November 3 2024 Echoes of the 1920 Ocoee Massacre: Vote Suppression and White Supremacist Terror in Our Elections

       Armed white supremacist terrorists in mock-military camouflage uniforms stand guard over our ballot drop offs in a campaign of vote suppression while assassins hunt our elected officials, as a plutocrat buys a yellow press in Twitter just in time to enable Trump to once more capture the state; welcome to America in the time of democracy’s greatest peril.

    This was not in the mirror of remote history but two years ago, though the mechanics of totalitarian state terror and tyranny were codified by Trump’s idol Hitler long ago, and the social divisions exploited by both have been with us since Pompey Magnus and Julius Caesar.

     We are losing the battle for the soul of America and the future of humankind because we are playing a game by rules which no longer exist, as our opponents intend to subvert and destroy democracy as our terms of engagement.

    Rules may be what make us the good guys, but good cannot win if evil has no rules but merely goals, and those of our subjugation to elite hegemonies of wealth, power, and privilege through fascisms of blood, faith, and soil and the centralization of power to authority and a carceral state of force and control.

    Our institutions of government are designed to balance forces which are both committed to the ideals, values, and structures of democracy; but this system functions only when democracy and a free society of equals founded on freedom, equality, truth, and justice are goals common to all, when we share a definition of terms.

     What today is true, just, equal, and free? Our political tribes no longer mean the same things when they speak of these values and ideals. We have lost democracy as a Forum of Athens when we can no longer debate how to be human together.

     This is the true goal of the Republican Party, in our elections in two days as it was on November 8 2022 and generally since its capture by the Fourth Reich. And we must cede nothing to the enemy; no ground of struggle, no symbol, no history, no idea.

     We must win our adversaries back to the debate as partners, for if we cannot democracy is lost and America fallen, and we devolve to an age of tyrants and centuries of war from which we humans may never emerge, if against all odds we survive.

     We have an excellent example of the costs of failure in the anniversary of racist terror we remember today, the Ocoee Massacre. It is a future we must avoid at all costs.

     So today I have two kinds of policy guidance to share with you as thesis and antithesis, for which we must find synthesis. First, who respects no laws and no limits may hide behind none, and we must bring a Reckoning as war to the knife to those who would enslave us; and second, that we must avoid this fate and the Second Civil War and global civilizational collapse it will trigger by making democracy and our elections real, meaningful, just, and true.

     God Bless America; we’re going to need it.

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

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

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

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

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

     Tyranny weaponizes overwhelming and generalized fear as an instrument of subjugation. And fascism has a primary strategy of power and the manufacture of consent to be governed in claiming to speak and act in the name of those they would enslave; so also with the perpetration of atrocities and unforgiveable crimes against humanity which makes us complicit and creates  walls of identity controlled by authority. This we must resist, but unless we speak directly to those fears we cannot heal the divisions of our society which authority has so skillfully manipulated.

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

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

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

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

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

     As written by Harmeet Kaur for CNN; “On November 2, 1920, African American residents of Ocoee, Florida, went out to cast their ballots in the presidential election — no small task at the time.

     In the decades since Reconstruction, Florida politics had been dominated by White Southern Democrats, who fought to preserve slavery in the 1850s and had since obstructed African Americans from exercising their constitutional rights through violence, intimidation and legislation.

     But in the run-up to the 1920 election, Black people in Ocoee were registering to vote in droves — a reality that threatened the grip of white supremacy, wrote Paul Ortiz, a history professor at the University of Florida, in a 2010 essay.

     “State and local officials — along with the Ku Klux Klan — understood that white supremacy was in trouble,” Ortiz wrote. “They responded mercilessly.”

In an attempt to prevent Black people from voting, a White mob in Ocoee killed dozens of African Americans, set fire to their houses and drove them out of the community.

     It was “the single bloodiest day in modern American political history,” Ortiz wrote.

     It stemmed from one Black man’s attempt to vote.”

    “According to several histories of the massacre, it started when Moses Norman, a prominent Black landowner in the Ocoee community, turned up to the polls and attempted to cast his ballot.

     Norman was turned away by poll workers who told him that he hadn’t properly registered or paid the poll tax, according to a 2014 article in the Florida Historical Quarterly. So he took the issue to a prominent Orlando lawyer and Republican Senate candidate, who advised that Norman return and demand he be allowed to exercise his right to vote.

