

James Casteel | Associate Professor of European, Russian, and Eurasian Studies, Carleton University (Canada)

Laura Cerasi | Associate Professor of History, Ca’ Foscari University of Venice (Italy)

Andrea Chandler | Professor of Political Science, Carleton University (Canada)

Sarah Churchwell | Chair of Public Understanding of the Humanities, School of Advanced Study, University of London (UK)

Howard Chiang | Associate Professor of History, University of California-Davis (USA)

Rebecca Clifford | Associate Professor of History, Swansea University (UK)

Joshua Cole | Professor of History, University of Michigan (USA)

Mark B. Cole | College Associate Lecturer, Cleveland State University (USA)

Tim Cole | Professor of History, University of Bristol (UK)

Paul Corner | Professor of European History, Università di Siena (Italy)

Mark Cornwall | Professor of Modern European History, University of Southampton (UK)

Antonio Costa Pinto | Research Professor at the Institute of Social Sciences, University of Lisbon (Portugal)

Raymond Craib | Professor of History, Cornell University (USA)

Brian E. Crim | Professor of History, University of Lynchburg (USA)

Mikkel Dack | Assistant Professor of History, Rowan University (USA)

Kate Davison | PhD Candidate, University of Melbourne (Australia) *

Carlos De La Torre | Director of the Center for Latin American Studies, University of Florida (USA)

Sandra Mcgee Deutsch | Professor of History, University of Texas at El Paso (USA)

Yoav Di-Capua | Professor of History, University of Texas at Austin (USA)

Audra Diptee | Associate Professor of History, Carleton University (Canada)

Lindsey Dodd | Senior Lecturer in Modern European History, University of Huddersfield (UK)

Elizabeth Drummond | Associate Professor of History, Loyola Marymount University (USA)

Hilary Earl | Professor of Modern European History, Nippissing University (Canada)

Michael Ebner | Associate Professor of History, Syracuse University (USA) *

Sean Eedy | Lecturer in History, Carleton University (Canada)

Greg Eghigian | Professor of History, Pennsylvania State University (USA)

Geoff Eley | Karl Pohrt Distinguished University Professor of Contemporary History and German Studies, University of Michigan (USA)

Catherine Ellis | Associate Professor of History, Ryerson University (Canada)

Andrew Evans | Associate Professor of History, State University of New York at New Paltz (USA)

Jennifer Evans | Professor of History, Carleton University and Member, College of New Scholars, Royal Society of Canada (Canada) *

Christopher Ewing | Assistant Professor of History, Virginia Commonwealth University (USA)

Daniel Fainstein | Dean and Professor of Jewish Studies, Universidad Hebraica (Mexico)

Federico Finchelstein | Professor of History, The New School for Social Research (USA) *

Tiffany N. Florvil | Associate Professor of History, University of New Mexico (USA)

Filippo Focardi | Professor of Contemporary History, Università di Padova (Italy)

Moritz Föllmer | Associate Professor of Modern History, University of Amsterdam (Netherlands)

Claudio Fogu | Associate Professor of History, University of California-Santa Barbara (USA) *

Oz Frankel | Associate Professor of History, The New School for Social Research (USA)

Richard Frankel | Associate Professor of Modern German History, University of Louisiana at Lafayette (USA)

Nancy Fraser | Henry A and Louise Loeb Professor of Political and Social Science, The New School for Social Research (USA)

Jane Freeland | Research Associate, German Historical Institute London (UK)

Norbert Frei | Professor of History, University of Jena (Germany)\

Karin Friedrich | Chair in Early Modern European History, University of Aberdeen and Chair, German History Society (UK)

Maximiliano Fuentes | Professor of History, Universitat de Girona (Spain)

Mary Fulbrook | Professor of German History, University College London (UK)

Valeria Gallimi | Assistant Professor, Università degli Studi di Firenze (Italy)

Diana Garvin | Assistant Professor of Mediterranean Studies, University of Oregon (USA) *

Eagle Glassheim | Professor of History, University of British Columbia (Canada)

Svenja Goltermann | Professor of Modern History, University of Zurich (Switzerland)

Peter Gordon | Amabel B. James Professor of History, Harvard University (USA)

Udi Greenberg | Associate Professor of History, Dartmouth University

Neil Gregor | Professor of Modern European History, University of Southampton (UK)

Brian J Griffith | Eugen and Jacqueline Weber Post-Doctoral Scholar in European History, University of California-Los Angeles (USA) *

Atina Grossmann | Professor of History, The Cooper Union (USA)

Sara F. Hall | Associate Professor of Germanic Studies, University of Illinois-Chicago (USA)

Anna Hájková | Associate Professor of Modern European Continental History, Warwick University (UK)

Shireen Hassim | Canada 150 Research Chair in Gender and African Politics, Carleton University (Canada) *

Dan Healey | Professor of Modern Russian History, University of Oxford (UK)

Valerie Hébert | Associate Professor of History, Lakehead University Orillia (Canada)

Elizabeth Heineman | Professor of History, University of Iowa (USA)

Dagmar Herzog | Distinguished Professor of History, Graduate Center, CUNY (USA)

Benjamin Carter Hett | Professor of History, Hunter College and the Graduate Center, CUNY (USA)

Erin Hochman | Associate Professor of History, Southern Methodist University (USA)

Peter Holquist | Ronald S. Lauder Endowed Term Associate Professor of History, University of Pennsylvania (USA)

Erika Hughes | Academic Lead in Performance, University of Portsmouth (UK)

Samuel Clowes Huneke | Assistant Professor of History, George Mason University (USA)

Stefan Ihrig | Professor of History, University of Haifa (Israel)

Chinnaiah Jangam | Associate Professor of History, Carleton University (Canada)

Martin Jay | Ehrman Professor Emeritus of History at the University of California-Berkeley (USA)

Jennifer Jenkins | Associate Professor of History, University of Toronto (Canada)

Peter Jelavich | Professor of History, Johns Hopkins University (USA)

Rachel Johnston-White | Assistant Professor of European Politics and Society, University of Groningen (Germany)

Sara Jones | Professor of Modern Languages, Birmingham University (UK)

Pieter M. Judson | Professor of History, European University Institute (Italy)

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Gayle Levy | Associate Professor of French and Director of Honours College, University of Missouri-Kansas City (USA)

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Marion Kaplan | Skirball Professor of Modern Jewish History, New York University (USA)

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Melissa Kravetz | Associate Professor of History, Longwood University (USA)

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Eric Kurlander | William R. Kenan Jr. Professor of History, Stetson University (USA)

Dominick LaCapra | Bowmar Professor Emeritus of History, Cornell University (USA)

Paul Lerner | Professor of History, University of Southern California (USA)

Simon Levis Sullam | Associate Professor of History, Ca’ Foscari University of Venice (Italy)

Alison Lewis | Professor of Languages and Linguistics, University of Melbourne (Australia)

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                          References

How a ‘Trump train’ attack on a Biden bus foreshadowed January 6 – and echoed bloody history

https://www.theguardian.com/world/2023/oct/01/trump-train-attack-biden-bus-january-6?CMP=share_btn_link

Democrats cite Ku Klux Klan Act in suits over ‘Trump Train’ Texas bus incident

https://www.theguardian.com/us-news/2021/jun/26/trump-train-texas-bus-lawsuit-kkk-act-democrats

FBI investigating Trump supporters who swarmed Texas campaign bus

https://www.theguardian.com/us-news/2020/nov/01/biden-harris-bus-highway-texas-trump-train

Scholars warn of collapse of democracy as Trump v Biden election looms

Dozens of experts on fascism warn of global danger, calling for action from ordinary people: ‘It is not too late’

https://www.theguardian.com/world/2020/nov/01/democracy-fascism-global-trump-biden-election

A ‘Trump Train’ convoy surrounded a Biden-Harris bus. Was it political violence?

https://apnews.com/article/texas-trump-train-trial-ff999a0289a0f5d98d23539c390e274d

How to Keep the Lights On in Democracy

http://newfascismsyllabus.com/news-and-announcements/an-open-letter-of-concern-by-scholars-of-authoritarianism/

October 29 2024 On Fear as the Basis of Exchange and the Terror of Our Nothingness as the Forge of Our Humanity: the Case of Lovecraft

     Who is this Absurd fellow Lovecraft, with his gorgeous phraseology and peculiar allegiance to British rather than American English, his Surreal strangeness, bizarre Sadeian transgression, Freudian horror, and poetics of fear?

     The Lovecraft Mythos remains an iconic study in fear as the organizing principle of an invented mythology of Absurdist Nihilism; it also reveals how we use fear to shape ourselves and others. What are its methods and purposes in Lovecraft, and in horror literature in general? Why do we need fear as an instrument of identity creation?

     Above all in this age of political polarization and historical culture and identity as a ground of struggle, how are we to understand him?

     Is he a fascist? Nowhere in literature will you find a more useful case study of fascist psychology, and in nonfiction only the book I discovered while a senior in high school in the wake of studies of Holocaust literature and Jerzy Kosinski’s The Painted Bird, which led me to a lifelong study of the origins of evil through the intersections of literature, history, psychology, and philosophy, a multidisciplinary analysis of Hitler entitled The Psychopathic God by Robert G.L. Waite, is more illuminating.  

     Lovecraft is a conflicted author who mocked Hitler as a clown but also admired his performances as a hybrid form of Artaud’s Theatre of Cruelty and Pirandello’s Theatre of the Grotesque; many Americans thought of Trump in this way as parallel figures of public spectacle. Hitler’s famous maxim “Politics is the new art” marks the turning point of an unknown artist into a monstrous tyrant, and of our civilization to an age of darkness. From this moment on, image has replaced content and public life has been a nihilistic theatrical performance wherein values are irrelevant.

     Lovecraft’s paranoid delusions of alien conspiracies and ancient cults can be read as antisemitic allegories derived from propaganda like the Protocols of the Elders of Zion of which Umberto Eco wrote so beautifully in Prague Cemetery, but for the fact that he was a madman who believed them to be literally true; humanity is a tenuous and illusory quality for Lovecraft, whose world is filled with monsters wearing human masks who might reveal themselves at any moment, a precarious reality under constant threat.

      His only known romantic relationship was his brief marriage to a Jewish woman, to whom he incessantly muttered dark imprecations, poisonous metacommentary, and racist characterizations about virtually everyone they passed on the streets of New York as monsters from his stories in disguise, as he did in his hundred thousand letters to his literary proteges.    

     He is not a fascist, which requires submission to authority and the abandonment of all meaning other than power and all value other than wealth. Fascism weaponizes overwhelming and generalized fear in service to power and operates as tyranny; Lovecraft’s work is filled with elite hierarchies of membership and exclusionary otherness as images and figures which may be read as racist, and he shares many of the obsessions of fascism, but nowhere does he long for authority or imposed meaning; instead he signposts and calls it out as cruelty without meaning or value, and his narratives are driven by existential dread and terror of authority.

     His is a poetics of rebellion and nihilism like that of Camus in a universe wherein the gods are not merely dead as in Nietzsche’s reimagination of the problem of the Deus Absconditus, the god who bound us to his laws and abandoned us, Thus Spake Zarathustra, but are actively hostile to humankind, mad idiot superbeings whose motives are utterly alien and predatory, who created humankind as slaves and food, a radical nihilistic atheism like that of late Samuel Beckett which has its political form as anarchy. The Anarchist slogan of the Industrial Workers of the World, “No gods, no masters”, coined by the socialist Louis Auguste Blanqui in 1880 and popularized by Joseph Conrad’s novel The Secret Agent in 1907, might have been written for him.

     Is he a racist? Yes and no, as we may say of fellow Surrealists Djuna Barnes and Louis-Ferdinand Céline. His fears of otherness, miscegenation, contamination, devolution to an animal state, and of the monstrosity of others is often expressed in racist terms, but he neither begins nor ends with unselfcritical racism. It remains ambiguous whether he is calling it out or employing such tropes to advance his themes; the first interpretation ascribes intentionality and self awareness which is unprovable but aligns with his themes, the second miscasts him as a Warhol like mocker of expectations whose images are deliberately discontiguous and unaligned, or a fabulist without a cause which he was not.

      He was instead a profoundly wounded and savaged soul who fears his own monstrosity most of all, and this is why he is useful to us. In the literature of madness only the works of Akutagawa and Philip K. Dick are true equals, both authors who like Lovecraft were fighting a losing battle against madness, and aware of the degeneration of their skill and artistic control. We may say of him as Renfield says of himself in Dracula; “I’m not a mad man. I’m a sane man fighting for my soul.”

     Why should we read Lovecraft now?

      Like the Hanging of the Maids in Homer’s Ulysses, the inspiration for Margaret Atwood’s The Penelopiad, his writing becomes meaningful for us when it is relevant to problems we face in our own lives, and literature is useful when it helps us solve problems of adaptation and change, such as confronting and interrogating implicit privilege as patriarchy and racism. What else is literature for? Purge it of its power to disturb, incite, and provoke, and it becomes meaningless and worthless.

     The tragic flaw of Lovecraft is also that of our civilization; a blindness to our own privilege and a failure to embrace our monstrosity and otherness. Such lines of fracture can be read in our borders with their concentration camps of migrants and our prisons whose purpose is the re-enslavement of Black people as contract forced labor, in our wars of ethnic cleansing in partnership with the state of Israel as a proxy of imperial conquest and sectarian division through it Apartheid policies and the Occupation of Palestine which give the lie to our claims of universal human rights, and in our democracy which has been infiltrated and subverted by fascists and transformed into a carceral state of imperial force and control, though the casting out of Our Clown of Terror, Traitor Trump, and the subsequent Restoration of America has begun a counterforce of democracy to fascist tyranny.

     We must claim our monstrosity, and say of this secret twin who knows no limits and is free as Prospero says of Caliban in Act V, Scene 1 of William Shakespeare ’s The Tempest; “This thing of darkness I acknowledge mine.”

     As written by Octave Mirbeau in The Torture Garden; “Monsters, monsters! But there are no monsters! What you call monsters are superior forms, or forms beyond your understanding. Aren’t the gods monsters? Isn’t a man of genius a monster, like a tiger or a spider, like all individuals who live beyond social lies, in the dazzling and divine immortality of things? Why, I too then-am a monster!”

     Any serious scholarship of Lovecraft begins with Michel Houellebecq’s stunning debut and manifesto, H. P. Lovecraft: Against the World, Against Life, whose chapter titles suggest the ars poetica of Lovecraft; “Attack the story like a radiant suicide, utter the great NO to life without weakness. Then you will see a magnificent cathedral, and your senses, vectors of unutterable derangement, will map out an integral delirium that will be lost in the unnamable architecture of time”.

     Next comes the definitive biography I Am Providence: The Life and Times of H. P. Lovecraft, Volumes 1 & 2, by S.T. Joshi, Joshi’s An H. P. Lovecraft Encyclopedia, and the volumes he edited in the Black Wings series of Lovecraftian horror anthologies. Finally there is Thomas Ligotti’s manifesto The Conspiracy against the Human Race, and his darkly luminous fictions.

     How has the influence of Lovecraft shaped me as an informing and motivating source, what are my origins in successorship from him, and what is our relationship now?

         As I wrote in my post of June 15 2025, Gods of My Father: Father’s Day Act Two; Let us claim and embrace our monstrosity, the wildness of nature and the wildness of ourselves: the Beast as Nietzsche’s Toad;

    Here is a nested set of puzzles like the evils of Pandora’s Box or gateways to otherness opened by Clive Barker’s Lament Configuration, bearing wonders and terrors in equal measure, and we can never grow wise enough to truly say which is which.

      Can we open the secrets of human being, meaning, and value without angels and demons, potentialities of darkness and light, reflections of each other, escaping together into our lives?

   How can we explore the numinous within us, unless we embrace both dimensions of our wholeness? All true art exalts and defiles.

    Herein I look to the figure of the werewolf in Burrough’s novel The Wild Boys as controlling metaphor of our wildness as beings of nature, and like nature anarchic, chaotic, and utterly free. In a universe without meaning other than that which we ourselves create, the terror of our nothingness is balanced with the joy of total freedom.

   The Wild Boys envisions feral youths in rebellion against the Authority that created them, a dystopian future in which man’s animal nature has been  betrayed by civilization through systems of Control but which also has the power to redeem and liberate us, the final part of Burroughs’ Anarchist Trilogy which extends his recurrent theme of werewolves as symbolic of our essential wildness and unconquerable nature, an extension of Rousseau’s Natural Man  and a type of Nietzschean Superman; beyond good and evil.

     He did claim to be possessed by the Toad as a chthonic spirit, identical with Nietzsche’s Toad which the author of Thus Spake Zarathustra, a novel I later adopted as a counter-text to the Bible, feared he must swallow as a symbol of our animal nature. Burroughs claimed to be Nietzsche’s successor on this basis, as avatar and priest of all that is reviled, disgusting, loathsome and bestial within us, which he identified with Lovecraft’s Tsathoggua and transferred to me as a successor and avatar.

      As I never conceptualized or ascribed negative qualities to my own shadow self, this containing nothing which is not me, I experienced this simply as a seizure of power as an avatar and not as possession by a malign entity; exactly as practiced in Voodoo and in the Shaivite-Tantric cult of the Bhairav as I explored it in Nepal during my time as a monk and Dream Navigator of the Vajrayana Kagu order of Tibetan Buddhism. For myself, from childhood and in a family utterly free from the consequences of Freud’s father as lawgiver or from Abrahamic ideas of God as Authority, I imagined nature as truth and freedom, and nothing to be feared. 

     The magic Burroughs and my father practiced was based equally on his friend Bataille’s cult of Nietzsche called Acephale, the mythos of his model H.P. Lovecraft, and elements of shamanism, traditional ritual magic from grimoires, and the occultism of Aleister Crowley. A decade and more later, Burroughs would be claimed by admirers as a founder of Chaos Magic, and his host of invented literary methods designed to destroy systems of control represented an ars poetica which was also a personal faith, including the cut-up method, playback, dreams, out of body travel, mandalas and gates to alternate realities, ecstatic trance and vision, curses, demonology, tarot; I still have the deck of tarot cards he gave me and taught me to use. To this my father brought the family Voodoo, werewolf mythology, ancestral history interwoven with versions of Grimm’s fairytales, and his brilliance as a theatre director; he directed some of Edward Albee’s plays, and I grew up from the age of four listening to them discuss drama during rehearsals from a center front seat in the theatre, which often interrogated Albee’s direct influences and references among his fellow Absurdists Samuel Beckett, Eugene Ionesco, and Harold Pinter, but included sources in Fyodor Dostoevsky, Nikolai Gogol, Franz Kafka, Antonin Artaud, and Eugene Ionesco.

      As Burroughs wrote The Wild Boys during the period of his visits, I have often wondered how much of it was drawn from my father’s ideas and the claim of our family history that we are not human but werewolves, and had been driven out of Europe for that reason; Martin Luther referred to my ancestors as  Drachensbraute, Brides of the Dragon, and we were driven out of Bavaria in 1586 at the beginning of a forty-four year period of witchcraft persecutions. He was writing it during the Stonewall Riots, which may be a more direct context as a fictionalization of the witness of history. Like much of his fiction, it is also filled with episodes both historical and imagined and set in mirror worlds of exotic locations like Mexico and Morocco transformed as Orientalist fantasies or gateways to underworld realms.

     When I asked him, at the age of ten or so, if I was in his book and what he was writing about, he said; “Freedom, nature as truth and civilization as addiction to wealth and power and theft of the soul, and how our pasts get mixed up with our futures.”

     The Wild Boys reimagines The Egyptian Book of the Dead, of which fellow Surrealist and poet Philip Lamantia was a scholar and a source for Burroughs, also the subject of his final novel The Western Lands as is its direct model H. P. Lovecraft’s The Dream Quest of Unknown Kadath, references Octave Mirbeau, Bataille, Genet, and extends de Sade and Rousseau’s ideal of the natural man as uncorrupted by civilization and unlimited by its boundaries, as truths immanent in nature and written in our flesh, in a reversal of Freud’s ideology of civilization as restraint or binding and limit of our nature which he called libido control. David Bowie created his character of Ziggy Stardust based on The Wild Boys; wildness as nature and freedom here mingle and intertwine.

     All the works of William S. Burroughs are masterpieces of anarchist liberation and transgression, Surrealism and occult mysticism, even if difficult because they are told in collages of random and nonlinear episodes which he described as vaudeville turns, with an iconography that is bizarre and obscene. In spite and possibly because of this, they remain among the great classics of world literature, revealing endless chasms of darkness and infinite possibilities of rapture and illumination.

     All true art defiles and exalts.

    Go ahead; swallow the toad.

     The Toad is summoned by performance of that which is loathsome to you; as embodiment of disgust, horror, degradation, and what Freud called the Uncanny. Jung described possession by the Shadow as a theriomorphic figure, the Beast, as “A manifestation of the Beast Within which seizes the soul with nameless shuddering; in that moment one becomes transformed and exalted six thousand feet beyond good and evil.”

     It is a type of the Guardian of the Gates of Dreams who must be eaten to transform it into a Guide and ally or protector in underworld journeys. In the Dreaming one may assume its two Battle Forms, the Grendel-like water dragon and the chiropteran raptor as depicted in the film Dracula, and as a chthonic figure of underworld illumination confers powers of insight into others secret desires similar to Lucifer’s power in the Netflix series which fictionalizes the great question of Lacan, What do you desire?, as well as the ability to enter the dreams of others as does Freddy Kruger in the Nightmare films based so faithfully on the cult of the Bhairav in Tibetan Buddhist-Shaivite Tantric faith. I discovered much parallelism between the magic of my childhood and that of the Vajrayana Buddhist Kagyu order of monks in Kathmandu of which I was once a Dream Navigator.

     Burroughs had a whole pantheon and system of magic worked out from Lovecraft and Crowley, but that is a different story. What I find interesting is that like Crowley’s mirror image angels and demons who are really the same being, Burroughs’ reimagination of Lovecraft’s mythos has his Others as both good and evil, like wrathful and beneficent aspects of Tibetan gods.