     Norman returned, with some reports indicating that he had a gun with him as he went up to the poll workers and others saying that White people found the gun in his car. Ultimately, he was again driven away by White residents and went to take refuge at the house of his friend July Perry, another prominent Black man in the community.

     A White mob formed and set out to find Norman, eventually arriving at Perry’s home, where a group of African American residents had assembled. It’s unclear who fired first, but violence broke out, leaving two White men dead and Perry injured, the authors of the Florida Historical Quarterly article wrote.

After the initial gunfight, the mob called in reinforcements and came back with a vengeance.

     More than 250 White people, among them members of the Ku Klux Klan, torched rows of houses where African Americans lived, and set fire to other community buildings. Perry was lynched in Orlando. It’s not clear how many African Americans were killed, though estimates range from about 30 to as many as 50.

     Despite their efforts to fight back, nearly all of the African Americans in Ocoee were driven out of town and didn’t return to live there for decades.”

https://www.cnn.com/2020/11/02/us/ocoee-massacre-100th-anniversary-trnd/index.html

When They Call You a Terrorist: A Black Lives Matter Memoir, Patrisse Khan-Cullors & Asha Bandele, Angela Y. Davis (Foreword)

Say Their Names: How Black Lives Came to Matter in America, Curtis Bunn, Michael H. Cottman, Patrice Gaines, Nick Charles, Keith Harriston

How to Be an Antiracist, Ibram X. Kendi

https://www.goodreads.com/book/show/40265832-how-to-be-an-antiracist

How We Fight White Supremacy, Akiba Solomon & Kenrya Rankin (Editors)

November 2 2024 Native American Heritage Month and the Hidden Costs of Unequal Power in the Falsification and Erasure of History as Authorized Identities: Day of the Dead Part Two, Case of the Phantom Ancestor

      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 and the creation 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 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 musty 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 its imposed conditions of struggle remains central to our identity and the question of 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?

    Of 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 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 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.

     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 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 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. 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 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, Louisiana Creole 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, 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

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

                  On Fairytales As Our Origin Stories, a reading list  

Fairy Tales from the Brothers Grimm: A New English Version, Philip Pullman

 (Editor), Jacob Grimm, Wilhelm Grimm

https://www.goodreads.com/book/show/13554713-fairy-tales-from-the-brothers-grimm?ref=rae_8

The Grimm Reader: The Classic Tales of the Brothers Grimm, Maria Tatar, A.S. Byatt (Introduction)

Clever Maids: The Secret History of the Grimm Fairy Tales, Valerie Paradiž

From the Beast to the Blonde: On Fairy Tales and Their Tellers, Marina Warner

https://www.goodreads.com/book/show/365940.From_the_Beast_to_the_Blonde

Kiss Sleeping Beauty Good-Bye, Madonna Kolbenschlag

https://www.goodreads.com/book/show/291163.Kiss_Sleeping_Beauty_Good_Bye?ref=nav_sb_ss_1_56

The Hard Facts of the Grimms’ Fairy Tales, Maria Tatar

Beauty and the Beast: Visions and Revisions of an Old Tale, Betsy Hearne

https://www.goodreads.com/book/show/402049.Beauty_and_the_Beast?ref=nav_sb_ss_2_72

Little Red Riding Hood Uncloaked: Sex, Morality, and the Evolution of a Fairy Tale, Catherine Orenstein

https://www.goodreads.com/book/show/114476.Little_Red_Riding_Hood_Uncloaked?ref=nav_sb_ss_1_89

The Fairest of Them All: Snow White and 21 Tales of Mothers and Daughters,

Maria Tatar

https://www.goodreads.com/book/show/51579341-the-fairest-of-them-all

Once Upon a Time: A Short History of Fairy Tales, Marina Warner

https://www.goodreads.com/book/show/21920805-once-upon-a-time?ref=rae_17

The Uses of Enchantment: The Meaning and Importance of Fairy Tales, Bruno Bettelheim

https://www.goodreads.com/book/show/444388.The_Uses_of_Enchantment?ref=nav_sb_ss_2_84

Shadow and Evil in Fairy Tales, Marie-Louise von Franz

https://www.goodreads.com/book/show/1269427.Shadow_and_Evil_in_Fairy_Tales?ref=nav_sb_ss_1_54

Grimms’ Bad Girls and Bold Boys: The Moral and Social Vision of the Tales,

Ruth B. Bottigheimer

November 1 2024 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 autonomy, subjugation and liberation. 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.

    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 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.

      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 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;

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 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

October 31 2024 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 in America and 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 am costumed as an Israeli soldier spattered with the blood of  numberless innocents who have been butchered with aberrant glee in Palestine for over a year 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.

     I find it illuminating how the meaning of our monsters changes with the context of their signs; today I wore this costume of protest against 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 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 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; 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 five years old in a couple weeks, 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.

     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 as 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

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 2024 On This Kali Puja, A Song in Celebration of Death

     I sing of the goddess of Death and Rebirth, Transformation, Magic, Chaos, Darkness and Dreams, Battle and seizures of power as Liberation, twin of my demon lover Desire who define each other as negative spaces and inhabit our bodies as forces and instincts and the endless chasms of our souls as archetypes, myths, symbols, metaphors and allegories of the oceanic vastness of the unconscious.

     Myriads of such primal forces exalt us beyond ourselves as motivating, informing, and shaping sources which arise from and dwell within the collective unconscious of humankind as transpersonal interconnectedness, an immense component of ourselves and our personae which float upon its surface like  flotsam on a vast sea of being.

   Our greater being lives not within the surfaces of our forms and the flags of our skin, but as networks of consciousness and abstract information distributed throughout the universe beyond the gates of Time. Our universe is a system of signs, and we among the dreams of the Infinite.

     We are illusions, transitory and ephemeral, stories, histories, memories, always in motion as processes of change, which arise from our true ground of being and to which we will one day return.

     Death is a terrible destroyer but also a liberator, who frees us from the limits of our flesh.

      Our celebration of Kali, in 2024 from October 30 through November 2, occurs during the five days of Diwali, the Festival of Lights wherein we celebrate the triumph of hope over fear, love over hate, and faith in each other as solidarity over division.

     Diwali is a celebration rooted in the founding myth and epic of India, the Ramayana, of the liberation of humankind from the tyranny of our demons as the victory of Rama and Hanuman, man and his animal nature, over the demon king Ravanna, to reclaim his wife or female half Sita, an allegory of unitary wholeness and the birth of consciousness from the realm of dreams as well as of the emergence of the human from the animal, and an underworld journey which finds echoes in the myth of Orpheus and in Dante’s quest to free Beatrice in The Divine Comedy.

     Herein goddesses as archetypal figures regulate ritual enactments and processes of transformation and act as gatekeepers and guides through the labyrinth.

     The third day of the Festival of Light honors Lakshmi, who appears as the figure of Fortune in our tarot cards, goddess of random chance, wealth, and fate whom we invoke as Lady Luck in gambling, games of probabilities, and actions involving risk. 

       In honor of Lady Luck and the Liberation of Humankind through unification with our animal nature in this Festival of Lights, I offer you a game of chance and the limitless possibilities of becoming human; for which you will need only a six sided dice, pen, and paper.

     Write down six characters as identities you would like to perform, from literature or film; these may be three male and three female roles as is traditional but need not be so unless you wish it. Then cast the dice to discover which of them you will live as for the day. No matter who you perform today, you have five other selves in reserve, and tomorrow is another day, in which we may wear a different mask.

    As to whose voice I hear in my head when I write, and characters on whom I model my performance of myself, that would be Patrick Stewart’s Jean Luc Picard and Benedict Cumberbatch’s Sherlock Holmes.

    Happy festival of hope, chance, and liberation, and may you find joy in the discovery of your best self.

     But with the sunset all this is changed, for the night belongs to Kali.

     The third night of Diwali becomes Kali festival with the moonrise, and through the day which follows; herein we celebrate the goddess of death, time, darkness, magic, sex, rebirth, and transformation; a warrior protectress of all those whom Frantz Fanon called the Wretched of the Earth. We place our lives in the balance with those of the powerless and the dispossessed, the silenced and the erased, with all who are outcasts as their allies and champions. As a figure of liberation and empowered femininity she has many guises; Liberty herself in New York Harbor among them, a guardian shared by both America and India as an archetype of revolutionary and anticolonial struggle against a common historical enemy, the British Empire.