     In the end all that matters is what you do with your fear, and how you use your power.

     Why is Lovecraft relevant to us now?

    H.P. Lovecraft investigates the failure of our civilization to protect us from our animal nature, the shadow which grants us depth and limitless passion; the purpose of our invention of civilization according to Camille Paglia’s magisterial Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson.

     His writing is filled with images and themes which have been misread as racist, but his intent is the reverse; to name and disempower the forces which destroyed civilization in World War One as fear of otherness, exactly as did his model T.S. Eliot. Together with Vladimir Nabokov, they are the greatest, and perhaps the last, of our true conservatives.

     But this, too, is ambiguous, for he is equally a revolutionary; Lovecraft’s vision of Western civilization is that of a colony of ants mining the waning power of a dead god’s carcass, a horror without purpose. He shares the critique of Idealism with Eliot, Nabokov, and especially Thomas Mann in Death in Venice, but also of traditional society as structural and systemic tyranny and authoritarian force and control with his fellow Absurdists and Surrealists, to some degree of normality as a basis of the power of church and state with de Sade as a literary provocateur and the valorization of transgression as liberation from the tyranny of other people’s ideas of virtue, and above all of formal power itself with the great visionary for whom he was a direct model with Genet and Bataille, William S. Burroughs.

      Burroughs’ conspiracy of Venusian insects to conquer humankind through drug addiction as a metaphor of capitalism, summarized in his formulation of Marxism as The Algebra of Need, is an appropriation of Lovecraft. The master and his disciple were also both serious scholars of the occult obsessed with dark magic, who saw in mysticism a tradition of counterculture and dissent, as with the martyrdom of the Templars and Jacques DeMolay.

     Anyone who has read my literary criticism or my political commentary will be aware that I despise and abjure fascism above all else. Why, then, do I love and admire conservative authors as a treasure, and acclaim any quixotic defense of Idealism against the onslaught of atavistic barbarism and dehumanized modernity?

     Let me clarify; fascism is an intrusive force of destruction and no part of the Western Civilization which I champion, born as self-criticism in the Forum of Athens. Conservatism in America or indeed any free nation founded on the values of the Enlightenment begins with a free society of equals, a secular state, objective and testable truth, and a system of justice which is impartial to class, race, or gender, founded on the Rights of Man, scientific rationalism, and Humanism.

     Any philosophy of totalitarian authority which centralizes power to a state of force and control, either monarchist-aristocratic, communist, or fascist, is anathema to myself and to democracy and freedom. I am an American and a bearer of the Torch of Liberty. This is why I am on the side of rebellion, revolution, anarchy, chaos, and the frightening of the horses.

    Regarding the themes of existential dread of otherness and the terror of alien civilizations, of being overrun by a zombie apocalypse of mindless cannibal brutes which has always been a metaphor of nonwhite immigration, H.P. Lovecraft explored this territory of fear as a cause of the collapse of our civilization. He interrogates rather than valorizes the causes of monarchy and fascism as forms of colonial imperialism.

     Lovecraft asked a simple question; what happens to humankind and to human being, meaning, and value without Freudian control of our animal instinctive nature? Throughout his works he recapitulates and extends Nietzsche’s thesis in The Philosophy of Right and the State, an anarchist critique of state power based on a legal reformulation of the Doctrine of Original Sin; that without the restraining force of law man devolves into a subhuman condition and the most ruthless and amoral wins and becomes king, originally formulated to limit the divine right of kings and crucial to the Enlightenment project and the birth of modern secular democracy.

    Measure for Measure, Shakespeare’s savage morality play which examines concepts of state power, justice, and the theology of the depravity of man on which our legal system is founded, is luminous with Kafka-esque Absurdism and Freudian horror.

     Here are Lovecraft’s primary sources and references; Shakespeare and classical Greek theatre which are common sources, Nietzsche, and Freud. What he did with them, however, was utterly unique and a luminous work of genius which interrogated the failure and collapse of our civilization in World War One from its internal contradictions and forged from his vision an ars poetica of Absurdist-Surrealist Nihilism which prefigured Existentialism.

     This line of transmission originates with Dostoevsky and Gogol, was codified by Kafka, and finds realization in Samuel Beckett, Antonin Artaud, Kobo Abe, and Thomas Ligotti as Absurdist Nihilism and in William S. Burroughs, Jorge Borges, Philip K. Dick, Haruki Murakami, Andre Breton, Philip Lamantia, Allen Ginsburg, Jonathan Carroll, Jeff Vander Meer, and others as Surrealism.

     It is his Surrealism for which I love him; Lovecraft’s principal stories form an

Initiation cycle of Jungian shadow work and the confrontation with ones own darkness as the Other, like Djuna Barnes’ Nightwood or Rene Daumal’s Mount Analogue, culminating in his reimagination of the Egyptian Book of the Dead in The Dream Quest of Unknown Kadath, William S. Burrough’s model for his own final masterwork The Western Lands. Fellow Surrealist Vladimir Nabokov articulated the principles of poetic vision and dreams as transcendent imaginal journeys through time and other dimensions to seize control of our own evolution in his great novel Ada, Jung models them in the Red Book, and Philip K. Dick was consumed by them, but Surrealism as a transhumanist project to become a god or to unite with the Infinite draws on myriads of esoteric, mythic, occult, and mystery traditions, many of which inform Lovecraft’s work. Like Mozart’s The Magic Flute, Lovecraft can be read as a summa theologica and codex of the whole Western mystery tradition.

     Like his models and sources, Dostoevsky’s The Idiot and The Brothers Karamazov, Gogol’s Dead Souls, Shakespeare’s The Tempest, and Nietzsche’s Thus Spake Zarathustra, and those for whom he became a model and reference in turn, Jung, Nabokov, Burroughs, Lamantia, and Philip K. Dick, and aligned with the works of Akutagawa in Kappa, Leonora Carrington, Djuna Barnes, and Jerzy Kosinski in The Painted Bird, the works of Lovecraft are also a therapy journal which documents his struggles with madness.

     Like Baudelaire he realizes it is the world and not himself who is mad; but he is also mad, and his great works chart the course of his degeneration and unmooring from consensus reality which was also a liberation of the spirit and of the imagination, a madness and rapture which transformed him into an angelic figure, combining in one being illumination and darkness, depravity and exaltation.

     All true art defiles and exalts.

      As a figure of Orpheus and Milton’s Rebel Angel Lovecraft struggled to escape the limits of the human and the legacies of his history, his madness a consequence of unresolved internal conflicts and the massive trauma of being an emotionally abandoned child whose parents both died of madness in an asylum, a madness which he shared and feared he could not escape, which made strange his vision as a unique genius but also marked him with a sign of otherness, robbed him of self control and reason at times and crippled his ability to bond or even socialize in person with others, making him a reclusive hermit without sexual interest of any kind.

    Lovecraft bore the wound of the Fisher King in Sir Gawain and the Green Knight; he married at age 34 having never even kissed anyone before, and his wife remarked that she had to initiate sex as he was uninterested; the failure of their marriage is unmysterious in this light. This and lack of interest in eating which may have been attempts to starve himself to death and resulted in his Nosferatu-like gauntness make me suspect that he was a survivor of childhood sexual abuse, who hated his body and feared his desires. He may also have been held prisoner in isolation during his formative years, under the strict regime of his mother and female guardians, and the tortures he survived are described in symbolic and allegorical form in his works.

     Here is a great secret of the mechanism of unequal power as epigenetic and multigenerational trauma and internalized oppression; the son is shaped and deployed as the vengeance of the mother, and the victim by the abuser who is a tyrant and also a survivor of powerlessness and victimhood, and so the system of oppression perpetuates itself. Patriarchy and racism are persistent because they create some of us as monsters with which to subjugate the rest of us.

     Lovecraft suffered from what I call Dr Moreau syndrome, fear of devolution to an animal state; also of ones own animal nature, like the Toad Nietzsche feared he must swallow and could not and which William S. Burroughs gloried in being possessed by, which he claimed as a lineage and as the successor of Nietzsche. 

     This coupled with the xenophobic fear of being overwhelmed by representations of parental authority as an ancient and superior civilization which renders our own insignificant, and robs us of culture as a control mechanism of our id or shadow self. Hence the existential horror of the Western scholar confronted by elder and superior alien civilizations such as Eqypt, as in the Randolph Carter stories which were brilliantly reimagined in The Mummy films starring Brendan Fraser and Rachel Weisz.

     As regards his style; Lovecraft extends Antonin Artaud’s Theatre of Cruelty and like his model Burroughs reimagines the nihilism and transgressive eroticism of Georges Bataille as Surrealism harnessed to the project of Romantic Idealism; to paraphrase the words of Ahab in Melville’s Moby Dick, to break through the mask of our material existence and seize the Reality it conceals. That the quest of Ahab was also his is quite evident; “to the end I shall grapple with thee, from Hell’s heart I strike at thee; for hate’s sake I spit my last breath at thee” as Ahab declaims to the White Whale, figure of authoritarian tyranny who stands in for God and for his abusers. Whether he was able through his stories to leave us a map of the journey to the unknowns which lie beyond the boundaries of the Forbidden is another matter, proven only in the doing.

     As to the stylistics of his rhetoric and ars poetica, Lovecraft has lost his adjectives, which are running amok and taunting their substantives. His howls of desolation are a cause of great merriment among the several grammars he employs, and this is the only thing on which they are in agreement.

     His words are formed of scrabble pieces, randomized by being shaken in a dice cup in a game against the gods of madness and the ravening dark, the future of our emerging humanity wagered against the barbarism of our past.

    What can be saved, and what dreamed anew? For the stately pleasure dome of Xanadu is once again revealed as an illusion, a palace of memories and lies which in their dance of chaos cannot be limited by their classification and taxonomies of value, but frangible and hollow do betray us.

    Mirrors and false images which capture, distort, and falsify us, a wilderness of lost meanings which steal our souls, sound and fury signifying nothing but which seizes and shakes us with the terror of our nothingness like a rag doll in a lion’s mouth, and the signifying monkey who lives at the Buddha’s foot to denote the inherent animal nature of all humankind as a theriomorphic representation has harnessed and is riding him like a pony.

    Sometimes our demons must be let out to dance. 

     What can we learn from Lovecraft now?

     One’s interpretation of a universe empty of meaning and value except for that which we ourselves create, a Nietzschean cosmos of dethroned gods as explored by Sartre or a Lovecraftian one, referential to classical sources which include Goya’s Saturn Devouring His Children, of mad, idiot gods who are also malign and hostile to humanity, rests with our solution to the paradox of Pandora’s Box; is hope a gift, or the most terrible of evils?

     Hope is a two- edged sword; it frees us and opens limitless possibilities, but in severing the bonds of history also steals from us our anchorages and disempowers the treasures of our past as shaping forces. Hope directs us toward a conservative project of finding new gods to replace the fallen, of gathering up and reconstructing our traditions as a precondition of faith as did T.S. Eliot. This is why the abandonment of hope is vital to Sartrean authenticity and to the rebellion of Camus; we must have no gods and no masters before we are free to own ourselves. The gates of Dante’s Hell, which bears the legend “Abandon hope, all ye who enter here,” lead to ourselves and to our own liberation. Hope in this context is subjugation to authority.

     Let us embrace the Hell of total freedom, for nothing is there which does not live within us. “No gods, no masters” as Auguste Blanqui described it in the title of his newspaper in 1880.

      The terror of our nothingness, meaninglessness, and powerlessness in a hostile universe wherein the gods are mad and depraved monsters, a universe empty of imposed meaning or value, may also become the joy of total freedom, autonomy, authenticity, self-ownership and self-creation, as it was for Sartre; a universe in which the mould of man is broken and we are utterly without authorized identities.

      Freedom can be terrible as well as wonderful. Among the most impactful stories I ever heard from my mother was how she went to the grocery store after my father died and experienced a full stop lightningbolt Awakening, thinking, “What do I want? I know what my husband wanted, what my children want, but I don’t know what I want.”

     It is in this moment in which we claim our nothingness that we free ourselves of all claims upon us, a transformative rebirth in which we become self-created beings.

    Now imagine humanity after civilization destroyed itself twice in the last century’s world wars facing that same awakening to freedom and to loss, wherein our old values have betrayed us and must be forged anew, and we are bereft of signposts in an undiscovered country, exactly the same as a widow on her first trip shopping for dinner for no one but herself.

     Our responses to this awakening to possibilities tend to correspond with one of the primary shaping forces of historical civilization; the conserving force as exemplified by T.S. Eliot, Thomas Mann, Vladimir Nabokov, and Flannery O’Connor, and the revolutionary force as exemplified by Gertrude Stein, James Joyce, Jean Paul Sartre, and Samuel Beckett.

     Everyone possesses and uses both forces just as all organisms do in terms of their evolution. The function of conservatism is to buffer order from the shock of the new and withstand stresses and changing conditions without losing ourselves or undergoing morphogenic change, the loss of identity, or ruptures to our prochronism, the history of our successful adaptations and strategies of survival as expressed in our form, the loss of our culture and traditions. The function of revolution and innovation is to capitalize on chaos as adaptive potential and to transform, create, and discover new forms, meanings, and values.

      For both nations and persons, the process of identity formation is the same. We all have one problem in common as we grow up; each of us must reinvent how to be human. This individuation is controlled by a second or historical principle; humans create themselves over time, and a third or social principle; humans create each other through their interdependence. And this tertiary principle, which concerns our interconnectedness and social frames, can produce conflicts with the secondary principle of memory and history. Much of our sorrows originate in the conflicts between the flaws of our humanity and the brokenness of the world, nature and nurture, the historical and social informing, motivating, and shaping forces of identity.

     This is the first revolution in which we all must fight; the struggle for ownership and control of identity or persona, a term derived from the masks of Greek theatre, between the masks that others make for us and the ones we make for ourselves.

      Is Lovecraft such a figure of heroic struggle against authority, like Icarus, Milton’s Rebel Angel, or Victor Frankenstein, fallen but great, a tragic bearer of the Torch of Liberty?

     Great authors are a Rashomon Gate of relative truths, which like the fragmented images of the Hobgoblin’s Broken Mirror in Anderson’s Snow Queen reflect and reveal aspects of ourselves and come alive in their readers; which Lovecraft shall I describe?

    The poet of chaos whom I adore, of madness and the existential terror of our nothingness in a universe of dethroned authority, a visionary and tragic hero?

     The survivor of abandonment and abuse who forged beauty from their trauma, a flawed and very human man whose fear of otherness was expressed in allegories of dysmorphia, dehumanization, and degradation which are horrifically filled with racist figures and images and can be read as illuminating case studies of fear and of the dyadic origins of evil in overwhelming and generalized fear weaponized by authority in service to power and the systemic inequalities of power and privilege in hierarchies of elite belonging and otherness?

     Lovecraft understood the principle of dancing ones demons; the monstrous figures he describes as shuggoths can be read as racist metaphors, but are also unflinching descriptions of actual childhood night terrors, manifestations of sexual abuse, which invaded his dreams and his flesh to “tickle” him awake. It is this relentless engagement with his fear and darkness, with the legacies of his victimization, this willingness to see the abominable and not look away, and to witness the truth as an author, like Camus to refuse to submit, which makes him useful to us and places his work among the literature of madness and therapy journals, with Ryunosuke Akutagawa, Leonora Carrington, Fyodor Dostoevsky, Nikolai Gogol, Jerzy Kosinski, Philip K. Dick, and Kathy Acker. Foucault called this truth telling, and this parrhesia as a sacred calling to pursue the truth as a witness of history, which I claim as my faith, lies at the heart of Lovecraft’s bizarre invented mythos.

      How does this help us forge our future as antifascists and antiracists, citizens of a free society of equals and bearers of the Torch of Liberty?   

      We must speak directly to that fear which is the origin of evil; to the flaws of our humanity and the brokenness of the world, and we do this best by bearing sacred wounds which open us to the pain of others. How can we engage in liberation struggle from systems of oppression if we cannot embrace our own darkness?

     In the words of Karl Popper; “No rational argument will have a rational effect on a man who does not wish to adopt a rational attitude.” Let us embrace instead the irrational, our Shakespearean taxonomies of passion as motive forces, of rapture and terror, in the great work of reimagination and transformation of humankind and our limitless possibilities of becoming human.

      We may say of Lovecraft what is said of Vincent Van Gogh in Doctor Who; “He transformed the pain of his tormented life into ecstatic beauty. Pain is easy to portray, but to use your passion and pain to portray the ecstasy and joy and magnificence of the world; no one had ever done it before, perhaps no one will ever do it again. To my mind, that strange, wild man was not only among the world’s greatest artists, but also one of the greatest men who ever lived.”

     What is greatness? What does it mean to be a great author or creative genius of any kind, a great human being, in this or any time?

     For myself, greatness does not require us to overcome the limits of our histories, only to engage them in authentic struggle. Like Jacob wrestling the angel, everything in life is more powerful than we are; victory lies not in defeating the forces which shape us, but in refusal to submit to them, and in reaching beyond our limits. And in this Lovecraft emerges as a tragic hero, who can teach us how to struggle with our own darkness in our journey toward becoming human.

     From the darkness of the unknown and the Forbidden, our demons call to us with siren songs which echo and thunder among limitless chasms of our possibilities, and whisper secrets in our dreams; and they say, Come dance with us.

     Come dance with us.

The Lighthouse

The Mummy

H.P. Lovecraft: Against the World, Against Life, Michel Houellebecq, Stephen King (Introduction)

https://www.goodreads.com/book/show/58374.H_P_Lovecraft?ref=nav_sb_ss_1_48

The Dream World of H. P. Lovecraft: His Life, His Demons, His Universe,

Donald Tyson

https://www.goodreads.com/book/show/8507285-the-dream-world-of-h-p-lovecraft

Stranger Things ALL Trailers Season 1-3

Lovecraft Country, the HBO series

https://www.hbo.com/lovecraft-country

The Call Of Cthulhu 2005 Trailer

Jacob’s Ladder (1990) ORIGINAL TRAILER

In the Mouth of Madness (1994)

A Cure for Wellness (2016)

Uzumaki 2000 (spiral) full movie Eng sub

Dagon

Dr Who: Vincent Van Gogh Visits the Gallery

I Am Providence #1-2

I Am Providence: The Life and Times of H. P. Lovecraft, S.T. Joshi

https://www.goodreads.com/book/show/8592032-i-am-providence

The Conspiracy Against the Human Race, Thomas Ligotti

Grimoire of the Necronomicon, Donald Tyson

https://www.goodreads.com/book/show/2575411-grimoire-of-the-necronomicon

The 13 Gates of the Necronomicon: A Workbook of Magic,

Donald Tyson

https://www.goodreads.com/book/show/7500736-the-13-gates-of-the-necronomicon

The Dark Lord: H.P. Lovecraft, Kenneth Grant, and the Typhonian Tradition in Magic, Peter Levenda

The Magical Universe of William S. Burroughs, Matthew Levi Stevens

The Magical Universe of William S. Burroughs, by Matthew Levi Stevens (article written before his book)

https://realitysandwich.com/magical_universe_william_s_burroughs/

The Wild Boys: A Book of the Dead, by William S. Burroughs

https://ghoulishmedia.com/the-lighthouse-lovecraft-at-its-roots/

https://www.vox.com/culture/21363945/hp-lovecraft-racism-examples-explained-what-is-lovecraftian-weird-fiction

https://lareviewofbooks.org/article/revising-lovecraft-the-mutant-mythos/

https://www.theatlantic.com/entertainment/archive/2015/08/hp-lovecraft-125/401471/

https://www.theguardian.com/books/2014/aug/20/ten-things-you-should-know-about-hp-lovecraft

https://www.theguardian.com/books/2013/jun/03/hp-lovecraft-writer-out-time

http://users.clas.ufl.edu/burt/touchyfeelingsmaliciousobjects/Kristevapowersofhorrorabjection.pdf

Meeting the Shadow: The Hidden Power of the Dark Side of Human Nature, Connie Zweig (Editor), Jeremiah Abrams (Editor) https://www.goodreads.com/book/show/182155.Meeting_the_Shadow?ac=1&from_search=true&qid=9BCXrmO9Hl&rank=1

 No Go the Bogeyman: Scaring, Lulling, and Making Mock, Marina Warner

The Magicians: Fear, Power, Force, the Origins of Evil and the Carceral State as Embodied Violence

The Psychopathic God, Robert G.L. Waite

October 28 2025 Our Monsters, Ourselves: Frankenstein and the Monstrosity of God

     Our monsters, ourselves; genius, madness, inspiration, the quest to become as gods; who among us has not longed to steal the divine fire, to look beyond ourselves, to defy all limits and laws? To be, even for a moment, the unconquered Victor Frankenstein?

     Yet as Prospero said of Caliban, we must also say of Frankenstein’s monster; “This thing of darkness I acknowledge mine.”

     Guillermo del Toro’s beautiful and monstrous film Frankenstein, ravishing in the Olympian vistas of its exaltation and awesome in the depths of its defilement, especially in IMAX, has been wonderfully interrogated in iHorror.com by Kirsten Saylor; “Few filmmakers working today love monsters the way Guillermo del Toro does. He doesn’t fear them, pity them, or try to redeem them — he loves them. In every film, from Pan’s Labyrinth to Crimson Peak, del Toro builds worlds that are achingly, hauntingly beautiful, but never hollow. His images shimmer with the sacred and the grotesque in equal measure. Beneath the intricate design and painterly light, there’s always a pulse, something human and hurting. Frankenstein is no exception; in fact, it might be his most personal act of devotion yet.

     Frankenstein feels less like a film and more like a cathedral built from grief, stitched together by tenderness, and set ablaze by the unbearable need to be seen. From its first moments, it’s clear that del Toro isn’t just adapting Mary Shelley’s story, but rather communing with it, holding it in his hands like something precious and fragile and terribly real.

     Every frame of this film is a testament to his love of monsters as beings of astonishing beauty and complexity. Del Toro doesn’t shy away from the grotesque, but revels in it. The stitched flesh, the scars, the twitching muscles of the Creature are horrific, yes, but they are also achingly human, imbued with curiosity, frustration, and an almost spiritual longing. In del Toro’s hands, horror becomes reverence. Each shadow, each artfully draped cloth, each flicker of candlelight communicates devotion to the story, to the world, to the very idea of what it means to be alive.

     The Romantic poet John Keats, in an 1820 letter to his dear friend Charles Brown, says, “Is there another life? Shall I awake and find all this a dream? There must be, we cannot be created for this sort of suffering,” and those words feel as though they were written for this Creature, for Frankenstein, for the audience watching as a man wrests life from death and death from life. Del Toro’s camera lingers on these details not as spectacle, but as sermon: suffering is real, beauty is real, and in the intertwining of both, the film’s heart beats strongest.

     Setting the Stage of Science and Philosophy

     The first true glimpse of the Creature arrives in 1855, not as a fully realized monster, but as a spark of foundational obsession in Victor Frankenstein’s mind. In the grand hall of the Royal College of Surgeons in Edinburgh, Victor (Oscar Isaac) demonstrates his experiments with reanimating dead tissue using electrical currents. The room hums with curiosity, skepticism, and the faint tang of fear. It is here that the philosophical heart of the film begins to beat as science and creation entwine, daring to trespass where humanity perhaps should not.

     Though phrenology — the pseudoscience that claimed the very character of man could be mapped through skull shapes and bumps — had largely fallen out of favor by this time, its shadow lingers. In Frankenstein’s world, bodies are systems to be understood, measured, and manipulated. It is Christoph Waltz’s Henrich Harlander, Victor’s patron, who, in a quiet voice, asks, “Of all the parts that make the man, which part holds the soul?” In a single question, del Toro sets the stage for one of the film’s central inquiries: if life can be constructed from pieces of other lives, what becomes of consciousness, personality, and the soul?

     These moments are not just exposition; del Toro stages them like a performance of both audacity and devotion. The filtering lights catch on metal instruments and polished wood, and the hum of electricity suggests both life and threat. The Creature exists first in imagination and in the fervent gaze of a man willing to challenge God. It is a moment that perfectly captures del Toro’s genius, showing how horror and beauty coexist while every visual choice carries meaning and hints at the wonder, terror, and heartbreak ahead.

     From the moment the Creature is truly birthed into existence, Jacob Elordi commands the screen with a performance that is at once tender, terrifying, and heartbreakingly human. Del Toro’s direction ensures that we see the Creature not as a monster in the conventional sense, but as a being of curiosity, discontent, and moral intelligence. Early on, his movements are almost toddler-like — unsure and experimental. Every gesture conveys thought and feeling, allowing us to understand his frustration with his own limitations and his longing to engage with a world that largely rejects him.

     Del Toro overlays this awakening with religious and symbolic imagery that heightens the Creature’s tragic grandeur. In his first moments of life, the Creature bears the wound of Longinus, a crown of thorns, and a red-purple cloth draped across his shoulders. As Victor whispers, “It is done,” the scene evokes the death of Jesus, framing the Creature as both martyr and miracle, a living icon of human obsession and divine consequence. It is a moment where horror and reverence collide — the grotesque made sacred, the sacred made intimate.

     What makes Elordi’s performance so compelling is how much of the Creature’s humanity comes without words. His fascination with nature, his respect for life, and his gradual comprehension of social interaction reveal a purity and curiosity that make the humans around him seem all the more monstrous. Through him, del Toro asks yet another one of the central questions of his film: are humans inherently cruel, or does society’s structure — its neglect, fear, and vanity — create monsters?

     There’s a delicate balance between tragedy and humor as well. The Creature’s awkward explorations, his attempts to understand his environment, and the visual comedy of early missteps add levity without undermining the narrative weight. Del Toro understands that horror is most poignant when paired with vulnerability, that the grotesque is terrifying precisely because it is touched by humanity, and the Creature embodies that truth in every frame.

     Victor Frankenstein: Genius, Obsession, and Hotness

     If the Creature is the beating heart of the film, Oscar Isaac’s Victor Frankenstein is its brilliant, chaotic mind. Isaac delivers a performance that is at once commanding, charming, and terrifying. He embodies a man consumed by genius and obsession, yet never fully untethered from humanity, even as he flirts with the edges of moral disaster. His speech at the Royal College of Surgeons early in the film is nothing short of wondrous. Radical, articulate, and utterly fearless in the face of skepticism, Isaac’s Victor exudes the arrogance of a man who believes he is rewriting the laws of life itself and confident in his imminent success.

     And yes, we absolutely have to talk about the bathtub scene. Not just because it’s narratively crucial, but because it’s Oscar Isaac in a bathtub, lounging like a brooding, dripping god while contemplating the creation of life. He drifts there in quiet thought, steam curling around him, before a sudden jolt of inspiration makes him spring upright — water sloshing around him and onto the floor, running to the mirror to inspect his own naked reflection and the anatomical placement of the machinery with obsessive intensity. It’s absurd, it’s intimate, and it is so very, very hot. Isaac turns existential horror and scientific mania into a full-body display of devastating allure. Honestly, the movie would make less sense without it.

     Isaac’s performance also reinforces one of the film’s key themes: the duality of man as both creator and destroyer. Frankenstein nurtures his creation, yet that nurturing is tied to pride, vanity, and fear of responsibility. His brilliance is inseparable from his ego; his admiration for the Creature is inseparable from his desire for control. In Isaac’s hands, Victor becomes a tragic figure, one both horrifying and magnetic.

     Del Toro uses these moments to explore masculinity and the consequences of unchecked ambition. Frankenstein’s obsession is framed as both heroic and terrifying given that his intellect awes us, while his moral blindness unsettles us. Through Isaac, the film asks us another set of questions: can genius exist without recklessness? Can creation exist without abandonment? Can we love what we create without destroying it in the process?

     Women, Red, and Fate

     Del Toro’s eye for detail extends far beyond the grotesque or the scientific; he infuses the world with symbolism so precise it feels almost ritualistic. Nowhere is this more apparent than in his treatment of the women in Frankenstein. Mia Goth plays both Claire and Elizabeth, two women whose lives are marked by tragedy, fate, and the relentless presence of red.

     Claire’s first appearance in a red dress and flowing veil is immediately striking — the fabric trailing behind her neck like ribbons of blood, a visual harbinger of mortality. Later, Elizabeth’s elaborate necklaces and red adornments echo that initial imagery, culminating on her wedding day when the blood from a gunshot stains her white dress, recalling Claire’s red gown in both color and doom. By casting Goth in both roles, del Toro emphasizes the cyclical nature of loss and the repetition of human suffering, suggesting that the fates of these women are sealed not by themselves, but by the men around them and the world they inhabit.

     This red motif is not just aesthetic, but thematic. Del Toro contrasts the nurturing potential of women with the brutality of men — Frankenstein can create, yet he often shirks the emotional labor required to care for his creation. His genius is celebrated, yet the consequences of his experiments fall on others, particularly Elizabeth whose life intersects tragically with his obsession. It is a sharp reminder that creation without responsibility is violence, and brilliance without empathy is monstrous.

     Amid these heavy themes, del Toro punctuates his vision with darkly comic moments that provide necessary relief. The logistics of body acquisition, the awkward yet absurdly human missteps in Frankenstein’s research, and the confessional scene where he quietly follows Elizabeth into the booth are glimpses of humor that reinforce the humanity in the horror.

     Connection and Loneliness

     At its core, del Toro’s Frankenstein is not just a story about creation and horror, but a meditation on the desperate, fragile need for human connection. The film repeatedly reminds us that love, empathy, and understanding are as vital as life itself. As Elizabeth beautifully observes, “To be lost and to be found…that is the lifespan of love.” That sentiment resonates through every scene, from the Creature’s tentative explorations of the world to Frankenstein’s fraught relationships with those around him.

     Del Toro highlights how isolation shapes monstrosity. The Creature, despite being composed of human parts, is initially innocent, curious, and empathetic. It is society’s rejection, fear, and cruelty that warps his existence, reminding us that humans are often the true monsters. Meanwhile, Victor’s own loneliness — born of obsession and genius — demonstrates that isolation is not only external; it can be self-imposed, a product of ambition and pride.

     In a world increasingly connected by technology yet starved of intimacy, del Toro’s meditation feels startlingly contemporary. The film asks some of its most urgent questions here: what does it mean to be truly seen by another? How can we live fully without touch, care, and meaningful connection? These questions linger long after the credits roll, echoing with the quiet horror of isolation in the modern age.

     Critiques and Closing Reflection

     Even a film this meticulously crafted is not without its small imperfections. One area where Frankenstein could have gone further is in its framing quotes. The film opens and closes with lines from Lord Byron, lines that are evocative, thematically appropriate, and beautifully written. Byron’s words echo the Romantic fascination with mortality, obsession, and the sublime, but they also highlight a missed opportunity. Mary Shelley, after all, is the creator of this world, the mother of science fiction itself. Her voice could have bookended the film, reminding viewers that it was a woman who first dared to ask what happens when man plays God, and centering her would have amplified the resonance of her inquiry.

     Another small imperfection lies in the ending. While emotionally satisfying, the final moments between Frankenstein and the Creature feel somewhat rushed. A few more beats of direct conversation could have deepened the emotional catharsis, letting the audience linger in the raw intimacy and moral reckoning of their relationship. These are small quibbles, however, in a film that otherwise exemplifies del Toro’s genius.

     Ultimately, Frankenstein is a testament to del Toro’s lifelong devotion to monsters, not as spectacles of fear, but as reflections of our humanity. The Creature is innocent and curious; man is often cruel and capricious. The film celebrates beauty and horror simultaneously, crafting a world where sorrow and awe coexist in every frame. It reminds us, painfully and beautifully, that love, connection, and empathy are the truest measures of life. And in the hands of a master like del Toro, even stitched flesh and haunted eyes can teach us how to live and how to love.”

     As I have written of Vander Meer’s retelling of Frankenstein in the novel Borne: Mary Shelly’s glorious novel was also about the abandonment of a child who is no longer perfect, among a number of other themes, including the origins of violence.

     A major theme of the novel Frankenstein is the monstrosity of God, who like Victor creates and then abandons his child when it is imperfect and no longer a reflection of his, when we become our own free and independent beings. Yes, Victor wants to become a god, which is why the story resonates with everyone, and is an allegory of the failure of science to realize Idealist visions of humanity and of Utopianism to realize a society free from violence and systems of oppression, the novel being both a codification and critique of Romantic Idealism.

     But in his quest to become a god, Victor also desires to be worshipped and obeyed; he wants to free himself from subjugation by Authority, but not to liberate others. Instead of changing the nature of power, force, and control in casting down from his throne a tyrant god who bound us to his laws and then abandoned us through the abolition of the Law and of the social use of force and the centralization of power and authority to an elite as would a true revolutionary, Victor’s tragic flaw of pride, like so many heroes of revolutionary struggle, compels him to become the next tyrant and enact the role of his former nemesis. Napoleon, Washington, Stalin, Mao; a glorious and terrible company of flawed heroes doomed to re-enact the Fall of Icarus and of Milton’s rebel angel.

     It is a cycle of substitutive tyranny which as Vladimir Nabokov pointed out in his novel Lolita, a brilliant critique of the failure of Idealism which led to his father’s execution in the Russian Revolution as an aristocrat, has been recapitulated throughout the world in revolutions which become tyrannies, especially under the imposed conditions of anticolonial struggle.

     There is a line spoken by the villain in the series The Magicians, a survivor of childhood abuse and tyrant known as The Beast for his horrific crimes, once the powerless and terrified Martin Chatwin and now a monstrous god; “You know, when I was a boy, a man who was meant to care for me bent me over his desk and had me over and over every time I was alone with him. It helps me understand a truth. You’re powerful or you’re weak. “

      Here is the original lie of the tyrant and the fascist in the apologetics and self-justification of power; the lie that only power has meaning, that there is no good or evil. Of course there is no good or evil in the sense of moral absolutes or imperative laws of the universe, for these are human words and require human actions to make them real. But our actions toward others are terribly real, especially in how we use our power and the consequences of the social use of force in the construction and authorization of virtue and identity.

     How we use power is of equal importance as who holds it. Fear and force are a primary means of human exchange, but not the only means; love, membership, and belonging are as important. The great question which democracy attempts to answer is how to balance such forces encoded as the rights and needs of individuals so that none may infringe upon another’s.   

      It’s a line which captures perfectly the inherent contradictions of the  Wagnerian Ring of fear, power, and force as an origin of evil; for the use of social force is subversive of its own values. Yet the imposed conditions of revolutionary struggle often require violence, and until the gods of law and order have been cast down from their thrones I must agree with the famous dictum of Sartre in his 1948 play Dirty Hands, quoted by Frantz Fanon in his 1960 speech Why We Use Violence, and made immortal by Malcolm X; “by any means necessary.”

     As written by Walter Rodney in The Groundings with my Brothers; “We were told that violence in itself is evil, and that, whatever the cause, it is unjustified morally. By what standard of morality can the violence used by a slave to break his chains be considered the same as the violence of a slave master? By what standards can we equate the violence of blacks who have been oppressed, suppressed, depressed and repressed for four centuries with the violence of white fascists. Violence aimed at the recovery of human dignity and at equality cannot be judged by the same yardstick as violence aimed at maintenance of discrimination and oppression.”

     And here is the passage he references from Leon Trotsky in Their Morals and Ours: The Class Foundations of Moral Practice; “A slave-owner who through cunning and violence shackles a slave in chains, and a slave who through cunning or violence breaks the chains – let not the contemptible eunuchs tell us that they are equals before a court of morality!”

     Yet in reflection I think of those great figures who have been both heroes of liberation and villains of tyranny; my teenage role model Napoleon, Washington who is central to our family history and coined the motto on our coat of arms in the passcode during the Battle of Trenton, Victory or Death, when the whole Revolution was wagered on a forlorn hope, the tragic drama of fallen heroes like Robert Mugabe, the monstrous tyrants Stalin and Mao, the list is a near endless litany of woes and failures of vision wherein Brave New Worlds became hells and carceral states. In evidence I offer the American and Napoleonic Empires, the Soviet Union, the Chinese Communist Party, nearly all anticolonial revolutions which in the first period of liberty as new nations became dreadful tyrannies, and above all the state of Israel, a dream of refuge forged in the terror of the Holocaust whose victims learned the wrong lessons from the Nazis and assumed their role in the Occupation of Palestine. The dangers of Idealism are very real; but so are the dangers of submission to authority and the complicity of silence in the face of evil.

     I am a hunter of fascists, and mine is a hunter’s morality. For me there is a simple test for the use of force; who holds power?

      All those who hunt monsters must remember always Nietzsche’s warning in Beyond Good and Evil; “He who fights monsters should be careful lest he thereby become a monster. And if thou gaze long into an abyss, the abyss gazes back into thee.”

    I like the character of Victor, and have used variants of this name as aliases because he is a figure of Milton’s rebel angel, but also I admire the monster, a figure of the Shadow based on Caliban in The Tempest. The story is about their relationship as parent and abandoned and damaged child.

     What is important to us now, and for all of humankind, is to recognize that we are all both Frankenstein and his monster, rebel and tyrant, reason and passion, darkness and light in shifting perspectives, and that if we cannot embrace our otherness and become whole we must destroy ourselves.

      Frankenstein addresses themes of science versus nature, reason versus passion, and both of these within a Promethean rebellion against God, authority, and universal Law as a form of Idealism; this from the perspective of the monster’s creator.

     From the monster’s view, the novel portrays the disfigurement of the soul through abandonment by a parent who also functions as a figure of a creator-god and of Authority, known as the problem of the Deus Absconditus which refers to the god who bound us to his despicable Laws and then ran away before he was caught, and who drives the child to achievement and supremacy as his proxy of success and vindication before the world, a projection of self which is inherently dehumanizing, rather than empowering the child’s own agency to discover and follow a unique bliss and personhood- what the Greeks called Arete or Virtue but also denoting superiority as with the apex predator and ideal of patriarchal masculinity Achilles in the Iliad, one of  Mary Shelly’s sources- in a chosen arena but who like Alberich in Wagner’s Ring must renounce love to win supremacy and power, rendering all victory meaningless and hollow, dehumanizing the child and shaping a vessel of rage and vengeance, a tyrant forged in the violence of the struggle to free himself from enslavement, with the iron self discipline and 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. It is about birthing monsters, and the chaotic plasticity of identity and relationships.

     This is how systemic power assimilates rebels as tyrants; Mary Shelly diagnosed the history of colonialism and imperialism as diseases of unequal power long before they were to swallow the world. And this we must resist; authority and systems of unequal power itself, if we are to be liberated.

     As written by Octave Mirbeau in The Torture Garden; “Monsters, monsters! But there are no monsters! What you call monsters are superior forms, or forms beyond your understanding. Aren’t the gods monsters? Isn’t a man of genius a monster, like a tiger or a spider, like all individuals who live beyond social lies, in the dazzling and divine immortality of things? Why, I too then-am a monster!”

     A story which is at once Greek tragedy and Freudian study of the process and relations between the id, ego, and superego, with a third parallel storyline relating a Romantic reimagination of Biblical Genesis like that of Blake, it is both the apotheosis of Romantic Idealism and its first criticism, exegesis and classical myth, dialectic on responsibility and discourse on Aristotle’s categories of being, critique of Rousseau’s natural man and of Nietzsche’s Superman which it also inspired in a recursive loop of influence across the seas of time. Its author was a Pythian visionary whose insight reached centuries into the future, and whose immense scholarship reimagined some of the greatest works of our historical civilization. 

     Mary Shelly’s influence echoes through time, multiplies, and reshapes the contexts of its polymorphous meanings. One cannot think of Kafka’s Gregor Samsa without thinking of his original, the dual-aspected monster-child created to bind our nature with reason and as the line in the film Van Helsing goes “to disprove the existence of God”, nor read her sources and references in the prophecies of William Blake and Milton’s Paradise Lost without re-evaluating them in terms of Mary Shelly’s novel; her work resonates through past and future, and what touches, it changes.

      Who can read the work of Emily Bronte without the meaning of her great novel Wuthering Heights changing with our awareness that its author thought of herself as Victor Frankenstein and as the titan Prometheus cast out of heaven like Milton’s rebel angel? That Heathcliff is her monster, a demon to be united with in an exalted Nietzschean rapture of transformative rebirth? And does this not change one’s reading of her source Frankenstein?

     A nested set of puzzle box themes and contexts, multiple narrative threads which create paradoxes of meaning, role reversals and inversions of identities, and the questioning of the mission of civilization and the morality of progress; Mary Shelly created the modern world with her great book Frankenstein.

    So for hierosgamos and our embrace of our monstrosity, of the wildness of nature and the wildness of ourselves. What of its consequences for ourselves and our world? 

    As I wrote in my post of April 18 2022, Our War Against Nature and Ourselves:  Humankind at the Tipping Point Between Extinction and Transformation; The human war on nature is ancient, both a motive and a consequence of our civilization itself; it is also primarily a war against our own animal nature, a titanic struggle against the prison of our flesh and its dark and chaotic syllabus of needs and desires.

     We are that monster and its creator, mad god of reason and his degraded figure of vengeance and uncontrollable and free but twisted and destructive passion. Ours is the future modernity she warned us of, a civilization which consumes itself through the mechanical failures of its internal contradictions as has happened twice now in our two World Wars.

    When I think of the destructive effects on the environment of our mad quest to control and impose order and human values on nature, I do so in the context of a specific ideological lineage which I share with one of the great public intellectuals of our time, whose works reflect the themes of Mary Shelly.

     In her foundational classic Sexual Personnae: Art and Decadence from Nefertiti to Emily Dickinson, Camille Paglia, trickster figure and provocateur, whose many masks include a Guide of the Soul which echoes Ariadne, a chthonic figure of the Queen of the Underworld which recalls Persephone, and a truth teller like the Jester of King Lear, provides us a definition of Beauty as the apotheosis and motive force of human civilization, one which references her major influences among the British Romantic Idealists, Keats and Coleridge;  “Beauty is our weapon against nature; by it we make objects, giving them limit, symmetry, proportion. Beauty halts and freezes the melting flux of nature.”

     Hers is a vision which extends Nietzsche’s thesis in The Birth of Tragedy that human civilization is an artifact of the struggle between the Dionysian and the Apollonian as oppositional forces which together create human being, meaning, and value. Civilization is thus a prochronism or history expressed in our form of how we solved problems of adaptation, like the shell of a fantastic sea creature.

     She refers to Beauty as a cypher of the Infinite, in reference to Keats, as does Umberto Eco in his magisterial On Beauty. Compare her definition to that of Keats, in the phrase which I quote when asked to identify my faith; “I am certain of nothing but of the holiness of the Heart’s affections and the truth of Imagination—What the imagination seizes as Beauty must be truth—whether it existed before or not—for I have the same Idea of all our Passions as of Love they are all in their sublime, creative of essential Beauty.”

     Her traditional identification of Apollonian rationality and the will to impose order with the animus or masculine side of a whole person and the Dionysian or ecstatic principle as feminine and equal to chaos and nature is found in Free Women, Free Men: Sex, Gender, Feminism; “Western science is a product of the Apollonian mind: its hope is that by naming and classification, by the cold light of intellect, archaic night can be pushed back and defeated.”

     Here is the rotten heart of our corruption which consumes this fragile ark of life, this earth, to destruction and humankind to annihilation; our need to control and impose order on a fundamentally irrational universe and the conquest and dominion of nature which flows from it.

     Thus far I share with Camille Paglia the three ideological lineages from which this analysis develops; British Romantic Idealism, Nietzsche’s aesthetics of ontological politics, and Jung’s transformational psychology. Where we diverge importantly is her total rejection of postmodern critical theory, which she calls out as Derrida, Lacan, and Foucault; here I am more aligned with Iris Murdoch in balancing classicism with modernity as a complementarity. We need both conserving and revolutionary forces; both T.S. Eliot and James Joyce, Virginia Woolf and Flannery O’Connor. 