      Her warrior brotherhood fought the British Raj with ferocious tenacity and guile, pervasive now throughout the Indian diaspora as a secret society of guardians of the powerless very like the chasseurs of Haitian Voodoo, and interdependent with the cult of the Rakshasas or were tigers / lions whose founding progenitor she rides into battle.

    Herein I write as a member of the Kali Aghora or Brotherhood, which in Hinduism is unusual in its total rejection of caste, having studied with a priestess of Kali.

     In balance with this aspect of Time as Death is that of Desire; shakti or life force and transformative rebirth, for Kali is central to the arts of Tantra, especially as transgression of the Boundaries of the Forbidden, violations of normality, the embrace of the monstrous, and the pursuit of truths of ourselves immanent in nature and written in our flesh.

     Both of her forms as Death and Desire represent unlimited feminine power free of any patriarchal systems of oppression, though in Shiva whose dance creates the universe she does have a male partner, especially in his form as Bhairava. For those like myself who invite possession as an avatar of the Bhairav during Kali Puga or as battle magic, I have some thoughts on death and desire, the wildness of ourselves and the wildness of nature, truths written in our flesh and immanent in nature, and the embrace of our monstrosity.

     Herein I offer you a song in celebration of Death and an invocation of its power of reimagination and transformation, part of the great rite with which I honor the destruction and recreation of the universe each year. It is a ritual which reflects the Tibetan Buddhist practice of Chod, the offering of one’s body as a sacrifice to our demons as the legacies of history which falsify and enslave us but once seized as our own instruments of self creation can also free us from the ideas of others to reclaim our true selves as exaltation, and the atavisms of instinct and degradation which once embraced as ours can reveal truths written in our flesh as illumination and rapture, and embodies Death as a kind of tulpa in a form of immortality magic as described by Oscar Wilde in his anarchist codex of liberation from authorized identities, The Picture of Dorian Gray.

     Each of us has our own

Angel of death

As a secret partner,

     Negative spaces of each other

Which define the limits of our form

The boundaries of which are interfaces

     Liminal realms of being

Filled with powers of reimagination and transformation;

Unknowns among the limitless possibilities

     Of becoming human

places marked Here Be Dragons

on our maps of being, meaning and value

     Here is the world where I live,

Among the Dragons,

In the unknown spaces

    Of our topologies of becoming human,

Beyond the boundaries of the Forbidden

And the tyranny of normality

    Here is the rapture and terror of the Infinite;

that which defiles and exalts us

beyond the limits of ourselves

     Death has been my partner in this dance for so long now

you’d think we would be on better terms,

But Death is a rough lover

     To whom our flesh is a sacrifice

That our dreams and wishes may take flight

And become real, eternal, and true.

     As I wrote in my post of June 1 2021, Death is a Secret Twin; Death is a secret twin which shares our face but not our dreams which lift and exalt us beyond the limits of our flesh, so Death must steal the echoes and reflections of ours, a thing of shadows filled with secret histories, unspoken truths, unsworn oaths, thousands of myriads of loyalties to private loves and desires betrayed by our failures to make them live and become real by action.    

     Death is the terror of all that we may have been but did not become, the loss of our disconnectedness and the emptiness of meaning in a world where love cannot redeem us, the grief for beauty which loses context when it is no longer shared and is lost with the fragments of memories which like the genie of perfume escape their bottle to trigger moments out of time and then evanesce like the ghost of a beloved hand which no longer grasps ours back.

     We are tattered and broken things, our secret shadows and ourselves, who live in the incandescent now with these repositories of our beautiful dreams and our terrible nightmares, bearing them on into eternity; for this is the great secret of being, that our best selves are formed of all we would deny and keep hidden, and which live beyond us as figures of our glorious sins. 

     Death is an ambush predator made of our histories, memories, and identities, which must steal these things to become real in the moment of our awakening into its realm of beautiful and terrible dreams, a realm of true being beyond the illusions of our lives which bears names including the Bardo in Tibetan Buddhism and the alam al mythal in Islam, called by Coleridge the Primary Imagination, the Logos in neo-Platonic philosophy and the Gospel of John, and by Jung the Collective Unconscious, and waits to seize us unawares and carry us off to eternity while it replaces us like a faery changeling with the image of our unrealized hopes and unexpressed desires.