     And to complete my image of the cosmos and the place of humankind in it, we must add one thing more; Holism as expressed in Gregory Bateson’s Mind and Nature: a necessary unity, and explicated in Morris Berman’s The Re-Enchantment of the World. A reimagination of Schiller’s idea of “the disgodding of nature”, Bateson’s work rewired my brain when I encountered it as a graduate student, and for this I shall be eternally grateful. Only Godel’s Theorem and the poetry of Blake and Rumi struck me with the force of lightning as did he.

     What does all this mean?

     As the earth dies in fire and ice and humankind with it, victims and slaves consumed by the fathomless greed of a handful of oligarchic and plutocratic czars of a global hegemonic elite, we witness the horror of our extinction with helpless submission to our destroyers but are able to describe it with great beauty, a beauty and vision which nonetheless fail to transform our fate.

     Unless we act to seize our power and liberate ourselves and the common heritage of our resources from our destroyers.

     I, monster, shall forever dance with I, Victor, who in creating us together stole the fire of the gods.

FRANKENSTEIN Official Trailer (2025) Guillermo del Toro

Movie Reviews: Merciless Life: Guillermo del Toro’s ‘Frankenstein’ Finds Beauty in the Broken, Kirsten Saylor iHorror.com  

Penny Dreadful:

“It is our memories which make us monsters, is it not?”

Penny Dreadful | Harry Treadaway is Dr. Victor Frankenstein

Van Helsing: birth of the monster

Gothic:

Mary Shelly:

The Frankenstein Chronicles:

Mary Shelley’s Frankenstein:

http://thesatanicscholar.com/2018/01/01/the-miltonic-in-mary-shelleys-frankenstein-on-the-novels-bicentenary/

https://themagicians.fandom.com/wiki/The_Beast

The New Annotated Frankenstein, by Mary Wollstonecraft Shelley, Leslie S. Klinger (Goodreads Author) (Editor), Guillermo del Toro (Introduction), Anne K. Mellor (Afterword)

The Miltonic in Mary Shelley’s Frankenstein, on the Novel’s Bicentenary https://thesatanicscholar.com/2018/01/01/the-miltonic-in-mary-shelleys-frankenstein-on-the-novels-bicentenary/

Christopher Small, Ariel like a Harpy: Shelley, Mary, and Frankenstein

https://www.goodreads.com/book/show/455172.Ariel_like_a_harpy?ref=nav_sb_ss_1_70

Prometheus Bound & Prometheus Unbound, by Aeschylus, Percy Bysshe Shelley

Wuthering Heights, by Emily Brontë, Richard J. Dunn (Editor), Charlotte Brontë (Commentary), Robert Heindel (Illustrator)

https://www.goodreads.com/book/show/6185.Wuthering_Heights

Borne Series, by Jeff VanderMeer

https://www.goodreads.com/series/221766-borne

Dean Koontz Frankenstein series

https://www.goodreads.com/series/40542-dean-koontz-s-frankenstein

Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson, by Camille Paglia

The Birth of Tragedy / The Case of Wagner, by Friedrich Nietzsche

Luis Buñuel’s Abismos de pasión, his 1953 film

https://ok.ru/video/2038959573585

Yoshishige Yoshida’s 1988 film Arashi ga oka

Cocteau’s Beauty and the Beast, full movie

https://www.veoh.com/watch/v71672331PdCWgGY2

History of Beauty, by Umberto Eco

October 27 2025 Songs of Freedom and Seizures of Power in a Reimagined Epic of Persephone: Netflix’s Chilling Adventures of Sabrina

     Chilling Adventures of Sabrina is a show which questions and explores many of the issues which have defined my life; the origins of evil and the ambiguity and interdependence of good and evil, freedom and authorized identities, the use of social force as tyranny and as revolutionary struggle, the limits of what is human and the uses of our monstrosity in the embrace or denial of our nature, and the consequences of systems of oppression, structures of elite power, and hierarchies of membership and exclusionary otherness.

     Before all else is Kiernan Shipka herself, magnificent in the role of Sabrina, a character written as a queer metaphor whose primary conflict as a dual natured being requires her to perform as both the White and Black Swans, which only the truly great can do whether on the stage or in life, in a myth of sexual power and identities of sex and gender as a ground of struggle.

     A reimagination of the myth of Persephone in the context of that of Milton’s Lucifer and the Jewish creatrix Lilith with a side of Orpheus and Eurydice, and which stirs into the cauldron Dante, Marlowe’s Faust, Hawthorne, Poe, Wilde’s Dorian Gray, Lovecraft, and Arthur Miller’s The Crucible among a multitude of references, this show brings the themes of Romantic Idealism into the political context of our current era, that of #metoo, Antifa, Black Lives Matter, the Green New Deal, and the Restoration of America from tyranny and state terror, from the Patriarchal-white supremacist Fourth Reich, in which cruelty and mercy play for the soul of America and the future of humankind.

     In America’s elections now and in the glorious liberation struggle of all her marvelous and diverse peoples and of the Democratic Party against a Republican Party captured by the Fourth Reich which has in turn captured the state, and most especially our liberation struggle versus patriarchy and theocratic sexual terror and the enslavement, commodification, and dehumanization of women as systems of oppression, ongoing now for two thousand seven hundred years since the Hanging of the Maids in Homeric poetry, we live as witnesses and every single human now living as combatants in this historic and civilizational moment of Reckoning and change.

      Why do I love this show, Chilling Adventures of Sabrina, to the extent that I have watched it through entirely six times now, falling asleep to its songs of freedom and seizures of power?    

      The answer lies in Kiernan Shipka’s slyly subversive smile; it is a brilliant satire which swallows whole and transforms our horrific histories of the witch trials and persecutions of otherness, referencing the bizarre witchhunting manuals the Malleus Maleficarum and the Daemonologie, and alluding to the Holocaust and the legacies of slavery, and transforms its meaning into a call to resistance and an empowerment of autonomy.

    A densely layered system of signs appropriated from both high and pop culture, like the films of Andy Warhol  which valorize the ordinary and the excluded, in celebration of the beauty of the disfigured and the reviled, and of violations of normality and transgressions of the Forbidden, Chilling Adventures of Sabrina is a savage and relentless engagement with the forces of Patriarchy and a subversion of heteronormative narratives, which can be equally applied to divisions of race, faith, and nationality.

     From the very first, this cinematic interrogation and reimagination of western civilization unfolds its themes with the statement; “The Devil won’t give you both power and freedom. He’s a man.” And from this moment, it had my full and rapt attention.

     To put the case plainly; Chilling Adventures of Sabrina is our civilizations greatest artistic response to the rise of global fascism, and America’s most glorious Antifascist film after Inglorious Basterds.

    Of the Chilling Adventures of Sabrina criticism, Dany Prince’s thesis which discusses the first season remains among the finest and most relevant, which I amplify here:

     “#MeToo and the Witching Hour: Contemporary Feminist Discourse on the Representation of Witchcraft in The Chilling Adventures of Sabrina, by Dany Prince.

     In recent years, contemporary cinema, and even graphic novels and comics books, related to witches and the occult have challenged how we view the feminine body, particularly through the rise of movements like #MeToo. For example, in the 2013 season of American Horror Story, the popular show tackles issues surrounding witchcraft and interpersonal female relationships in Coven, and, two years later, director Robert Eggers once again revisits the witch and her bodily autonomy in the art house film, The Witch. For both narratives, the body of the female witch serves as a vehicle through which femininity and feminine sexuality becomes celebrated through occult forces but demonized patriarchal influences, institutions, and characters. Since the body of the witch resists signification, characters and social institutions that succumb to patriarchal influences cannot understand this celebration of the feminine and feminine sexuality. As compelling as these examples of popular culture’s fascination with witches are as visual narratives, Netflix’s Chilling Adventures of Sabrina, or Sabrina, challenges and creates new discourse on what sort of bodily autonomy a witch, and a teenage witch no less, holds. The entirety of Part 1 of the series revolves around Sabrina’s right to say no and her right to say yes, should the time come.

       Since Jack Halberstam’s foundational analysis of the slippery signification of the vampire and other gothic monsters, Gothic scholars have analyzed the figure of the vampire, a “technology of monstrosity” as Halberstam argues, as a metaphor for a wide range of cultural and sociopolitical anxieties. Halberstam writes in their book Skin Shows that “technologies of monstrosity are always also technologies of sex. I want to plug monstrosity and gothicization into Foucault’s ‘great surface network’ of sexuality in which ‘the stimulation of bodies, the intensification of pleasures, the incitement to discourse, the formation of special knowledges, the strengthening of controls and resistances are linked to one another in accordance with a few major strategies of knowledge and power’” (Foucault qtd. in Halberstam 88, 89). The witch also becomes a similar technology of monstrosity and sex through its deep connection to the Earth and representation of hypersexuality in every cinematic representation of the witch in popular culture. Monica Germana’s research on the Gothic figure of the madwoman and the witch in her book suggests that “the madwoman may also, just like the sorceress, become the victimised instrument of [the] conservative agenda, exposed as Shoshana Felman suggests, by the pervasive cultural affiliation of madness and women” (Germana 67). The witch and the culture of madness has become so intrinsically linked with one another that it’s almost impossible to separate the two. The body of the witch is one that inherently resists signification and acts out against political attempts to subjugate and suppress women’s sexuality through the gender binary, patriarchal, and heterosexist restrictions that have historically been imposed upon, not only women’s bodies, but queer bodies as well.

     In this thesis, I want to emphasize how The Chilling Adventures of Sabrina works with the body of the witch and the mythological tropes of the Mother, Maiden, and Crone in a sexualized sense. These elements come together in the form of the witch’s body to make her body and the idea of the witch a patriarchal and socio-political nightmare. Throughout Part 1 of Sabrina, the creative team politicizes the witch’s body to reflect the current sociocultural and political anxieties with the after effects of the #MeToo and #BelieveHer movements while challenging perceptions of toxic masculinity with the inclusion of Harvey Winkle and juxtaposing him with imposing patriarchal figures, like the Dark Lord and Father Blackwood.

     While most of the criticism surrounding Part 1 of Sabrina remain positive, some critics do have negative impressions of the show. Willa Paskin for Slate.com acknowledges the progressive movements that Sabrina makes by likening the series with CW’s other witch show, Charmed. Both Sabrina and Charmed are remakes of popular 90s television shows, but with different twists. For example, Charmed has three Latina sisters in place of three white sisters and focuses on issues on consent in the first episode and Sabrina focuses on issues of bodily autonomy and consent throughout the entire series. While Paskin acknowledges these progressive perspectives from both CW shows, Paskin does not acknowledge the parts of the show that make it a success, such as its commentary on current socio-political issues like consent and sexual assault. Paskin writes that the show tries “to be the moody, teen-tastic interpretations of [the original Sabrina series]” and that the only thing compelling about the show “to make [Paskin] watch it is . . . a compelling teen romance” (Paskin par. 6 and 7). Paskin argues further that this redeeming part of Sabrina is not so redeemable, that Harvey and Sabrina’s relationship is “incredibly boring, a total narrative dead end” (Paskin, par.7).

     Other critics, like Rolling Stone’s critic, Rob Sheffield, acknowledges that “the optimism of the 1970s or 1990s versions [of Sabrina] would look absurd now. This is Resistance Sabrina” (Sheffield, par. 7). For Sheffield, Resistance Sabrina is a “darker show for darker times” (Sheffield, par. 7). While the figures of Hilda and Zelda are feminist figures that raise Sabrina to challenge authority, the ultimate authority is the Dark Lord and Father Blackwood, who throw their weight around and use their endless authority to manipulate the women around them. As a response to these patriarchal figures, Sabrina effectively challenges these deep seated sociopolitical issues that keep arising as contemporary society progresses. Even with the inclusion of Susie Putnam (who is later known as Theo), Sabrina retains this progressive outlook since this is one of the only shows that actively shows a gender non-conforming character who will later become trans. Throughout Sabrina, the show challenges and juxtaposes toxic masculinity with what masculinity ought to be. For example, the characters of the jocks that endlessly tease and bully Susie throughout the first season are perfect examples of how toxic masculinity affects boys at the teenage level, teasing her about being a “dyke,” but then the creators give the audience Harvey Winkle, who takes his time with Sabrina, making sure that everything that they do that is sexually charged comes with her express consent. Witchcraft and Satanism simply become metaphors of oppression and the strategies through which these issues of oppression with a character that challenges everything about these institutionalized systems, like the Church and even the school board.

     The first episode, “October Country,” opens with Sabrina and her aunties, Zelda and Hilda, preparing for Sabrina’s dark baptism as per the tradition of the Greendale coven. Throughout the first episode, Sabrina reveals her uncertainties to her aunties, who then arrange a meeting with the series’ primary antagonist, Father Faustus Blackwood, who tells Sabrina that she will retain free will in conjunction with unlimited power and a delayed aging process. The dark baptism is a ritual that every witch in the Church of Night undergoes on their sixteenth birthday. The ritual requires that the witch enters the woods at midnight, the High Priest ritually cutting open their palm, and the witch then signing their name in the Book of the Beast. By signing their name in the Book of the Beast, the witch agrees to “obey without question any order [they] may receive from the Dark Lord or any authority figure He has placed over [them]. In signing his Book, the Book of the Beast, [they] swear to give [their] mind, body, and soul unreservedly to the furtherance of the designs of the Lord Satan” (00:44:53), but in the first episode, Father Blackwood tells Sabrina that she will retain her free will after she signs her name into the Book of the Beast. Since these instructions are a direct contradiction to what Father Blackwood tells Sabrina earlier on in the episode, she shakily flees from her dark baptism where she makes her final stand against the coven and firmly states that her “name is Sabrina Spellman and [she] will not sign it away” (00:47:59).

     The first episode of Sabrina emphasizes the Dark Lord’s decision to charge Sabrina with breach of promise. As stated in the series, the concept of a Breach of Promise is a rather antiquated offense. Both in the series and in North American society, Breach of Promise often refers to a woman that is entering a marriage that ends up breaking this promise. If a woman does this, she may be sued by the person that had their promise broken.[1] In Chapter Four of Sabrina, the Dark Lord sues Sabrina Spellman for this exact purpose, which Angie Dahl suggests is a type of victim blaming and slut shaming language that echoes courtroom sexual assault cases (Dahl, par. 7). As more and more sexual assault trials, like Brock Turner, Brett Kavanaugh, Harvey Weinstein, Kevin Spacey, Aziz Ansari, Louis C.K., and so many more come up time and time again, the victim blaming rhetoric is one that gets used all too frequently. Victims of sexual assault are interrogated with questions like “what were you wearing?” or “that punishment was a steep price to pay for 20 minutes of action” (as seen in Michele Dauber’s tweet) or statements like “sexual assault victims are lying about their assaults.” These statements are ones that victims hear daily, so when we hear Father Blackwood ridicule Sabrina for “wearing, of all things, a wedding dress” (00:19:70), which becomes an intelligent metaphor. By highlighting the fact that Sabrina was wearing her mother’s wedding dress to the Dark Baptism, Father Blackwood’s statement so clearly echoes the criticisms that victims of sexual assault and abuse endure in a court of law: that their choice of clothing made the victims responsible for the actions of their attacker. Dahl also points out in her online review that this language echoes the language that is used by defendants when their abuser is their husband, their girlfriend, their father, and so forth. Dahl further states that “Blackwood suggests that Sabrina’s dress made a promise on her behalf, and the Dark Lord was merely responding to it; Sabrina led on Satan with her outfit” (Dahl sec. 2, par. 3). Blackwood essentially claims that Sabrina is subject to the punishments of the Unholy Court since her initial, willing plan was to consent to writing her name in the Book of the Beast.

     By shaming Sabrina publicly through trial, Father Blackwood attempts to make her subservient to his and the Dark Lord’s wishes. Fortunately for Sabrina, she hires the infamous lawyer, Daniel Webster, to dance with the devil once again and beat him at his own game.[2] Even prior to the beginning of the trial, Father Blackwood meets with Zelda, not even Sabrina herself, and states that “the Dark Lord is not without mercy. But he’ll require total submission from [Sabrina]” (00:10:12). Father Blackwood’s language is imperative because it reiterates the idea that should Sabrina sign her name away, she will not possess free will, no matter what. Dahl states that Father Blackwood’s language here is not only archaic, but it also reinforces the idea that Sabrina’s body, that Sabrina’s free will is something that the Dark Lord is entitled to. This happens again when Blackwood says that “when the accused [Sabrina] is confirmed guilty, not only will she abandon her mortal life immediately, but upon her death, she shall burn for 333 years in the Pit, as his pleasure demands” (00:17:00). Since Father Blackwood likens Sabrina and the Dark Lord to the metaphor of bride and groom, the language of this episode becomes increasingly troubling since it echoes the sentiment that the Dark Lord is entitled to Sabrina’s free will and her body, which is a phrase that becomes all too real for female and queer viewers of the show, but also links back to the gothic idea that a witch, and a teen witch no less, is a feminine body that is “unregulated and unsettling” (Pulliam 147).

     Jane Pulliam argues that when young women, like Sabrina, are forced into these subservient spaces and highly restrictive gender roles, they typically will not openly defy authority but instead ‘defrock’ authority and do what they wish to within reason. The example that Pulliam uses are two characters, Grace and Deborah, that are a part of the highly restrictive Puritan communities. For characters like Grace and Deborah, they claim that they are witches since women in these communities are subservient and less intelligent than men and therefore easily manipulated by Satan, but in contrast to these characters, we have Sabrina. The moment that Father Blackwood reveals he has lied to Sabrina about her free will, all that authority and trust she places in him gets stripped away and she openly defies his, and the Dark Lord’s authority. She refuses to be tricked by the Devil.

     When Father Blackwood says “as [the Dark Lord’s] pleasure demands,” his belief echoes that of incels, or involuntary celibate, and that Sabrina’s body and existence belongs wholly to the Dark Lord. Incels and incel rhetoric is something is rapidly growing and their mission statement goes back to Elliot Rodger, who posted online what is now called “Elliot Rodger’s Retribution.” Men like Christopher Cleary, Alek Minassian, and Elliot Rodger write phrases like “[we] will slaughter every single spoiled stuck-up blonde slut. You will finally see [who’s] the superior one. The true alpha male” (The Fifth Estate, par. 3 and 19). Even in advertisements from the 1950s that resurface as “memes” or purely aesthetics from an era long past show women crying over burnt dinners or women bent over the laps of men with his hand raised above her backside as punishment for not “store-testing fresher coffee.” The subjugation of women is a longstanding issue and these advertisements, which are not only prevalent in the 1950s but today in some cases as well, perpetuate the idea that men are naturally superior and therefore entitled to women’s bodies, regardless of if they say no or yes. In the patriarchal mindset, women that say no are considered a challenge that needs to be conquered and women that say yes are considered too easy.

     For Sabrina, she is thoroughly shamed by, not only Father Blackwood with his inquisition, but by the entirety of the coven that attends her trial. As Sabrina awaits her sentencing, the crowd jeers at her and calls her a “tramp” or “guilty,” effectively furthering the shame that Sabrina endures. While the episode ends with Sabrina winning her case, her freedom comes at the hands of the False God, under whose name she was baptized. Even though she wins her trial, she only wins because the court acknowledges the claim on her life and body by another patriarchal figure. The court still refuses to acknowledge that Sabrina holds the right to say no.

     Similarly, we can see this in the costuming choices from Chapter 2, “The Dark Baptism.” For Sabrina’s birthday, Zelda and Hilda dress her up in her mother’s wedding gown, which immediately turns black as the trio enters the grove where the baptism takes place. Sabrina is then stripped of the black dress to her white slip and forcibly restrained as she flees from the forest. As stated earlier, Father Blackwood remarks upon Sabrina’s choice in clothing and suggests that the Dark Lord is entitled to her body because of her wedding dress. Costuming and fashion, particularly in media, are important choices that can denote a character’s mental state or other subtle details to the audience. As Catherine Spooner recounts in her book, “the way in which the eighteenth century Gothic heroine is clothed – or more characteristically, semi-clothed – plays an important part in the construction of her identity and, indeed, the fashioning her body” (Fashioning Gothic Bodies 23). In Sabrina’s case, as she meets the coven in the woods for her Dark Baptism, the choices are all made for her for what she wears. She only wears her mother’s wedding dress at the behest of her aunties and she is only stripped half naked at the hands of the coven. This symbolizes that the decision to sign her name away is not her own, it is a choice that is made for her again and again, and when Father Blackwood condemns Sabrina for wearing a “wedding dress, of all things,” he says, in short, that the choices the coven made for Sabrina, the choices that her aunties made for her, are choices that she ought to be responsible for. “Wearing a veil [or in this case, a wedding dress] can be construed as provoking and incentive to remove it . . . is not only interpretable as sexual invitation but is presented as alarmingly coextensive with sexual invitation” (Fashioning Gothic Bodies 31). Sabrina thus ends up refusing to acknowledge that others’ decisions for her are her express consent and refuses to sign her name away. By refusing to sign, Sabrina makes the court recognize the authority she holds over herself and refuses to back down.

     This decision mirrors a range of other events in the series that more broadly link to ancient rituals to contemporary feminist politics; for example, Roz’s efforts to get The Bluest Eye by Toni Morrison off the banned books list at Baxter High. While Sabrina faces mistrial, Roz faces the threat of impending blindness as she attempts to devour books before she is totally blind. One of these books that she chooses to read for a school project is The Bluest Eye, which is deemed as inappropriate and Roz’s teacher refuses to let Roz read it. Roz then goes to Principal Hawthorne and asks if she may read it, to which he says no, and then she goes through the Baxter High library to look for a wide range of other ‘inappropriate’ books only to be told that there “has been a soft purge of bad books” since “certain topics and titles have no place in the hands of impressionable youths” (00:05:27). Banning books is a frequent concern in American high schools, a practice that attempts to make youths less aware of current sociopolitical concerns, especially when the text is written by a minority author, like Toni Morrison. In the eighteenth and nineteenth centuries, anxieties about literature, particularly Gothic fiction and romances, falling into the hands of women were coded as ‘corrupting’ women, a sentiment that has not disappeared even in the twenty-first century. Books, like The Bluest Eye, are removed from high school and even middle school libraries under the guise of protecting our youth from this corruption. Rock music is coded as ‘Satanic rock music’ and even churches perpetuate the rhetoric of ‘if you play a rock song backwards, you’ll hear the phrase hail Satan’ or other subliminal messages. Banning music or literature is an attempt at subjugating and controlling youths, forcing them to take an adult’s word as law and not questioning it, which does not happen with Roz nor Sabrina in this instance.

     This subplot in “The Trial of Sabrina Spellman” effectively juxtaposes Sabrina’s plight with Roz’s since both fight against two very different oppressing patriarchal forces. The series is anachronistic, which we can see from the costuming choices to the music that plays in the background to how various set props pop up throughout the series. The nod towards the original series that aired in the 60s acknowledges the nostalgia that audiences yearned for when the series was initially announced but by combining these 60s elements with current sociopolitical criticisms, Sabrina creates an environment that celebrates gender diversity, rather than demonizing it, which we can see with Roz, Susie/Theo, Sabrina, and even Harvey. In Sabrina, we see the Gothic as a mix of a celebration of negative aesthetics that emerge in the age of reason, but also a mixture of the sublime, as Fred Botting writes. “The sublime was associated with grandeur and magnificence [ . . . but] also evoked excessive emotion. Through its presentations of supernatural, sensational, and terrifying incidents, imagined or not, [the] Gothic produced emotional affects on its readers” (Botting 2-3). However, in Sabrina, the Gothic is not limited to the supernatural events that occur. While elements of the supernatural create the necessary horror that we experience as the audience in Sabrina, the mundane becomes equally, if not more, terrifying because of how closely they relate to our current political climate. Rather than the mundane becoming the only puritanical community, the fantastic community, a community that the mundane often retreats to and seeks solace in, becomes just as puritanical, if not more, than the mundane and highlights itself as a space that both the audience and Sabrina cannot feel safe in.

     While Roz is not a witch in the series, she does possess a gift that her grandmother calls “the Cunning.” The women in Roz’s family historically lose their sight by the time they turn sixteen, a curse that causes blindness which is then supplemented by psychic sight. Ironically, as Roz’s eyesight worsens, her Cunning sharpens and she sees things that no one else can, like the Weird Sisters causing the collapse in the mines a few episodes later and that Sabrina is a witch. While Sabrina’s trial deals with the after effects of the #MeToo movement that gained traction in 2017[3], Roz’s plight deals more with sociopolitical issues that run rampant in lower income communities. While Roz’s plight remains a subplot that the creators of Sabrina do not spend a large amount of focus on, highlighting Roz’s struggles with Sabrina’s allows for both characters to sympathize with one another in their fight against injustice, which is what #MeToo is all about: highlighting the struggles of the victims so that other victims may come forward with their own stories.

     As Sabrina’s trial progresses, so does the likeness to the contemporary #MeToo movement. The movement was created by a social activist of the name Tarana Burke in 2006 as a response to the sexual abuse that women of colour experience, especially in underprivileged communities. Recently, however, the movement has resurfaced as a way for women, both cisgender and not, to empathize with one another by simply stating that they, too, have experienced sexual assault. From this movement, other hashtags have begun to pop up, like #ChurchToo, #MeTooSTEM, and others involving sexual abuse, assault, and harassment in fields like finance, pornography, politics, and many others. While these offshoots from the overarching #MeToo movement remain relevant, misogynists and rape apologists keep coming back with a hashtag of their own: #HimToo. The hashtag initially began as a tweet from Pieter Hanson’s mother, who tweeted that “this was [HER] son. He graduated #1 in boot camp. He was awarded the USO award. He was #1 in A school. He is a gentleman who respects women. He won’t go on solo dates due to the current climate of false sexual accusations by radical feminists with an axe to grind. I VOTE #HimToo” (“‘This is MY Son’: Navy Vet Horrified As Mom’s Tweet Miscasts Him as #HimToo Poster Boy” par. 3). This original tweet has since been deleted, but several news outlets, including The Washington Post, have chronicled this tweet, immortalizing it in the #MeToo timeline. While the hashtag began as a way for men to divulge their own sexual assaults, it has since been twisted to perpetuate the idea that women are often making up allegations of sexual assault against men.[4]

     In a post #MeToo era, cisgender men become preoccupied with the notion of “I don’t want to have an Aziz Ansari moment, I don’t know how to invite a girl up to bed . . . without knowing where the actually is [into it]” (Bell 31). Terena Bell analyzes this difficult question and how several journalism outlets tackle this, for lack of a better word, “serious issue.” Magazines and editorials, like Esquire, AskMen, BroBible, and PlayBoy, have recently run columns like “Non-Masculine Behaviours Women Find the Most Sexy” or “How to Buy Her Flowers” and even changed slogans to be more inclusive and aware of the issues surrounding both sex and rape culture. One of the journalists that Bell interviews, Margaret Nichols, says that “it seems [silly] to stop publishing articles about sex out of some kind of concern that you’re feeding into sexual abuse and sexual exploitation” (Bell 30) since journalists have a duty to present unbiased facts in columns, but what Nichols and Bell fail to acknowledge is that the media has such a strong hand in perpetuating sexual and rape culture.

     By seeking to place blame for the reasons as to why consent is such a hot button issue, journalists and society at large do not tend to acknowledge the fact that men seek to victimize themselves by stating that “they don’t know whether this girl doesn’t want to come upstairs with me” when the simple solution lies in two words: ask her. By creating hashtags like #HimToo and calling the #MeToo movement a witch hunt, which also minimizes the trauma that actual witch hunts have done, men place the blame entirely on women and their “false allegations” while ignoring the fact that toxic masculinity and the patriarchy are entirely to blame for sexual assault and abuse in the first place by perpetuating the idea that men are entitled to a woman’s body. Toxic masculinity erases the equality that is necessary for relationships to thrive on their own and effectively places the entire blame of the relationship on the woman.

     Such issues in our contemporary moment may not seem Gothic in any political way beyond the actual violent act of sexual assault, but they do have significant Gothic undertones. Sandra M. Gilbert, a Gothic theorist who has written works with Susan Gubar on the trope of the madwoman in the attic, addresses this very same issue in “In the Labyrinth of #MeToo” as well and likens the pursuit of women, especially in Hollywood, to that of the tale of Bluebeard and even the Minotaur. She describes patriarchal culture as “the Male Beast at the center of the labyrinth” while more and more stories come to light with the Harvey Weinstein allegations (Gilbert 14) like Gwenyth Paltrow, Angelina Jolie, Katherine Kendall, Rose McGowan, and so forth being at the forefront of these horror stories about sexual assault. Gilbert highlights the underlying issue with the toxicity of the patriarchy: that the Minotaur, or Man Beast, can do anything without fear of repercussions, even going so far as to quote the 45th President of the United States when he says “You know, I’m automatically attracted to beautiful – I just start kissing them. It’s like a magnet. Just kiss. I don’t even wait. And when you’re a star, they let you do it. You can do anything . . . Grab ’em by the pussy. You can do anything” (qtd. in Gilbert 17). This is what lies at the heart of rape culture and toxic masculinity: the idea that the men, the perpetrators of abuse, are at the heart of these issues and remain immune. Porn stars, sex workers, escorts, prostitutes, and even actresses are commodities to be used and abused as the Minotaur sees fit, especially since sex has become this highly commodified bestial thing, and even when sexual assault happens to sex workers, they’re seen as lesser than because of their occupation. The Minotaur is a hungry beast and preys upon female flesh.

     The issue that Gilbert highlights is how problematic this way of thinking becomes: the entire fact that men assume that they are owed sex as payment for a date. Perpetuating this myth is incredibly problematic since toxicity breeds toxicity and patriarchal culture is steeped in toxicity. And women are not immune from the toxicity that seeps out from patriarchal culture. In the case of Sabrina, the Minotaur becomes the Dark Lord and Sabrina immerses herself in the very culture that breeds the opposition that attempts to relegate her into the Bride position. Sabrina adamantly refuses to allow misogynistic men to relegate her into this sphere and only agrees to immerse herself in that culture to beat the Dark Lord at his own game, which highlights the fact that women can be just as bestial a Minotaur as men. Viewing toxic masculinity and the patriarchy as this Othered thing is what renders our entire society as Gothic. The Beast in the Gothic tradition goes head to head with the Minotaur[5], challenging perspectives like colonialism, orientalism, racism, sexism and misogyny.

     Sabrina thus explores and examines explicitly the comments on #MeToo and our current society’s rape culture. Gilbert’s argument about the toxicity of our current times is especially compelling because it situates Gothic tropes within the increasingly predatory phenomena of the digital age. Proving yet again the Gothic’s adaptability, Gilbert provides a critical lexicon of monsters to account for the masculine monstrosity at the heart of the #MeToo movement. Sabrina performs a similar gothicization of contemporary political theory through its detailed and carefully planned mise-en-scene of witches, covens, and the contemporary. Writers for Sabrina borrow now standard feminist arguments, such as Simone de Beauvoir’s The Second Sex. In Simone de Beauvoir’s The Second Sex, Beauvoir argues that man is considered the default, which would render woman as the Other, or at least within the scope of the default patriarchal lifestyle that Western society revolves around. In Sabrina, the writers use a similar idea, situating toxic masculinity as the Other with femininity becoming the default, particularly since so many female viewers can relate to the struggles that Sabrina faces. In popular culture, the figure of the woman is rendered as explicitly Bad or explicitly Good, something that de Beauvoir highlights as “the Praying Mantis, the Mandrake, [and] the Demon” and “the Muse, the Goddess Mother, [and] Beatrice” (1266). With de Beauvoir’s terminology, women are set so far apart from the earthly realm that they can only be one thing or the other but never both simultaneously.

     Patriarchal influences often serve to dichotomize these feminine tropes, which Gothic literature also utilizes. Sabrina, by far, is not the only Gothic narrative to challenge these distinctions between the only apparent two types of women since toxic patriarchal culture has deemed itself fit to state that there are only these two types of women whether actual living women agree with the notion or not. Even a rudimentary Google search for “types of women” elicits results like “The Five Types of Women,” “Three Types of Women to Toss,” “The Four Types of Women” and so forth as if women can easily be relegated into these different spheres that are be assigned to them. More oft than not, these “types of women” are categories that shame women in one way or another. For example, the femme fatale is a trope often utilized when women are overtly sexualized, attractive, and seductive to bring about ruin to men. In regards to Sabrina, the Weird Sisters take up this role of femme fatale, which we can see when Sabrina and the Weird Sisters lure the homophobic football players deep into the mines and eventually blackmail them to protect Susie. The Weird Sisters here are unapologetically sexual, relishing that they hold all this power over these boys, and utilizing it into manipulating them, both with the magical and the mundane.

     The witch is a literary figure that has undergone a pop culture transformation in recent years. The body of the witch is a vehicle that writers use to explore sociopolitical anxieties, much like the Gothic is a genre that creators come back to repeatedly to challenge political ideals and common anxieties that the public experiences. In Sabrina, Sabrina is the main metaphor that the show uses to comment on feminist movements, like #MeToo and #BelieveHer. However, that is not the only approach that the show uses to undermine common misconceptions around witches as well as femininity. By challenging how the public views witchcraft, the body of the witch, and the witch herself, The Chilling Adventures of Sabrina shows that not all witches are evil and not all witches are good and that witches are only considered as forces of chaos since they retain control over themselves, their bodies, and actively challenge moments of injustice through of energy and the world around them. Because the witch refuses to be defined and controlled in this box that the rest of the world, whether it be fictional or our material plane of existence, the witch’s body is a sociopolitical nightmare that resists signification and actively challenges our preconceptions surrounding bodily autonomy all the while remaining relatable and easily accessible. Especially with our current political climate, these issues surrounding consent that The Chilling Adventures of Sabrina challenges, the entire series becomes one that, not only millennial women, but zillennial children, both cisgender, transgender, and gender non-conforming, require since this is now the Resistance.

[1] The #MeToo movement was initiated by Tarana Burke, a social activist, in 2006. The movement recently regained traction in light of the Harvey Weinstein allegations and was popularized by Alyssa Milano, who played Phoebe Halliwell in the hit show, Charmed.

[2] Breach of promise is a law tort that originated during the Middle Ages. While many jurisdictions have long since abolished this rite, breach of promise still exists in many North American locations, including the United States. In Canada, Saskatchewan was the last known province to abolish breach of promise laws.

[3] Years prior to the beginning of the series, Daniel Webster was an infamous criminal lawyer that made his career on freeing some of the worst murderers and criminals after he asked the Dark Lord to help him win his cases.

[4] Katty Kay in her article “The Truth About False Rape Accusations” after Brett Kavanaugh’s trial writes that less than 10% of rape accusations are false. She also writes that “official figures suggest the number of rapes and sexual assaults which are never reported or prosecuted far outweighs the number of men convicted of rape because of fake accusations” (Kay par. 8).

[5] The Minotaur is always a metaphor for some oppressing force that is not limited to patriarchy and toxic masculinity. The Beast, however, is something that opposes the Minotaur.

Works Cited

Aguirre-Sacasa, Roberto. The Chilling Adventures of Sabrina. Netflix, 2015.

Beauvoir, Simone de. “The Second Sex.” The Norton Anthology of Theory and Criticism, edited by Vincent B. Leitch et al., Norton, 2010, 1265-1273.

Bell, Terena. “Where Has All the Sex Advice for Men Gone?: In a Post #MeToo Era, Men’s Magazines Are Pulling Sex From Their Pages.” Quill, vol. 106, no. 5, Winter 2018, pp. 28-31.

Botting, Fred. The Gothic. Routledge. 1996.

Conway, D.J. Wicca: The Complete Craft. Ten Speed Press, 2001.

Dahl, Angie. “Why Chilling Adventures of Sabrina’s Witch Trial Resonates.” Comic Book Resources. https://www.cbr.com/chilling-adventures-sabrina-trial-scene/. Accessed 11 April 2019.

Fifth Estate. “Why Incels Are a ‘Real and Present Threat’ for Canadians.” CBC. https://www.cbc.ca/news/canada/incel-threat-canadians-fifth-estate-1.4992184. Accessed 11 April 2019.

Flynn, Megan. “This is MY Son’: Navy Vet Horrified As Mom’s Tweet Miscasts Him as #HimToo Poster Boy.” The Washington Post. https://www.washingtonpost.com/news/morning-mix/wp/2018/10/09/this-is-my-son-navy-vet-horrified-as-moms-tweet-miscasts-him-as-himtoo-poster-boy-and-goes-viral/?utm_term=.45f1df9ef328. Accessed 1 April 2019.

Germana, Monica. Scottish Women’s Gothic and Fantastic Writing. Edinburgh University Press, 2010.

Gilbert, Sandra M. “In the Labyrinth of #MeToo” American Scholar, vol. 87, no. 3, Summer 2018, pp. 12-25.

Halbertstam, Judith. Skin Shows: Gothic Horror and the Technology of Monsters. Duke University Press, 2000.

Lorenzi, Lorenzo. Witches: Exploring the Iconography of the Sorceress and the Enchantress. Centro di della Edifimi srl, 2005.

@MicheleDauber. “#brockturner father: son not ‘violent’ only got ‘20 mins of action’ shouldn’t have to go to prison. @thehuntinground.” Twitter. 4 June 2016, 10:58 p.m., https://twitter.com/mldauber/status/739320585222660096. Accessed 11 April 2019.

Paskin, Willa. “Which Witch?: Sabrina and Charmed Return, Just When We Need Witches Most.” Slate. https://slate.com/culture/2018/10/chilling-adventures-sabrina-review-charmed.html. Accessed 11 April 2019.

Pulliam, Jane. Monstrous Bodies: Feminine Power in Young Adult Fiction. McFarland and Company, Inc. 2014.

Sheffield, Rob. “The Witch Is Back!: Netflix’s ‘Riverdale’-like Makeover of Archie Comics Character Smells Like Teen Witchiness – and Gives Us a Resistance-Era Heroine.” Rolling Stone. https://www.rollingstone.com/tv/tv-reviews/chilling-adventures-of-sabrina-review-745479/. Accessed 20 January 2019.

Spooner, Catherine. Fashioning the Gothic. Manchester University Press, 2004.”

Chilling Adventures of Sabrina | Straight to Hell Music Video Trailer | Netflix

Season 1 trailer

Season 2 trailer

Season 3 trailer

Season 4 trailer

                   References

The Second Sex, Simone de Beauvoir

https://www.goodreads.com/book/show/457264.The_Second_Sex?ref=nav_sb_ss_1_14

Skin Shows: Gothic Horror and the Technology of Monsters,

J. Jack Halberstam

Wild Things: The Disorder of Desire, J. Jack Halberstam

https://www.goodreads.com/book/show/50395673-wild-things

The Myth of Persephone in Girls’ Fantasy Literature, Holly Blackford

The Homeric Hymn to Demeter: Translation, Commentary and Interpretive Essays, Helene P. Foley (editor)

Eleusis: Archetypal Image of Mother and Daughter, Karl Kerényi

The Demeter-Persephone Myth as Writing Ritual in the Lives of Literary Women,

Jana Rivers Norton

Persephone, Homero Aridjis

Witches: Exploring the Iconography of the Sorceress and Enchantresses,

Lorenzo Lorenzi

https://www.goodreads.com/book/show/1042256.Witches?ref=nav_sb_ss_4_22

The Malleus Maleficarum and the Construction of Witchcraft: Theology and Popular Belief, Hans Peter Broedel

The Demonology of King James I: Includes the Original Text of Daemonologie and News from Scotland, James VI and I, Donald Tyson, James Carmichael

Grimoires: A History of Magic Books, Owen Davies

The Witch: A History of Fear, from Ancient Times to the Present,

Ronald Hutton

https://www.goodreads.com/book/show/34324501-the-witch?ref=rae_11

https://www.indiewire.com/2018/11/chilling-adventures-of-sabrina-references-easter-eggs-horror-witch-suspiria-1202017636/

https://www.cunning-folk.com/review-posts/sabrina-a-satirical-homage-to-the-history-of-the-western-occultnbsp

https://www.cunning-folk.com/read-posts/witch-hunt-salem-massachusetts

https://www.theatlantic.com/entertainment/archive/2018/10/the-revenge-fantasy-in-the-chilling-adventures-of-sabrina/574075

https://www.autostraddle.com/chilling-adventures-of-sabrina-final-season-review

https://www.insider.com/surprising-secrets-you-missed-in-the-chilling-adventures-of-sabrina-2020-1

http://www.nationalgeographic.org/article/witch-trials-21st-century/

October 26 2025 How Patriarchy and Christianity Subjugated Women as Witches

     This Halloween, as we don our masks and let our monsters out to play, let us remember the transgressive nature of this holiday in the celebration of otherness and the Forbidden, of dances with our fears and the joy of an amok time in which the marginal and the outcast are welcomed; herein we may enact our secret selves as performances in public spaces and a street theatre of unauthorized identities, and no mobs bearing torches come to drag us from our lair.

     Such rare and precious freedom, this holiday of the frightening of the horses; people are still being murdered as witches all over the world, wars fought and genocides perpetrated over divisions of elite belonging and exclusionary otherness, through fascisms of blood, faith, and soil, yet here we are throwing parties and making offerings of treats to the laughing children who stand in for the monsters we honor. 

     Herein innocence and primordial terrors trade places and are conflated, and the fearsome unknowns that live in the darkness of our closets and under our beds are revealed as our hidden faces, and nothing other than ourselves after all.  As the Roman playwright Terrence wrote in Heauton Timorumenos (The Self-Tormentor), Act I, scene 1, line 25; ” Homo sum: humani nihil a me alienum puto”, or “I am human; nothing human is foreign to me.”

    Halloween points the way to a future society of diversity and inclusion, and one in which there is a reckoning for the historical injustices whose legacies remain with us, among them slavery and racism, patriarchy and sexual terror.

     In a few days time, America will choose in our elections between fascist tyranny as theocratic patriarchal sexual terror, white supremacist terror, and kleptocratic capitalist terror on the one side and democracy on the other, between the horrors of our past and the possibilities of our future, between equal and unequal power among human beings defined by or regardless of gender; and when we choose, let us remember what the world of disempowered, commodified, and dehumanized was truly like, as typified in the witch trials and the theocratic patriarchal subjugation of half of humankind by the other half.

      And to this theocratic tyranny and terror let us give the only reply it merits; Never Again!

      As I wrote in my post of March 1 2021, Anniversary of the Salem Witch Trials: How Patriarchal Religious Authority Subjugated Women Through Charges of Witchcraft; On this day in 1692 the Salem Witch Trials began; and in some ways have never stopped, but expanded to become a pervasive and endemic harm which characterizes our society and the carceral state America has become. Mass hysteria has assaulted truth with the sophisticated propaganda of social media and become a horrific new religion with QAnon, racism and patriarchal religious authoritarianism and intolerance has become Christian Identity fascism typified by Charlie Kirk, conformism and the use of social force as show trials, torture, and terror have become state tyranny and terror on a vast institutional scale.

     Othering those whom we vilify through divisions of exclusionary otherness and hierarchies of elite membership and belonging remains a primary instrument of repression of dissent and the subjugation, dehumanization, and enslavement of labor to centralize wealth, power, and privilege. Just as with the historical witch trials, during which my family was driven out of Bavaria in 1586 for the crime of being werewolves, berserkergangr or shapechanging warriors, and witches, Drachenbräute or ‘the brides of the dragon’ as Martin Luther described them, at the beginning of a forty-four year period of witchcraft persecutions and the start of the savage Cologne War between Catholics and Protestants, a prelude to the Thirty Years War which killed a third of German peoples.

     There is no terror like religious terror, and no tyranny like authority which speaks for the unquestionable divine and whose armies and police are authorized as enforcers of divine law.