     Death is a unique and personal demon created by our denial of ourselves, such denial acting as a parasite which destroys its host and operates through a process of falsification like the distorted and captured images in a wilderness of funhouse mirrors, but it can become instead a symbiote, a terrible and monstrous guardian spirit and a guide of the soul which speaks from within our greatest darkness with Forbidden wisdom, like a remora borne by a shark on its journeys through chasms of the unknown not as its nemesis and conqueror but as a servant which grooms from us that which we must cast down from the thrones of our hearts; we humans and our silent and unseen partners the angels of our deaths whom we must wrestle not for victory, for everything in life is more powerful than we are, but to become Unconquered in resistance and free.

     Thus may we bear without breaking the flaws of our humanity and the brokenness of the world, become greater and more real and alive than we were born, transcend the limits of our form, and become sublimed as figures of our truths in Sartrean total freedom and authenticity as an art of life, for all true art defiles and exalts.

     Here is a faith which asks us to renounce nothing and embrace our true selves, to reimagine and transform ourselves; and offers a path of working with grief process and death transcendence not of control of our passions and dominion of nature, but as seizure of power and autonomy, of the embrace and celebration of our wildness as beings of nature and of those truths immanent in nature and written in our flesh.

    Let us embrace 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.”

    How shall we answer death and the terror of our nothingness? Let us challenge and defy such death, and while it waits to claim us with its cold hand of entropy and unraveled time we must seize and shake our shadow and secret twin of longing to become, transgress the boundaries of the Forbidden and perform our best selves, our hopes and our desires, as a guerilla theatre of identities upon the stage of the world in fearless grandeur, and let nothing be lost or remain untested among the limitless possibilities of becoming human.

     Let us answer death as Bringers of Chaos and Transformation, and make of our world and humankind a thing of beautiful, terrible truths written in our flesh, and of our dreams and nightmares a brave new world.

     As I wrote in reflection on my mother’s death, now years ago; Who then shall we become? Asks our self of surfaces, images, and masks which each moment negotiates our boundaries with others.

     To which our secret self, the self of darkness and of passion, the self that lives beyond the mirror and knows no limits, unbound by time and space and infinite in possibilities, replies; Who do you want to become?

Hindi

12 नवंबर 2024 इस काली पूजा पर, मृत्यु के जश्न में एक गीत

      मैं मृत्यु और पुनर्जन्म, परिवर्तन, जादू, अराजकता, अंधेरे और सपने, लड़ाई और मुक्ति के रूप में शक्ति की जब्ती की देवी के बारे में गाता हूं, जो मेरे दानव प्रेमी इच्छा के जुड़वां हैं जो एक दूसरे को नकारात्मक स्थानों के रूप में परिभाषित करते हैं और हमारे शरीर में शक्तियों और प्रवृत्तियों के रूप में निवास करते हैं और अचेतन की समुद्री विशालता के आदर्शों, मिथकों, प्रतीकों, रूपकों और रूपकों के रूप में हमारी आत्माओं की अंतहीन खाइयाँ।

      ऐसी असंख्य आदिम शक्तियाँ हमें प्रेरित करने, सूचित करने और आकार देने वाले स्रोतों के रूप में खुद से परे ले जाती हैं, जो मानव जाति के सामूहिक अचेतन से उत्पन्न होती हैं और ट्रांसपर्सनल इंटरकनेक्शन के रूप में उसमें निवास करती हैं, हमारे और हमारे व्यक्तित्व का एक विशाल घटक जो एक विशाल समुद्र की तरह इसकी सतह पर तैरता है। प्राणी।

    हमारा महानतम अस्तित्व हमारे रूपों की सतहों और हमारी त्वचा के झंडों के भीतर नहीं रहता है, बल्कि समय के द्वार से परे पूरे ब्रह्मांड में वितरित चेतना और अमूर्त जानकारी के नेटवर्क के रूप में रहता है। हमारा ब्रह्मांड संकेतों की एक प्रणाली है, और हम अनंत के सपनों में से हैं।