     This is not an issue confined to the remote past as a vestigial legacy of patriarchal sexual terror, but the warning sign of an iceberg of hidden structural and systemic injustices and inequalities which surround us as a pervasive and endemic harm in our daily lives.

     Arthur Miller’s 1953 play The Crucible, which calls out the injustices of the McCarthy anticommunist era in the context of the Massachusetts Bay Colony witch hysteria of 1692–93, remains among the finest interrogations of state tyranny and terror ever written. I make an annual ritual of watching the beautiful 1996 film with the magnificent Winona Ryder as Abigail Williams.

     As I wrote in my post of July 29 2020 Weaponized Religion, the Subversion of Democracy, Lunatic Anti-Science Propaganda, and the Legacy of American Imperialism; In the now enormous category of lies and disinformation campaigns against objective truth and scientific rationality, Trump’s recent endorsement of the lunatic claims of a Nigerian doctor now practicing medicine in Texas who is a member of a Pentecostal Church which promulgates religious and medical nonsense that has resulted in an epidemic of children murdered as witches by their parents and a violent pogrom against LGBT people in Nigeria stands near the pinnacle of our Clown of Terror’s crimes against humanity, one which would be hilarious if it were fiction and not horrifically very real and  dangerous.

     As you may be aware, the years-long wave of children murdered by their parents as witches in Africa was perpetrated by American religious fanatics in a coordinated campaign of colonialist and imperialist destabilization. In Nigeria this has the full collaboration of the government, with the persecution and orchestrated violence against LGBT persons being a dual campaign of mass hysteria and state terror.

     It parallels the seizure of Guatemala and El Salvador by Pat Robertson and other Gideonite fundamentalists through his front man Rios Montt and the subsequent 1983 Mayan Genocide. The masses of refugees at our border are a direct result of the latter, part of American sponsored political subversion and economic warfare responsible for the collapse of Venezuela, Columbia, Mexico, and Central America.

     America has weaponized religion as an instrument of dominion, and it is this same network of Pentecostal and Charismatic organizations which have achieved the capture of the Republican Party and the subversion of democracy here at home. Their brutal campaign against the equality, freedom of bodily autonomy, and reproductive rights of women is the wedge issue the Republicans use to goad the poor into voting against their own interest, but it is only the home front of a global programme of cultural, political, and economic warfare intended to seize and maintain an American hegemony of power and privilege.

    God With Us; it is an old motto from the Crusades, and it has a complex and nefarious history. It has been used by the Inquisition against the Jews and Muslims, in the medieval witch hunts to transfer and consolidate patriarchal power as described by Silvia Federici in Caliban and the Witch and Witch-Hunting and Women. Gott Mitt Uns was the battle cry of the magnificent King Gustav Adolf of Sweden in his epochal victory over the Catholic forces of Imperial Austria at the Battle of Breitenfeld in 1631 which liberated Protestant Germany during the horrific Thirty Years War, the monument of which reads ”Freedom of Religion for All Mankind” and is the origin of the doctrine of separation of church and state in America; Gott Mitt Uns was also appropriated by Hitler, who sought to recall the glorious legacy of his namesake.

     There is no more dangerous person than one who believes God is on his side, for that belief can justify anything and conceal evil behind a mask of good. We are once again watching it enacted as theocratic terror on both sides of the Hamas-Israel War, and in Israel’s ethnic cleansing and genocide of the Palestinians.

     As Agence France-Presse writes in scmp; “A Houston doctor who praised hydroxychloroquine as a miracle coronavirus cure in a viral video retweeted by President Donald Trump blames gynaecological problems on sex with evil spirits and believes the US government is run by “reptilians”.

     Stella Immanuel’s viral speech has drawn attention to a little-known group calling themselves “America’s Frontline Doctors” who appear to exist to promote the common antimalarial drug in the fight against Covid-19.”

     Immanuel was born in 1965, received her medical degree at the University of Calabar in Nigeria.

     “Nobody needs to get sick. This virus has a cure – it is called hydroxychloroquine,” Immanuel exclaimed Monday as she stood on the steps of the Supreme Court in Washington at a so-called “White Coat Summit” of like-minded doctors.

     Early on in the pandemic, scientists were eager to find out whether hydroxychloroquine’s antiviral properties would make it effective in real-world patients with SARS-CoV-2.

     So far though, all the major clinical trials that have reported their findings on this question have found no benefit, and leading national health authorities have moved to restrict its use because of potential cardiac harm.

     The clip was shared by Trump and described as a “must watch” by his son Donald Trump Jnr, but has since been deleted by Facebook, Twitter and YouTube for promoting misinformation.        

     Trump also complained about his plummeting approval ratings as compared to those of Dr Anthony Fauci, the top medical adviser on the White House coronavirus task force.

     And the curious case of Immanuel and colleagues – first reported in depth by The Daily Beast – underscores just how far the drug’s advocates are willing to go.

     The website for “America’s Frontline Doctors” was registered just 11 days ago, a web domain age checker revealed – and the site was taken down by Tuesday afternoon.

     “Tea Party Patriots”, a right-wing political group backed by wealthy Republicans, said on its website it was responsible for organising the Washington summit.

     Further research on Immanuel’s web page, now accessible only via an archived website viewer, as well as her YouTube account, reveal a long list of bizarre and unscientific beliefs.

     These include that “tormenting spirits” routinely have “astral sex” with women, which in turn causes “gynaecological problems, marital distress, miscarriages” and more.

     In a 2015 video, Immanuel, who leads a religious group called Fire Power Ministries, said: “There are people ruling this nation that are not even human,” describing them as “reptilian spirits” who are “half human, half ET.”

In the same video she rails against the use of “alien DNA” to treat sick people, which she said had resulted in human beings mixing with demons.

     Other targets of her anger include gay marriage, which she said would result in adults marrying children.”

     As written by Sady Dolye in her essay for In These Times, entitled How Capitalism Turned Women Into Witches; “Sylvia Federici’s new book explains how violence against women was a necessary precondition for capitalism.  Federici traces how capitalism affects and infects the “private,” feminine sphere of unwaged domestic and reproductive work.

     The Italian socialist feminist Silvia Federici is mandatory reading to understand gender politics (today). The opening sentences of her 1975 pamphlet “Wages Against Housework”—“They say it is love. We say it is unwaged work”—will stick in your head and change your whole concept of family. Caliban and the Witch, her titanic 1998 work on witch trials as a tool of early capitalism, will take your head apart and put it back together.

     Federici is not just relevant but getting more so every second. Throughout her work, she traces how capitalism affects and infects the “private,” feminine sphere of unwaged domestic and reproductive work; she excavates intimacy, uncovering all its toxic layers of lead paint and asbestos, until its exploitative foundations are clear. Her work is essential to decoding the present moment, as capitalism and patriarchy entwine to produce increasingly grotesque offspring: predatory adoption agencies coercing women into giving up their babies; the exorbitant cost of childcare causing single working mothers to go bankrupt; entire industries where the opportunity to abuse women with impunity is a perk for the powerful men up top. And, thank goodness, we seem to know it; half the young leftist women writing today are riffing on Federici’s work.

     Federici’s latest, Witches, Witch-Hunting and Women, updates and expands the core thesis of Caliban, in which she argued that “witch hunts” were a way to alienate women from the means of reproduction. In the transition from feudalism to capitalism, Federici argues, there was an intervening revolutionary push toward communalism. Communalist groups often embraced “free love” and sexual egalitarianism—unmarried men and women lived together, and some communes were all-women—and even the Catholic church only punished abortion with a few years’ penance.

     For serfs, who tilled the land in exchange for a share of its crops, home was work, and vice versa; men and women grew the potatoes together. But in capitalism, waged laborers have to work outside the home all the time, which means someone else needs to be at home all the time, doing the domestic work. Gender roles, and the subjugation of women, became newly necessary.

     Early feudal elites in rural Europe enclosed public land, rendering it private and controllable, and patriarchy enclosed women in “private” marriages, imposing on them the reproductive servitude of bearing men’s children and the emotional labor of caring for men’s every need. Pregnancy and childbirth, once a natural function, became a job that women did for their male husband-bosses—that is to say, childbirth became alienated labor. “Witches,” according to witch-hunting texts like the Malleus Maleficarum, were women who kept childbirth and pregnancy in female hands: midwives, abortionists, herbalists who provided contraception. They were killed to cement patriarchal power and create the subjugated, domestic labor class necessary for capitalism.

     “The body has been for women in capitalist society what the factory has been for male waged workers,” Federici writes in Caliban, “the primary ground of their exploitation and resistance.”

     The elegance of this argument, the neat way it knots together public and private, is thrilling. There are moments when Federici makes sense like no one else. In this passage, she explains how sexuality—once demonized “to protect the cohesiveness of the Church as a patriarchal, masculine clan”—became subjugated within capitalism: “Once exorcised, denied its subversive potential through the witch hunt, female sexuality could be recuperated in a matrimonial context and for procreative ends. …In capitalism, sex can exist but only as a productive force at the service of procreation and the regeneration of the waged/male worker and as a means of social appeasement and compensation for the misery of everyday existence.”

     The pleasures of Witches occur in quick little bursts of illumination. Federici dips in and out of her famous argument, expanding it, updating it and finding new angles on it. Some essays work better than others. Her exploration of gossip and its criminalization is a stand-out; she traces a concise and damning history of how “a term commonly indicating a close female friend turned into one signifying idle, backbiting talk,” and how that act of women speaking to each other—often about men, and in a way those men might not like—became punishable by torture and public humiliation, as in the case of the “scold’s bridle.” This torture device, which was used until the early 1800s, was a mask with a bit (sometimes lined with spikes) that kept a woman from moving her tongue. Gossips, like witches, were criminalized for being women. Federici is always timely: Today’s “whisper networks,” in which women share the identities of abusers and harassers to keep each other safe, are gossip too. And, as accused rapist Stephen Elliott’s lawsuit against Moira Donegan and the Shitty Media Men list proves, plenty of men still want gossips hauled into court.

     The point of reading Federici is not to agree with her at all times—it’s to let her knock the dust and cobwebs out of your mind, to open up new roads of thought and spark new curiosities. Opening this book at random will always bring you to a sentence that does that, as when Federici explains why witches are commonly old: “Older women [can] no longer provide children or sexual services and, therefore, appear to be a drain on the creation of wealth”; or ties witches to other historical insurrections: “the portrayal of women’s earthly challenges to the power structures as a demonic conspiracy is a phenomenon that has played out over and over in history down to our times” (Witches was published a few weeks before a Catholic exorcist held a special mass to protect accused sexual predator Brett Kavanaugh from … witches). Each sentence will also open doors into her other work.”

     Excerpted from Caliban and the Witch; “The witch hunt rarely appears in the history of the proletariat. To this day, it remains one the most understudied phenomena in European history, or rather, world history, if we consider that the charge of devil worshipping was carried by missionaries and conquistadors to the “New World” as a tool for the subjugation of the local populations.

     That the victims, in Europe, were mostly peasant women may account for the historians’ past indifference towards this genocide, an indifference that has bordered on complicity, since the elimination of the witches from the pages of history has contributed to trivializing their physical elimination at the stake, suggesting that it was a phenomenon of minor significance, if not a matter of folklore.

     Even those who have studied the witch hunt (in the past almost exclusively men) were often worthy heirs of the sixteenth-century demonologists. While deploring the extermination of the witches, many have insisted on portraying them as wretched fools afflicted by hallucinations, so that their persecution could be explained as a process of “social therapy,” serving to reinforce neighborly cohesion, or could be described in medical terms as a “panic,” a “craze,” an “epidemic,” all characterizations that exculpate the witch hunters and depoliticize their crimes.

     Feminists were quick to recognize that hundreds of thousands of women could not have been massacred and subjected to the cruelest tortures unless they posed a challenge to the power structure. They also realized that such a war against women, carried out over a period of at least two centuries, was a turning point in the history of women in Europe, the “original sin” in the process of social degradation that women suffered with the advent of capitalism, and a phenomenon, therefore, to which we must continually return if we are to understand the misogyny that still characterizes institutional practice and male-female relations.

     Marxist historians, by contrast, even when studying the “transition to capitalism,” with very few exceptions, have consigned the witch hunt to oblivion, as if it were irrelevant to the history of the class struggle. Yet, the dimensions of the massacre should have raised some suspicions. as hundreds of thousands of women were burned, hanged, and tortured in less than two centuries.

     It should also have seemed significant that the witch hunt occurred simultaneously with the colonization and extermination of the populations of the New World, the English enclosures, the beginning of the slave trade, the enactment of “bloody laws” against vagabonds and beggars and it climaxed in the interregnum between the end of feudalism and the capitalist “take off” when the peasantry in Europe reached the peak of its power but, in time, also consummated its historic defeat. So far, however, this aspect of primitive accumulation has truly remained a secret.

     Witch-Burning Times and the State Initiative

     What has not been recognized is that the witch hunt was one of the most important events in the development of capitalist society and the formation of the modern proletariat. For the unleashing of a campaign of terror against women, unmatched by any other persecution, weakened the resistance of the European peasantry to the assault launched against it by the gentry and the state, at a time when the peasant community was already disintegrating under the combined impact of land privatization, increased taxation, and the extension of state control over every aspect of social life.

     The witch hunt deepened the divisions between women and men, teaching men to fear the power of women, and destroyed a universe of practices, beliefs, and social subjects whose existence was incompatible with the capitalist work discipline, thus redefining the main elements of social reproduction. Contrary to the view propagated by the Enlightenment, the witch hunt was not the last spark of a dying feudal world. Witch-hunting reached its peak between 1580 and 1630, in a period, that is, when feudal relations were already giving way to the economic and political institutions typical of mercantile capitalism. It was in this long “Iron Century” that, almost by a tacit agreement, in countries often at war against each other, the stakes multiplied, and the state started denouncing the existence of witches and taking the initiative of the persecution.

     Before neighbor accused neighbor, or entire communities were seized by a “panic,” a steady indoctrination took place, with the authorities publicly expressing anxiety about the spreading of witches, and travelling from village to village in order to teach people how to recognize them, in some cases carrying with them lists with the names of suspected witches and threatening to punish those who hid them or came to their assistance.

     But it was the jurists, the magistrates, and the demonologists, often embodied by the same person, who most contributed to the persecution. They were the ones who systematized the arguments, answered the critics, and perfected a legal machine that, by the end of the sixteenth century, gave a standardized, almost bureaucratic format to the trials, accounting for the similarities of the confessions across national boundaries. In their work, the men of the law could count on the cooperation of the most reputed intellectuals of the time, including philosophers and scientists who are still praised as the fathers of modern rationalism.

     There can be no doubt, then, that the witch hunt was a major political initiative. The political nature of the witch hunt is further demonstrated by the fact that both Catholic and Protestant nations, at war against each other in every other respect, joined arms and shared arguments to persecute witches. Thus, it is no exaggeration to claim that the witch hunt was the first unifying terrain in the politics of the new European nation-states, the first example, after the schism brought about by the Reformation, of a European unification.

     Devil Beliefs and Changes in the Mode of Production

     A first insight into the meaning of the European witch hunt can be found in the thesis proposed by Michael Taussig in his classic work The Devil and Commodity Fetishism in South America (1980), where the author maintains that devil-beliefs arise in those historical periods when one mode of production is being supplanted by another. In such periods not only are the material conditions of life radically transformed, but so are the metaphysical underpinnings of the social order — for instance, the conception of how value is created, what generates life and growth, what is “natural” and what is antagonistic to the established customs and social relations.

     Taussig developed his theory by studying the beliefs of Colombian agricultural laborers and Bolivian tin miners at a time when, in both countries, monetary relations were taking root that in peoples’ eyes seemed deadly and even diabolical, compared with the older and still-surviving forms of subsistence-oriented production. Thus, in the cases Taussig studied, it was the poor who suspected the better-off of devil worship. Still, his association between the devil and the commodity form reminds us that also in the background of the witch hunt there was the expansion of rural capitalism, which involved the abolition of customary rights, and the first inflationary wave in modern Europe.

     These phenomena only led to the growth of poverty, hunger, and social dislocation, they also transferred power into the hands of a new class of “modernizers” who looked with fear and repulsion at the communal forms of life that had been typical of pre-capitalist Europe. It was by the initiative of this proto-capitalist class that the witch hunt took off, as a weapon by which resistance to social and economic restructuring could be defeated.

     That the spread of rural capitalism, with all its consequences (land expropriation, the deepening of social distances, the breakdown of collective relations) was a decisive factor in the background of the witch hunt is also proven by the fact that the majority of those accused were poor peasant women — cottars, wage laborers — while those who accused them were wealthy and prestigious members of the community, often their employers or landlords, that is, individuals who were part of the local power structures and often had close ties with the central state.

     In England, the witches were usually old women on public assistance or women who survived by going from house to house begging for bits of food or a pot of wine or milk; if they were married, their husbands were day laborers, but more often they were widows and lived alone. Their poverty stands out in the confessions. It was in times of need that the Devil appeared to them, to assure them that from now on they “should never want,” although the money he would give them on such occasions would soon turn to ashes, a detail perhaps related to the experience of superinflation common at the time.

     As for the diabolical crimes of the witches, they appear to us as nothing more than the class struggle played out at the village level: the “evil eye,” the curse of the beggar to whom an aim has been refused, the default on the payment of rent, the demand for public assistance.

     Witch-Hunting and Class Revolt

     As we can see from these cases, the witch hunt grew in a social environment where the “better sorts” were living in constant fear of the “lower classes,” who could certainly be expected to harbor evil thoughts because in this period they were losing everything they had.

     That this fear expressed itself as an attack on popular magic is not surprising. The battle against magic has always accompanied the development of capitalism, to this very day. Magic is premised on the belief that the world is animated, unpredictable, and that there is a force in all things so that every event is interpreted as the expression of an occult power that must be deciphered and bent to one’s will.

     Magic was also an obstacle to the rationalization of the work process, and a threat to the establishment of the principle of individual responsibility. Above all, magic seemed a form of refusal of work, of insubordination, and an instrument of grassroots resistance to power. The world had to be “disenchanted” in order to be dominated.

       By the sixteenth century, the attack against magic was well under way and women were its most likely targets. Even when they were not expert sorcerers/magicians, they were the ones who were called to mark animals when they fell sick, heal their neighbors, help them find lost or stolen objects, give them amulets or love potions, help them forecast the future. Though the witch hunt targeted a broad variety of female practices, it was above all in this capacity — as sorcerers, healers, performers of incantations and divinations — that women were persecuted. For their claim to magical power undermined the power of the authorities and the state, giving confidence to the poor in their ability to manipulate the natural and social environment and possibly subvert the constituted order.

     It is doubtful, on the other hand, that the magical arts that women had practiced for generations would have been magnified into a demonic conspiracy had they not occurred against a background of an intense social crisis and struggle. These were the “peasant wars” against land privatization, including the uprisings against the “enclosures” in England (in 1549, 1607, 1628, 1631), when hundreds of men, women and children, armed with pitchforks and spades, set about destroying the fences erected around the commons, proclaiming that “from now on we needn’t work any more.” During these revolts, it was often women who initiated and led the action.

     The persecution of witches grew on this terrain. It was class war carried out by other means.

     Witch-Hunting, Woman-Hunting, and the Accumulation of Labor

     It seems plausible that the witch hunt was, at least in part, an attempt to criminalize birth control and place the female body, the uterus, at the service of population increase and the production and accumulation of labor-power. We can, in fact, imagine what effect it had on women to see their neighbors, friends, and relatives being burned at the stake, and realize that any contraceptive initiative on their side might be construed as the product of a demonic perversion.

     From this point of view, there can be no doubt that the witch hunt destroyed the methods that women had used to control procreation, by indicting them as diabolical devices, and institutionalized the state’s control over the female body, the precondition for its subordination to the reproduction of labor-power. The witch hunt, then, was a war against women; it was a concerted attempt to degrade them, dehumanize them, and destroy their social power.

     When this task was accomplished — when social discipline was restored, and the ruling class saw its hegemony consolidated — witch trials came to an end. The belief in witchcraft could even become an object of ridicule, decried as a superstition, and soon put out of memory. Just as the state had started the witch hunt, so too, one by one, various governments took the initiative in ending it.

     Once the subversive potential of witchcraft was destroyed, the practice of magic could even be allowed to continue. After the witch hunt came to an end, many women continued to support themselves by foretelling the future, selling charms, and practicing other forms of magic. But now the authorities were no longer interested in prosecuting these practices, being inclined, instead, to view witchcraft as a product of ignorance or a disorder of the imagination.

     Yet the specter of the witches continued to haunt the imagination of the ruling class. In 1871, the Parisian bourgeoisie instinctively returned to it to demonize the female Communards, accusing them of wanting to set Paris aflame. There can be little doubt, in fact, that the models for the lurid tales and images used by the bourgeois press to create the myth of the petroleuses were drawn from the repertoire of the witch hunt.”

The Witch  official trailer

The Crucible

Caliban and the Witch, by Silvia Federici

Witches, Witch-Hunting, and Women, by Silvia Federici

https://www.goodreads.com/book/show/39090931-witches-witch-hunting-and-women

https://jacobinmag.com/2018/10/witch-hunt-class-struggle-women-autonomy?fbclid=IwAR1zhJl5eMgeXz1nfWXosM0JFtL0NEuIgksIX_Q7cKL079AZBGDQXldV5MI

http://inthesetimes.com/article/21592/capitalism-witches-women-witch-hunting-sylvia-federici-caliban

https://www.imdb.com/videoplayer/vi1519059225

https://aeon.co/essays/how-economic-behaviour-drove-witch-hunts-in-pre-modern-germany?fbclid=IwAR21Tkz5TSI1Exqmoyl-aKTu97BzKZe1mKZb3SKAwaZ1hxzV_sXdg4fuCxo

Terence: the Self-Tormentor

     What does it mean to be a woman, and what are we talking about when we talk about the Patriarchy? The Salem Witch Trials, a reading list

A Delusion of Satan: The Full Story of the Salem Witch Trials, by Frances Hill, Karen Armstrong (Introduction)

Six Women of Salem: The Untold Story of the Accused and Their Accusers in the Salem Witch Trials, by Marilynne K. Roach

A Storm of Witchcraft: The Salem Trials and the American Experience, by Emerson W. Baker

The Making of Salem: The Witch Trials in History, Fiction and Tourism, by Robin DeRosa

      And for reimagined faith as feminine centered seizure of power from the Patriarchy, and as a reconstructed Celtic fairy faith of pre Christian Europe,  there are no finer sources than those written by Starhawk, who had the wisdom to honor both the wildness of nature and the wildness of ourselves:

The Spiral Dance: A Rebirth of the Ancient Religion of the Great Goddess,

by Starhawk

https://www.goodreads.com/book/show/73869.The_Spiral_Dance

Dreaming the Dark: Magic, Sex, and Politics, by Starhawk

https://www.goodreads.com/book/show/84259.Dreaming_the_Dark

October 2025 In This Halloween Season, Remember and Beware; Real Monsters Walk Among Us

     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.

     Who are we Americans, with our government a captive state by the Party of Treason’s confederacy of theocratic sexual terrorists, white supremacist terrorists, and the nihilistic grifters and carnival sideshow freaks who are its star performers?

      In this Halloween season, as we enact seizures of power through embrace of our monstrosity and dancing our demons, let us remember and witness, expose and call out the real monsters who walk among us beneath their human masks; the secret Nazis who call themselves Republicans, loathsome and degenerate conspirators in theocratic patriarchal sexual terror and white supremacist terror, moral lepers consumed and disfigured beyond the limits of the human by an ideology which infects and destroys its host like zombies or vampires.

      Among the true horrors of the Trump regime’s Fourth Reich is the awareness and certainty that they live and are real, and may be anyone anywhere; a stranger in line behind us at the grocery, or next to us at a family dinner. But knowing this, we may be on guard and ready when those who would enslave us attack.

      And when we go Trick or Treating, let no one go alone.

      Of the Trump regime carnival freak show I have written in my post of January 31 2025, Trump Unfurls His Tongue of Lies; Trump unfurls his Tongue of Lies like a red carpet for celebrities of wickedness, marked with the sigil of the demon he worships and is possessed by; Moloch the Deceiver.

      Pestilence comes forth wearing the zombie form of Robert F Kennedy Jr the Truly Awful, his brain eaten by a swarming mass of worms and bearing his Plague Doctor’s mask at the ready.

     Here follows his comrade Civil War possessing the leering and drunken Christian Nationalist Pete Hegseth, dragging behind him the shadows of the Crusades, the Inquisition, slavery, patriarchy, and the Divine Right of Kings, bearing the Cross he wishes to nail us all to.

     Famine appears as Tulsi Gabbard, Russian spy, collaborator in Assad’s regime of torture in Syria and in Putin’s atrocities of imperial conquest in Ukraine, whore of tyranny who seeks our ruin for the benefit of her evil paymasters, not to protect American interests and markets but to undermine and sell them off as we wither and become Hollow Men, gaunt and starving, consumed from within by the hunger and avarice which consumes them like the cannibal Wendigo while our enemies fatten as we die and become nothing, bearing a wizened apple doll like the picture of Dorian Gray as a sign of our future ruin and moral collapse and hissing serpentine curses like the figure of Hunger in the film Pan’s Labyrinth, a perfect allegory of the Trump regime.  

     Death of the state and nation of America arrives with the fanfare of trumpets as an all-conquering shadow of our darkness, fears and self-hatred and internalized oppression made manifest in the figure of the fake Jethro of questionable pronouns and tattooed eyeliner JD Vance, whose mission is the fall of the world order of democracy, the dismantling of the American state, and its replacement with a plutocracy of tyrant CEO’s wherein citizenship is meaningless and we are all slaves of elite hegemonies of wealth, power, and white male privilege, bearing the manacles which symbolize terminal stage capitalism as it seeks to free itself of its host political system.

     A parade of fools follows the Four Horsemen of Our American Apocalypse, each representing the flaws of our humanity and the brokenness of the world, their praises sung by the multi-headed beast of fascist propaganda led by X CEO Elon Musk and others yapping in chorus and jostling for position.

     And last, crawling on his belly like a submissive dog, comes the husk of Rudy Giuliani, utterly vacuous and eaten from within by the demons he serves. Such is the fate of all who serve and are loyal to Traitor Trump, who serves and is loyal only to himself.   

     Truly, “Hell is empty and all the devils are here” as Ariel’s line in The Tempest goes, prancing and capering in their many guises.

     In the audience the treasonous and dishonorable brutes of theocratic patriarchal sexual terror who voted for a Rapist In Chief that he may grant them permission for the same and of white supremacist terror who voted for a Nazi Revivalist that they may imagine themselves superior to anyone else in their wretchedness and degenerate villainy and enact genocide and slavery, both forms of power as subjugation and dehumanization of others born of fear and weaponized in service to the centralization of authority to a carceral state of force and control, hooting and champing and each bearing a sign and flaw of their subhuman degenerate nature, a tail or a horn, seize upon the prancing embodied lies with avarice and eat them up in the primary ritual of a Trump rally black mass.  

    Thus for an America and ideals of human being, meaning, and value rendered meaningless by misdirections and distortions of the truth, captured and lost in the myriad reflections, echoes, and false images of Trump’s funhouse mirrors of lies.

     Lies are all Trump has; strip him of his Cloak of Illusions and Lies and his true nature as a monster and predator is revealed to the world. 

     This week Trump and his clown show caused a nationwide panic by defunding, deregulating, abolishing independent oversight, trying to force mass resignations of federal workers, and shutting down the government. Among the first side effects of the federal spending freeze was the medicare portal for payments going down which shut down our nation’s hospitals and healthcare system and the crash of a jet in Washington DC because no one was in the flight control tower or at the helm of the FAA. This is only the beginning of what a nation which abandons the institutions of state entirely looks like; the nation falls apart. And this is exactly what the Trump regime wants, as capital tries to free itself of its host political system.

      We see you, enemies of democracy and humanity, and we will neither believe your lies not obey your commands.

     And while our systems of oppression and unequal power are doomed and must inevitably collapse, our seizures of power and liberation struggle cannot be defeated while we disbelieve and disobey, refuse to submit and unite in solidarity as guarantors of each other’s rights as citizens and as human beinbgs.

     For we are many, we are watching, and we are the future.

     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?   

      In all the madness of the ICE white supremacist terror force campaign of ethnic cleansing, repression of dissent, and theft of meaningful citizenship and our inalienable and universal human rights, 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; having just held the most massive single day protest in our history with zero violence on the part of the protestors, engaged in electoral process and solidarity action as guarantors of each other’s rights, 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.

     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.

      In this time of darkness, 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 January 21 2025, Horror On Opening Night As Deranged Idiot Clown Show Returns to White House; Depravities, violations, sadism, monstrosity; the horrors of opening night spew forth from the diseased and rotting mind of Our Clown of Terror, Traitor Trump, Rapist In Chief of a fallen America as our deranged idiot mascot of fascism and theocracy returns to the White House with his Theatre of Cruelty.

     Elon Musk’s Nazi salutes typify the minions of the Clown and will be remembered forever as a symbol of the Party of Treason and the Deplorables who voted it into power, who slavering and ululating with mindless abandon cheer him on to greater performances of the grotesque and the bizarre.

     After preening before the crowd and dropping his pants so that various wellwishers could kiss his grublike white butt, Trump grinned, leered, grunted like a pig and hopped up on a table to squat and excrete a mass of Executive Orders which like Thing One and Thing Two immediately set about creating chaos.

      Then he summoned one of the migrant children he had stolen from their parents, cleverly tied up Shibari style and prodded along by handlers in KKK hoods with fireplace pokers, who made their prisoner jump through hoops like lion tamers to resounding applause. “Here’s my very first Executive Order, ladies and gentlemen; we’re going to round up all the migrants, only the ones who aren’t white mind you, just so nobody worries that we’re treating people unfairly because they’re not people, and we’re selling the bond of their labor on an open exchange so you can all buy some, everyone can buy some slaves, and you can do anything you want with them, anything at all, because I said so just now, and it doesn’t matter anyway because only our kind are really truly human. And you can forget about legal and illegal immigrants, or if they were born here or not, because it’s the bad blood I’m worried about and not what it says on paper, we’re just starting with the immigrants but don’t worry, we’ll get to the rest of them eventually”.

      And the crowd laughed and threw money, which Trump snapped out of the air like a dog catching treats.  

         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 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 written in my post of October 28 2019, Trump and al-Baghdadi: parallel lives and reflections; As the world celebrates the death of al-Baghdadi, both tyrant and monster, and Trump claims credit in this the sole victory of his administration, as if for the trophy head of some dangerous beast shot by a guide while enjoying cocktails at the hunting camp, it may be interesting to compare the parallel lives, methods, and goals of Trump and al-Baghdadi.

     Both Trump and al-Baghdadi are megalomaniacs and psychopaths who seized power through manipulation of those who perceived themselves as victims and readily dehumanized others to change their status, using disruption of norms and a reimagination of reality through lies and misdirects to shape history, and enacted regimes of state terror and campaigns of religious and ethnic cleansing and of patriarchal misogyny and sexual violence against women.

     Trump cannot distinguish truth from lies and delusions; his madness and childlike feeble mindedness, the tantrums and psychotic rages, the bullying and narcissism of a spoiled brat, does not however absolve him of responsibility for his actions, or those of the treasonous cabal of sex predators and fascists he has gathered around him.

     Trump claims to have killed his dark reflection and shadow self by his spurious arrogation of a victory won by our intelligence and military services; but history will always see this second face behind his mask, a secret twin he bears into eternity, a face of power and twisted desires unrestrained by the laws and values of a democratic civilization and a free society of equals: the face of Trump’s heart of darkness, al-Baghdadi.

     Also out of order per a timeline but next in thematic rank, October 19 2019, Trump the predator exposed in All the President’s Women; How do you spell Trump? Treason. Racism. Untruth. Misogyny. Predator.

     Hey Republicans, thanks for showing us what’s under your masks.

      You know, I can understand how the Fourth Reich conspiracy of Gideonite fundamentalist patriarchs, Nazi-Klan white supremacists, and their plutocrat and foreign puppetmasters might claim the first four parts of the Trump program of subversion of democracy with defiant pride amongst themselves, but that last one baffles me. Its as if the whole Republican Party decided to adopt a new nickname on their first day of prison, and started introducing themselves as Short Eyes.

     Its all recounted in horrific detail in All The President’s Women: Donald Trump and the Making of a Predator by Barry Levine & Monique El-Faizy; the casual sexual assaults committed in an arrogance of power and privilege which echoes the aristocratic Right of Seigneur, perversions of cruelty and ownership of others as a form of dominion which are extensions of his psychopathy, and among the most terrible signs of his inhumanity and amorality his acquisition of a beauty pageant monopoly for the purpose of access to underage girls.

     Trump’s whole life purpose and goal is to perv Miss America. Republicans, are you really going to claim that legacy as your own? Are the rest of us going to let it go unchallenged?

     Let us unite together in this purpose; to restore the honor and morality of America, and vote Trump out of our government.”

     And as I wrote on September 13 2019, Trump’s foreign policy: sabotage of America’s global hegemony of power and privilege; “After three years of idiocy and madness, pathological lies and perversions, what is the legacy of Trump and his monkeywrenching of America?

    Childstealing and whatever Trump and his Epstein buddies did which required the disappearance of witnesses and hundreds of missing migrant children.

     Use of white supremacist terrorists as deniable assets to enable the theft of our freedoms and the transformation of our democracy into a police state of totalitarian force and surveillance.

    Campaigns of racist ethnic cleansing and genocide against nonwhite immigrants and Muslims.

     I could go on, but what is the point? What norms and values of America have Trump and the Republicans not violated? In domestic policy the Trump administration has been a disaster it will take a generation to recover from, if America survives at all.

   As regards foreign policy, Trump has alienated our allies and emboldened our enemies, damaged our credibility and poisoned our diplomatic relations.

    We have surrendered our ideals and our leadership of the world as its primary guarantor of democracy and human rights, and won nothing in return. I’m surprised anyone accepts our money; certainly the words of our President are meaningless and worth nothing.

     In my post of September 16 2019, Trump’s New World Order: madness and tyranny; “ In a brilliant thumbnail analysis of Trump’s impact on the state of the world in terms of foreign policy, Simon Tisdall writing in The Guardian describes his policy of vacuous sound bites, staged publicity images, the diplomacy of a man totally ignorant of human relationships beyond the golf course and of any strategy of action to achieve goals other than grabbing the world by the crotch and hanging on while gobbling and ululating meaningless bestial sounds as if negotiating for slops in a hog trough.

     Trump has discovered it’s not as easy to rape nations as it is to corner little girls in the dressing room of a beauty pageant, or even an adult one at Bloomingdales.

    Not if we unite together in Resistance.

     America now has a common cause with many nations of the world in overcoming fascist tyranny and rescuing democracy and the rule of law, of defeating the imperial conquest and subjugation of the earth by Trump and other figureheads of the Fourth Reich, and in the liberation of humankind and the restoration of the sovereignty of citizens.

    And finally, herein is the text of my post in celebration of the start of the Impeachment process on September 24 2019, America rediscovers its values: the impeachment of Pennywise; ”Jubilation in the streets as America rediscovers its values and begins the impeachment of Pennywise, demonic clown and cannibalistic monster who dwells beneath the human face of Trump, a mask of flesh stolen from the abducted and enslaved women in the brothels his grandfather built the Trump family fortune on during the Alaska Gold Rush, and who today carries forward the legacy of terror and misogyny he was raised with, whose election should be de-certified as the coup of a foreign power and whose Presidency has no legitimacy.

     History will remember Trump as the standard bearer of the global Fourth Reich and its assault on democracy, stealer of children for his vile and twisted purposes, author of genocidal ethnic cleansing and builder of concentration camps, pathological liar and ignorant fool, whose alliance of xenophobic racists and white supremacists,  Christian Identity fanatics and other Gideonite fundamentalists who dream of the restoration of the Patriarchy under medieval Biblical law as a tyranny of the Elect, and amoral Plutocrats out to loot America for all the wealth they can send offshore while sabotaging our economy and driving our nation into collapse, thereby removing the major guarantor of freedom and human rights in the world and opening everything to exploitation.

     A full accounting of the treasons and crimes of Trump and his Republican conspirators would fill a thousand pages and more, would roll on like the endless night litany of the death of God during an Orthodox Easter service; but this is the moment of its end, wherein the chanting turns to rapture and joy at the break of dawn, for Nancy Pelosi and the power brokers of the Democratic Party have rummaged around in Pandora’s Box and found at last our hope, calling for impeachment and the restoration of the rule of law just at the point of no return, before the legitimacy of our government and the values on which it is built, freedom, equality, truth, and justice, are forever lost and America falls to fascism and tyranny, and with it the world descends into a second Dark Age.

     It took a millennia to emerge from the last one; civilization may not be recoverable again, should it fall under conditions of fascism and totalitarian regimes of absolute state power and surveillance, war, ethnostates and genocides, and unbridled extractive plunder of the earth. And this we must resist.

     Therefore celebrate with me the call for impeachment, and prepare ourselves for the great struggle ahead to make it real, to reawaken America’s values and to save democracy and universal human rights throughout the world.

      As I wrote in my post of August 27 2025, Behold the Monster: Anniversary of the Mug Shot Which Defines the Trump Era; 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 on this day in 2023 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. For we are once again in his jaws as Vichy America under the Fourth Reich, and Trump’s mission is to destroy the institutions of government and the ideals of democracy.

     Both the Fourth Reich which has infiltrated and once again captured the state and Trump as its figurehead are still fundraising off of hate speech and inciting white supremacist terror and theocratic sexual terror, possess a largely intact and unimpeded propaganda and funding 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.  

     All of this is made more terrible still with the planned military occupation of our cities and the ICE racist terror campaign.

     As we unite in solidarity and organize Resistance and liberation struggle, we may well mark the occasion of Trump’s surrender to justice two years ago this day, with not a single act of violence on his behalf perpetrated by any supporters, who like their dark master are cowards and will turn on each other and abandon their fallen idols which can no longer protect them. A fascist has no friends.

     We on the other hand will not abandon each other, for this is what defines us; refusal to abandon our comrades and our duty of car for each other as guarantors of each other’s universal human rights. This is the true difference between fascists and antifascists, and between tyranny and liberty; how we see ourselves and each other, as human beings or things to be used in service to wealth and power.

     In this moment only two years ago, under the glare of the police photographer’s lights, the orders of a judge, and the scrutiny of history, Trump imagined 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 in future generations imagines 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.

Portraits of the Trump Regime: a gallery

(American Horror Story: Freak Show Season 4 Trailers)

Trump’s regime: Pan’s Labyrinth trailer

We Enter Now the Wilderness of Mirrors:

The Psychedelic Puppets String Theory Gang and the Cyberdelic Dream Pen

          The Second Trump Regime, a reading list

The Prague Cemetery, Umberto Eco

Heliogabalus; or, the Crowned Anarchist, Antonin Artaud

A Political Fable, Robert Coover

Trump on the Couch: Inside the Mind of the President, Justin A. Frank

All the President’s Women: Donald Trump and the Making of a Predator, Barry Levine, Monique El-Faiz

Too Much and Never Enough: How My Family Created the World’s Most Dangerous Man, Mary L. Trump

The Room Where It Happened: A White House Memoir, John Bolton

The Psychopathic God by Robert G. L. Waite

https://www.goodreads.com/book/show/500773.The_Psychopathic_God?ref=nav_sb_ss_1_42

        On Lies and Truths, a reading list

The Prague Cemetery, Umberto Eco https://www.goodreads.com/book/show/10314376-the-prague-cemetery?from_search=true&from_srp=true&qid=KceYbFP18A&rank=1

On the Fascist Assault on Truth

https://www.huffpost.com/entry/trump-is-testing-the-ways-he-can-distort-reality-online_n_5f57f0dec5b67602f5fd6e8d?ncid=newsltushpmgtrackhate

The Open Society and Its Enemies, Karl Popper

The Constitution of Knowledge: A Defense of Truth

by Jonathan Rauch

 The Decay of Lying and Other Essays, by Oscar Wilde

Rationality: What It Is, Why It Seems Scarce, Why It Matters, by Steven Pinker

https://www.goodreads.com/book/show/56224080-rationality

The Enigma of Reason, by Hugo Mercier, Dan Sperber

https://www.goodreads.com/book/show/32336635-the-enigma-of-reason

  October 24 2025 Beneath the Gold Paint of Its Mask, An Abomination Gapes Wide Its Jaws: Case of the Epstein Ballroom

     The White House has this week endured destruction like nothing since the British burned it to the ground during the War of 1812, as the East Wing is replaced with the Epstein Ballroom, envisioned to become a glacial white confection like a sugar cake adorned with gold for elites to disport themselves in while the people who create their vast wealth remain invisible beyond its gates like the slave caste they are.

     As the East Wing was rebuilt in 1942 by President Roosevelt to conceal the construction of a doomsday bunker, the Presidential Emergency Operations Center, one wonders what Trump’s folly conceals, and against what apocalyptic threat or plans.

     An Abomination gapes wide its jaws and drools in idiocy and madness, his clown face replaced by fake gold paint like his fake Presidency, and beneath his golden mask he dreams of wriggling his toes upon a throne of gold while petitioners abase themselves and kiss his bloated fat feet.

     The Epstein Ballroom will doubtless offer many dark corners and secret rooms for his perversions and violations of all that is good and decent and true, for his relentless cruelties and acts of sexual and white supremacist terror, and for his subversions of democracy and our institutions and values of liberty, equality, truth, and justice.

       As written by Emma Brockes in The Guardian, in an article entitled

Big? Beautiful? Donald Trump is literally ripping apart the home of US democracy. Is anyone really surprised?; “Occasionally, life gives you scenarios that are so on the money it’s impossible to do anything with them. Boris Johnson getting stuck halfway down a zip wire while waving two union flags, for instance; or Liz Truss getting lost while attempting to leave a room – two images that are so embarrassingly on point it is almost difficult to enjoy them. An audience likes to feel it has done a bit of work before arriving at a punch line, which is why, on Monday, when demolition crews moved into the White House to knock down part of the East Wing at the behest of Donald Trump, it felt once again like we were living in post-satirical times.

     As far as we can tell from the photos, Trump didn’t actually send in a wrecking ball – although his administration did sharply reprimand government employees working in a neighbouring Treasury building for posting visuals of the demolition online, so at this point who knows? There were, however, diggers, torn-down walls and an awful lot of dust. This was the first stage of a project Trump has advertised as the addition to the White House of a 90,000 sq ft (8,300 sq metres) ballroom, at an estimated cost of $250m (£187m) and a capacity, according to Trump, of “999 people”. And while, granted, it’s not a branch of McDonald’s – one thing about Trump’s range is that, however bad things are, they could always have been worse – architectural and heritage institutes have been expressing concern.

     Presidents, of course, like to leave their mark on the nation’s furnishings as on its finances. The Obamas planted a kitchen garden at the White House, put in a basketball court and tweaked the lighting, apparently so it was bright enough for their daughters to do their homework. Joe Biden had less time to renovate, but did swap out Trump’s gold drapes in the Oval Office for some sober Clinton-era curtains and a new rug.

     Trump, meanwhile, paved over the Rose Garden, decked out the Oval Office in gold, and now appears to be wholesale demolishing the East Wing’s 1942 facade to build a giant event space – and you have to wonder if the state banquet he enjoyed at Windsor Castle last month has been a spur to get construction under way. As for what the new space might look like, we must assume that Clark Construction and McCrery Architects, the design and building entities involved, will be led by Trump’s general aesthetic and find a happy medium between the Grand Ballroom at Mar-a-Lago and Saddam Hussein’s palace.