      हम भ्रम हैं, क्षणभंगुर और क्षणभंगुर, कहानियां, इतिहास, यादें, परिवर्तन की प्रक्रियाओं के रूप में हमेशा गति में रहते हैं, जो हमारे अस्तित्व की वास्तविक जमीन से उत्पन्न होती हैं और जिस पर हम एक दिन लौट आएंगे।

      मृत्यु एक भयानक विध्वंसक होने के साथ-साथ एक मुक्तिदाता भी है, जो हमें हमारे शरीर की सीमाओं से मुक्त करती है।

       काली का हमारा उत्सव दिवाली के पांच दिनों के दौरान मनाया जाता है, रोशनी का त्योहार जिसमें हम भय पर आशा की जीत, नफरत पर प्यार और विभाजन पर एकजुटता के रूप में एक-दूसरे पर विश्वास की जीत का जश्न मनाते हैं।

      दिवाली भारत के संस्थापक मिथक और महाकाव्य, रामायण में निहित एक उत्सव है, जो हमारे राक्षसों के अत्याचार से मानव जाति की मुक्ति के रूप में राम और हनुमान की जीत, मनुष्य और उसके पशु स्वभाव, राक्षस राजा रावण पर, पुनः प्राप्त करने के लिए है। उनकी पत्नी या अर्धांगिनी सीता, एकात्मक पूर्णता का एक रूपक और सपनों के दायरे से चेतना का जन्म और साथ ही जानवर से मानव का उद्भव, और एक अंडरवर्ल्ड यात्रा जो ऑर्फ़ियस के मिथक और दांते के मिथक में गूँज पाती है द डिवाइन कॉमेडी में बीट्राइस को मुक्त कराने की खोज।

      इसमें आदर्श आकृतियों के रूप में देवी-देवता अनुष्ठान अधिनियमों और परिवर्तन की प्रक्रियाओं को नियंत्रित करते हैं और भूलभुलैया के माध्यम से द्वारपाल और मार्गदर्शक के रूप में कार्य करते हैं।

      प्रकाश उत्सव का तीसरा दिन लक्ष्मी का सम्मान करता है, जो हमारे टैरो कार्ड में फॉर्च्यून की आकृति, यादृच्छिक अवसर, धन और भाग्य की देवी के रूप में दिखाई देती है, जिसे हम जुए, संभावनाओं के खेल और जोखिम से जुड़े कार्यों में लेडी लक के रूप में बुलाते हैं।

        रोशनी के इस त्योहार में लेडी लक और हमारी पशु प्रकृति के साथ एकीकरण के माध्यम से मानव जाति की मुक्ति के सम्मान में, मैं आपको मौका का एक खेल और मानव बनने की असीमित संभावनाओं की पेशकश करता हूं; जिसके लिए आपको केवल छह तरफा पासा, पेन और कागज की आवश्यकता होगी।

      साहित्य या फिल्म से छह पात्रों को पहचान के रूप में लिखें जिन्हें आप प्रदर्शित करना चाहते हैं; पारंपरिक रूप से ये तीन पुरुष और तीन महिला भूमिकाएँ हो सकती हैं, लेकिन जब तक आप न चाहें, ऐसा होना ज़रूरी नहीं है। फिर यह पता लगाने के लिए पासा फेंकें कि आप उस दिन उनमें से किसमें जीवित रहेंगे। इससे कोई फर्क नहीं पड़ता कि आप आज कौन सा प्रदर्शन करते हैं, आपके पास आरक्षित रूप में पांच अन्य स्वयं हैं, और कल एक और दिन है, जिसमें हम एक अलग मुखौटा पहन सकते हैं।

     आशा, अवसर और मुक्ति का शुभ त्योहार, और आपको अपने सर्वश्रेष्ठ स्व की खोज में आनंद मिले।