     Well, you can imagine, there’s been some carping online. The Society of Architectural Historians released a statement expressing “great concern” over the proposed ballroom. The American Institute of Architects put out a stiff note reminding the president that “the historic edifice at 1600 Pennsylvania Avenue is the People’s House, a national treasure and an enduring symbol of our democracy”. And more importantly, that “any modifications to it – especially modifications of this magnitude – should reflect the importance, scale and symbolic weight of the White House itself”. This was, perhaps, a discreet way of pointing out that, given you can barely put up a shelf in a major city on the eastern seaboard without having to get a permit, the DC Department of Buildings might care to look into things.

     In her commentary online, Hillary Clinton was more direct: “It’s not his house. It’s your house. And he’s destroying it.” For many Americans, the demolition photos were soul-shuddering in a way that has no direct equivalence in the UK. I suppose if they changed the door numbers in Downing Street a lot of people might be upset and disturbed. But the building at No 10, and the living quarters in particular – which for a long time looked like one of those rental ads that go viral for demanding £2,000 a month for a flat in east London that is smaller than the inside of a canal boat – have never been as iconic or emotionally charged as their US counterparts.

     Karoline Leavitt, the White House press secretary, dismissed all the chatter as “fake outrage”, while the president himself posted online, “For more than 150 years, every President has dreamt about having a Ballroom at the White House to accommodate people for grand parties, State Visits, etc.” As with everything Trump says, it’s the “etc” in this sentence that should cause the most worry. The ballroom will be funded via private donations, setting up yet another race to curry favour with the president. And, as an event space, it will run in competition with the Trump International Hotel, offering the possibility of a very Trumpian future use for the building: the White House as venue for corporate retreat.”

     As written by David Smith in The Guardian, in an article entitled Trump’s ballroom blitz sparks chorus of disgust: ‘The perfect symbol’; “When Barack Obama roasted Donald Trump at the 2011 White House Correspondents’ Association dinner, the icing on the cake was a cartoon illustration of what the White House might look like if Trump ever became US president.

     The name “Trump” was emblazoned across the top in giant capital letters, followed by “the White House” in lurid purple cursive, then “hotel  casino  golf course” and “presidential suite”. The parody imagined gold pillars, a giant crystal chandelier and two scantily clad women sitting at reception.

     Fourteen years later, Obama’s vision looks increasingly prophetic as Trump, twice elected and determined to expand presidential power, puts his golden stamp all over the White House. Most dramatically, this week he sent in a wrecking crew to demolish the facade of the East Wing so he can build a $250m ballroom.

     The image of broken masonry, rubble and steel wires at America’s most famous address was reminiscent of a disaster movie and struck a chord even among people who have become accustomed to shrugging off Trump’s outrageous antics. White House alumni and presidential historians led the chorus of disgust.

     “It’s an abomination,” said Elaine Kamarck, a former official who worked in the building from 1993 to 1997. “It’s typical Trump and it’s going to look awful. They’re knocking down the entire East Wing of the White House. It’s not the end of the world but it’s just one more reason that Americans are getting sick of King Trump.”

     Some metaphors, it was observed, just write themselves. Jonathan Alter, a presidential historian, commented: “It’s the perfect symbol of the Trump administration and that’s why they didn’t want this photograph and that’s why it will become iconic and be used in history books for hundreds of years.

     “It’s not the worst thing that he’s done but there’s a perfect alignment between the visual image and the major theme of the Trump second term. Early on with Elon Musk it was a chainsaw. Now it’s a wrecking ball and that’s been their attitude. They’ve taken a wrecking ball to the rule of law.”

     The East Wing housed the first lady’s offices, a theatre and a visitors’ entrance that welcomes foreign dignitaries. Trump – who was a property developer before launching his political career – and senior officials had initially promised that nothing would be demolished during construction.

     The president said in July: “It will be beautiful. It won’t interfere with the current building. It won’t be – it will be near it, but not touching it. And pays total respect to the existing building, which I’m the biggest fan of. It’s my favourite.”

     Trump moved ahead with construction despite a lack of sign-off from the National Capital Planning Commission, the executive branch agency that has jurisdiction over construction and major renovations to government buildings in the region.

     The president says the project will be paid for with private donations and that no public money will be spent on the ballroom. The White House invited some of the donors to an East Room dinner last week but has not released a comprehensive list and breakdown of funds.

     Renderings released by the White House suggest a distinct resemblance to the gilded ballroom at Mar-a-Lago, Trump’s private club and home in Palm Beach, Florida.

     The project also has grown in size since it was announced, going from accommodating 650 seated guests to holding 999 people, big enough to fit an inauguration if needed, and the windows will be bulletproof, Trump has said.

     But the National Trust for Historic Preservation has asked the Trump administration to pause the demolition, expressing concern that the proposed 90,000 square foot ballroom “will overwhelm the White House itself”. The executive residence is 55,000 square feet.

     Alter drew a comparison with the British prime minister’s residence in London: “Think about it in terms of putting a glass tower 15 storeys high above 10 Downing Street. What the hell? Or if they knocked out everything to the left and right and put in some garish new buildings that King Charles would hate.”

     Presidents have added to the White House since construction began in 1792 for a variety of reasons, and Trump aides say his decision to build a ballroom follows that long tradition, dismissing the backlash as “manufactured outrage”. Many past projects were criticised as being too costly or too lavish but eventually came to be accepted.

     Theodore Roosevelt added the West Wing to provide dedicated space for the president and key staff, while Franklin Roosevelt added the East Wing, which over time became the home base for the first lady’s staff and social functions.

     One of the most significant White House renovations happened under Harry Truman, when the mansion was found to be so structurally unsound that he ordered a complete gutting of the interior that lasted from 1948 to 1952. The project, including Truman’s addition of a balcony to the second floor of the South Portico, was highly controversial.

     Other changes include the creation of the Rose Garden during John F Kennedy’s administration and Richard Nixon’s decision to convert an indoor swimming pool that was built for Franklin Roosevelt’s physical therapy into a workspace for the growing White House press corps.

     Trump has heavily redecorated the Oval Office by adding numerous portraits, busts and gold-toned adornments. He converted the Rose Garden into a stone-covered patio, installed towering flagpoles on the north and south lawns, and decorated an exterior wall with portraits of every president except his immediate predecessor, Joe Biden, who is replaced by an autopen.

     Now Trump says the White House needs a major entertaining space and has complained that the East Room, currently the biggest space in the White House, holding about 200 people, is too small. He has frowned on the past practice of presidents hosting state dinners and other big events in tents on the south lawn.

     Anita McBride, who was chief of staff to Laura Bush when she was first lady and describes herself as “intimately familiar” with the East Wing, agreed that previous administrations “were prevented from doing the events that they wanted by the size of the rooms as they currently exist. They worked around it by having temporary structures that were put out there every time. The addition of a ballroom is something whose time had come.”

     But McBride acknowledged that she had heard from many fellow East Wing alumni this week who find the images of destruction “difficult” and “jarring”. She added: “It doesn’t diminish the stories and the history that was made there and the importance of continuing to preserve and share the stories of the East Wing because it does play a role in White House history. Nothing changes that.”

     As written by David Smith in The Guardian, in an article entitled Trump takes a wrecking ball to the White House in on-the-nose metaphor; “The press corps crowded into the East Room – crystal chandeliers, moulded ceilings, portraits of past presidents – on Monday for an event celebrating student baseball champions from Louisiana. But first Donald Trump had something else on his mind.

     “Right behind us we are building a ballroom,” he said, gesturing towards a gold curtain. “I didn’t know I’d be standing here right now ’cos right on the other side you have a lot of construction going on, which you might hear periodically.”

     Beyond the Oz-like curtain demolition crews were tearing down part of the White House’s East Wing so they could start building Trump’s ballroom, a $250m project he says will be paid for by himself and unnamed donors. The spectacle of a mechanical excavator ripping through the facade, leaving a tangle of broken masonry, rubble and steel wires, was hard for some to take.

     Douglas Brinkley, a presidential historian, was quoted by WTOP News as saying: “Maybe it’s just the dislike of change on my part, but it seemed painful, almost like slashing a Rembrandt painting. Or defacing a Michelangelo sculpture.”

     The US president has never been one to shy away from glaringly obvious metaphors. For the past decade, as one norm and institution after another has collapsed, critics have called him a human wrecking ball. So what better than literally wrecking a wing of the 225-year-old White House?

     David Frum, a former speechwriter for President George W Bush, tweeted: “Something profoundly symbolic about Trump taking a wrecking ball to the White House … paying for the demolition with money from cronies and insiders seeking government favors … and the Republicans in Congress acquiescing as Trump treats public assets as private property.”

     Apparently stung by the criticism and feeling defensive, the White House blasted out a press release on Tuesday. It complained: “In the latest instance of manufactured outrage, unhinged leftists and their Fake News allies are clutching their pearls over President Donald J Trump’s visionary addition of a grand, privately funded ballroom to the White House – a bold, necessary addition that echoes the storied history of improvements and renovations from commanders-in-chief to keep the executive residence as a beacon of American excellence.”

     The release listed past examples that included Teddy Roosevelt building the West Wing, Harry Truman overseeing a “total reconstruction” of the White House’s interior, Richard Nixon converting the swimming pool into the press briefing room and Barack Obama resurfacing the south grounds tennis court into a basketball court, complete with construction photos.

     The administration does have a point: the White House has constantly evolved and, before First Lady Jackie Kennedy intervened, it was a dingy, unglamorous place. Its appeal is that it is grand but not too grand: bigger and plusher than Britain’s 10 Downing Street, to be sure, yet modest compared with some of the baroque palaces of despots around the world.

     But there are a few things going on here. First, Trump seems bored by domestic policy. He would rather not talk about an economy that is stalling. The government shutdown, which would have consumed any of his predecessors, seems to induce only a yawn and AI videos depicting Democrats in sombreros.

     He is following in the tradition of past presidents who in their second terms pivoted to foreign policy, where it can seem easier to build a legacy (and maybe even win a Nobel peace prize). Last week his in-tray included Gaza, Argentina, Venezuela, Russia and Ukraine; on Monday he met the prime minister of Australia; on Friday he heads to Asia.

     Trump’s ennui has also turned him into an unlikely Benjamin Button: he is regressing from commander-in-chief to his youthful career as a builder and property wheeler-dealer. Like everything else about his second term, his makeover of the White House is far more ambitious than first time around.

     He planted two giant flagpoles that fly the Stars and Stripes, drowned the Oval Office in gold decor (the New York Times called it a “gilded rococo nightmare”) and installed a “presidential walk of fame” with gold-framed portraits of every president except Joe Biden, who is supplanted by an autopen.

     It’s all beginning to feel like Mar-a-Lago, Trump’s estate in Palm Beach, Florida, an opulent orgy of gold-plated fixtures and gold leafing. I heard Elvis Presley’s Are You Lonesome Tonight? floating over the West Wing on Monday and imagined Trump playing DJ on his new Rose Garden patio.

     At a Rose Garden lunch on Tuesday, the president told Republican senators: “You probably hear the beautiful sound of construction to the back here. You hear that sound? That’s music to my ears. I love that sound. When I hear that sound, it reminds me of money. In this case, it reminds me of lack of money because I’m paying for it.”

     Trump has plans for Washington too. Last week he unveiled plans for a triumphal arch across from the Lincoln Memorial that was quickly dubbed the “Arc de Trump” topped by a state of Lady Liberty – in gold, naturally. He showed off three 3D models – small, medium and large – and quipped: “I happen to like the large one. Why are you shocked?”

     Social media lit up with comparisons to Adolf Hitler’s chief architect Albert Speer and his project for “Germania”, a monumental new capital city intended to dwarf London, Paris and Washington. It would have had a dome nearly 16 times bigger than St Peter’s Basilica in Rome and a triumphal arch three times bigger than Paris’s Arc de Triomphe.

     But there is another analogy that might be just as apt. “‘… My name is Ozymandias, King of Kings; / Look on my Works, ye Mighty, and despair!’” wrote the British poet Percy Bysshe Shelley. “Nothing beside remains. Round the decay / Of that colossal Wreck, boundless and bare / The lone and level sands stretch far away.”

    As written in The Guardian in an article entitled Seth Meyers on Trump’s White House demolition: ‘This is insane’; “We have warned for years that Donald Trump is destroying American institutions,” said Seth Meyers on Wednesday evening, “but of course when we said ‘destroying’, we meant metaphorically speaking. We didn’t mean that he was literally destroying buildings.”

     “But I guess Trump heard that and thought, ‘On it.’ Because now he’s literally destroying the East Wing of the White House,” the Late Night host continued. The previously unannounced construction comes just days after record-breaking No Kings protests against Trump’s behavior as president, and as fellow Republicans continue to claim that he does not act like an authoritarian leader.

    “You guys, they’re right. Trump is not a king!” Meyers joked. “A king is someone who presumes the power to do whatever they want without consulting someone else. Someone who treats public property and public resources of the state as their own. Someone who surrounds themselves with lavish appointments and gilded furnishings and the trappings of wealth and power.”

     Such as, say, a $250m, 90,000 sq ft gilded ballroom, as Trump has unilaterally proposed for the White House. “This is insane,” said Meyers over a photo of the demolished East Wing. “This looks like a scene from an apocalyptic disaster movie. This is the first thing aliens do in movies to announce they’re evil. They blow up the White House. Trump is just cutting out the middleman of invading aliens.

     “No one was consulted about this,” he added. “No one approved of this. Congress certainly didn’t get a say. The White House isn’t Trump’s – it’s supposed to be ours.”

     Between this and his demand that the justice department pay him as punishment for investigations against him, Trump “is responding to the massive and historic No Kings protests with two cartoonishly straightforward examples of kingly behavior.”

     As written in The Guardian in an article entitled Stephen Colbert on Trump’s White House East Wing demolition: ‘So deeply unsettling’; ““At this point, we’re nine months into this, you’d think it would be impossible for us to be shocked by Donald Trump,” said Stephen Colbert on Tuesday’s Late Show. “But give the man credit – every so often, he takes the time to attach the electrodes to our nipples. And then it feels like the first time.”

    Case in point: on Monday, as part of his White House renovation project to construct a gilded ballroom, Trump sent out a backhoe to rip off a part of the East Wing. “That is it, we are not giving him the security deposit back,” Colbert quipped.

     “That is so deeply unsettling,” he continued. “It’s like being a kid and seeing your teacher at the grocery store … for sale … in the meat department.

     “We’re just nine months into Trump’s term, and he’s already going ‘Hulk smash’ on the White House. Last time, it took at least four years to bring a demo crew to the Capitol,” he added, referring to January 6.

     The demolition comes after Trump promised that the $250m, 90,000-sq-ft ballroom renovation would not touch the existing White House. “So that was a lie,” said Colbert. “At this point, should we even believe that this is going to end up being a ballroom? It could just as easily end up being a combination Pizza Hut-Taco Bell!”

     The treasury department has even instructed its employees not to share any photos of the White House “construction”.

     “Not generally something you instruct when you’re proud of what’s going on,” Colbert noted. “Hey guys, remember, no photos at my wedding … and it’s not because I’m marrying a body pillow of Mariah Carey.’”

     As written by Catherine Slessor in The Guardian, in an article entitled ‘Dictator-for-life vibes’: our architecture critic on Trump’s bulletproof ballroom bling; “He has already turned the Oval Office into a wrestler’s changing room. Now the president is building a place so gilded Nero would feel at home. Why did he pick an architect whose speciality is Catholic churches?

     As if truffling thuggishly in pursuit of the Nobel peace prize wasn’t enough, the spectacle of bulldozers ripping into the White House is yet more evidence of Donald Trump’s unstinting quest for epic self-aggrandisement. Having decreed the East Wing not fit for purpose – namely, his purposes of swank and show – he plans to replace it with a faux classical bulletproof ballroom, capable of seating up to 650 partygoers.

     Renderings show a vast, glacially white aircraft hangar of a structure embellished with an ornate coffered ceiling, gilded Corinthian columns and drooping gold chandeliers. Nero, who conceived the original domus aurea, would feel right at home. Costing $250m (£187.5m), a sum to be extracted from sycophantic donors, Trump’s ballroom is one of the most grandiose White House projects to be implemented in more than a century, as he strives to bend the building – and US architecture more generally – to his will.

       On re-assuming the presidency, one of his first executive orders – under the title Making Federal Architecture Beautiful Again – mandated that “traditional and classical architecture” should be the preferred style for all federal public buildings, with Trump having the final veto on designs. A similarly prescriptive order was enacted during Trump’s first spell in office, only to be rescinded by Joe Biden.

     So, having been here before, the American Institute of Architects is wearily wary, stating: “AIA is extremely concerned about any revisions that remove control from local communities, mandate official federal design preferences, or otherwise hinder design freedom, and add bureaucratic hurdles for federal buildings.”

     White House occupants do have a history of tweaking, expanding and remodelling. Theodore Roosevelt added the West Wing, Richard Nixon installed a bowling lane and Harry S Truman commissioned an entire reconstruction. Several first ladies have revamped the decor and furnishings, notably Jackie Kennedy, whose soigné interiors were designed to connect the presidential home more resonantly with American history.

     The now doomed East Wing, dating from 1902, has been a much-changed addition. Intermittently housing the office of the first lady, what’s left of it sits above the presidential emergency operations centre, a high security bunker built during the second world war. Vice-president Dick Cheney and his retinue retreated there during the 9/11 attacks, as did Trump at the start of the George Floyd protests in 2020.

     The man who landed the ballroom job is James McCrery, founder of Washington-based McCrery Architects and a trenchant advocate of classical architecture. “Americans love classical architecture,” he has said, “because it is our formative architecture – and we love our nation’s formation.” Ironically, McCrery began his career working for Peter Eisenman, the high priest of deconstructivism, before a conversion of Damascene proportions prompted him to renounce the avant garde and “rethink his modernist education”.

     Specialising in the design of “traditional” Catholic churches, McCrery was appointed by Trump during his first term to serve on the US Commission of Fine Arts, an independent federal agency with the power to review the “design and aesthetics” of all construction within Washington DC.

     Trump’s style edicts and building bombast exude a dictator-for-life megalomania vibe, as he barrels through his second term, with an unconstitutional third potentially in his sights. However, he is said to dislike the White House, finding it on the poky side, preferring to decamp to his Floridian resort Mar-a-Lago at every opportunity. The tone for his latest stay in the White House was set by his patio-fication of the Rose Garden, but he is now clearly aiming for a legacy more substantial than a bit of paving.

     His record as a “patron” of architecture has been shaped by his rollercoaster career as a property developer. To him, buildings are simply extruded capital. He has an enduring fondness for Louis XIV bling, epitomised by his enrobing of a 1960s Manhattan skyscraper in golden bronze cladding to transform it into the gleamingly phallic Trump International Hotel and Tower. His more recent engoldening of the Oval Office, described by White House press secretary Karoline Leavitt as a “golden office for the golden age”, has been unflatteringly compared to a professional wrestler’s dressing room.

     Nonetheless, Trump’s experience as a developer was formative, in that it taught him he could get away with just about anything. It crystallised a poisonous bravado, now hardwired into the national political sphere. His fetishisation of classicism, a historically recurring comfort blanket for despots of all stripes, is bleakly predictable.

     “It gives Trump a narrative of authority and tradition,” says Daniel Abramson, professor of architectural history at Boston University, “and fits into his overarching strategy of undermining the established elites, including in architecture.”

     Another imperial wheeze, announced at a reception for prospective ballroom donors, is a huge triumphal arch, to be erected just across the Potomac river from the Lincoln Memorial. Modelled on the Parisian original and topped with a gilded, winged goddess of victory, the “Arc de Trump” is intended to commemorate the US’s 250th anniversary next year. In launching this newest vanity project, Trump said: “We love to fix up Washington.” Again, Nero would doubtless approve.”

      What is to be done? As Tolstoy and Lenin asked with such divergent results, the founding of Liberation theology and nonviolent resistance as practiced by Gandhi and Martin Luther King, and the Russian Revolution which sought to change the relations between human beings from cash exchange to mutual aid.

     The Republicans, the Fourth Reich which has seized their party and captured our state, and their would-be Fuhrer Trump want to flush us all down the well of history to 1934 Germany. Let’s give them 1789 France.

     Let us choose this future:

Les Misérables | Do You Hear the People Sing?

    Or the Republicans will condemn us all to this one:

Schindler’s List 25th Anniversary – Official Trailer

Late Night with Seth Meyers

The Late Show with Stephen Colbert

Big? Beautiful? Donald Trump is literally ripping apart the home of US democracy. Is anyone really surprised?

https://www.theguardian.com/commentisfree/2025/oct/22/donald-trump-us-democracy-white-house-east-wing

Trump’s ballroom blitz sparks chorus of disgust: ‘The perfect symbol’

https://www.theguardian.com/us-news/2025/oct/23/trump-white-house-ballroom-reaction

Trump takes a wrecking ball to the White House in on-the-nose metaphor

https://www.theguardian.com/us-news/2025/oct/22/donald-trump-white-house-ballroom

This is insane’

Late-night hosts discuss the president’s wrecking project

https://www.theguardian.com/culture/2025/oct/23/late-night-trump-white-house-demolition?fbclid=IwY2xjawNng5RleHRuA2FlbQIxMQABHofoTA6q_BSuJ8goHgsu5L58D8OZdsZIAUykXKey-nNKek6oFJA79ypx81Rr_aem_MwALAXdaUSXUvvyNI7lgdg

Stephen Colbert on Trump’s White House East Wing demolition: ‘So deeply unsettling’

https://www.theguardian.com/culture/2025/oct/22/stephen-colbert-trump-white-house-demolition

Donors for Trump’s $300m White House ballroom include Google, Apple and Palantir

https://www.theguardian.com/us-news/2025/oct/23/trump-white-house-ballroom-donors?fbclid=IwY2xjawNni79leHRuA2FlbQIxMQABHj-IoBI9DF6yV3X0C1F6tpoyMkmryNkqP-ag_wwelJSgmfGHg3hqG6eR67t5_aem_6PBGqVUo4su1fRUIXU4qHg

https://www.facebook.com/DCPresLeague

Republicans want Germany 1934. Let’s give them France 1789.

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