      लेकिन सूर्यास्त के साथ यह सब बदल जाता है, क्योंकि रात काली की होती है।

      दिवाली की तीसरी रात चंद्रोदय के साथ काली उत्सव बन जाती है, और उसके बाद पूरे दिन; यहां हम मृत्यु, समय, अंधकार, जादू, सेक्स, पुनर्जन्म और परिवर्तन की देवी का जश्न मनाते हैं; उन सभी की एक योद्धा रक्षक, जिन्हें फ्रांत्ज़ फैनन ने पृथ्वी का मनहूस कहा था। हम अपना जीवन उन लोगों के साथ संतुलन में रखते हैं जो शक्तिहीन और वंचित हैं, खामोश हैं और मिटा दिए गए हैं, उन सभी के साथ जो बहिष्कृत हैं, उनके सहयोगी और चैंपियन हैं। मुक्ति और सशक्त नारीत्व की एक मूर्ति के रूप में उनके कई रूप हैं; उनमें से न्यूयॉर्क हार्बर में स्वयं लिबर्टी भी शामिल थीं, जो एक साझा ऐतिहासिक दुश्मन, ब्रिटिश साम्राज्य के खिलाफ क्रांतिकारी और उपनिवेशवाद-विरोधी संघर्ष के आदर्श के रूप में अमेरिका और भारत दोनों द्वारा साझा की गई संरक्षक थीं।

       उनके योद्धा भाईचारे ने ब्रिटिश राज से क्रूर दृढ़ता और छल के साथ लड़ाई लड़ी, जो अब पूरे भारतीय प्रवासी में हाईटियन वूडू के पीछा करने वालों की तरह शक्तिहीनों के संरक्षकों के एक गुप्त समाज के रूप में व्याप्त है, और राक्षसों के पंथ के साथ अन्योन्याश्रित या बाघ/शेर थे जिनके संस्थापक पूर्वज वह युद्ध में उतरती है।

     इसमें मैं काली अघोरा या ब्रदरहुड के सदस्य के रूप में लिख रहा हूं, जो हिंदू धर्म में जाति की पूर्ण अस्वीकृति में असामान्य है, मैंने काली की एक पुजारिन के साथ अध्ययन किया है।

      समय के इस पहलू के साथ संतुलन में मृत्यु इच्छा का पहलू है; शक्ति या जीवन शक्ति और परिवर्तनकारी पुनर्जन्म, क्योंकि काली तंत्र की कलाओं का केंद्र है, विशेष रूप से निषिद्ध सीमाओं का उल्लंघन, सामान्यता का उल्लंघन, राक्षसी का आलिंगन और पीछा करना

प्रकृति में अन्तर्निहित और हमारे शरीर में लिखित स्वयं के सत्यों के बारे में।

      मृत्यु और इच्छा के रूप में उनके दोनों रूप उत्पीड़न की किसी भी पितृसत्तात्मक व्यवस्था से मुक्त असीमित स्त्री शक्ति का प्रतिनिधित्व करते हैं, हालांकि शिव में, जिनके नृत्य से ब्रह्मांड का निर्माण होता है, उनका एक पुरुष साथी है, खासकर उनके रूप में भैरव के रूप में।

      इसमें मैं आपको मृत्यु के जश्न में एक गीत और उसकी पुनर्कल्पना और परिवर्तन की शक्ति का आह्वान प्रस्तुत करता हूं, जो उस महान संस्कार का हिस्सा है जिसके साथ मैं हर साल ब्रह्मांड के विनाश और मनोरंजन का सम्मान करता हूं। यह एक अनुष्ठान है जो चोद की तिब्बती बौद्ध प्रथा को दर्शाता है, इतिहास की विरासत के रूप में हमारे राक्षसों को बलिदान के रूप में अपने शरीर की पेशकश जो हमें धोखा देती है और गुलाम बनाती है लेकिन एक बार आत्म निर्माण के हमारे अपने उपकरणों के रूप में जब्त होने से हमें इससे मुक्ति भी मिल सकती है। दूसरों के विचारों को हमारे सच्चे स्वयं को उत्थान के रूप में पुनः प्राप्त करने के लिए, और वृत्ति और पतन की नास्तिकताएं जो एक बार हमारे रूप में अपनाई जाती हैं, वे हमारे शरीर में लिखी सच्चाइयों को रोशनी और उत्साह के रूप में प्रकट कर सकती हैं, और अमरता के जादू के रूप में मृत्यु को एक प्रकार के तुल्पा के रूप में प्रस्तुत करती हैं। ऑस्कर वाइल्ड द्वारा अधिकृत पहचानों से मुक्ति के अराजकतावादी कोडेक्स, द पिक्चर ऑफ डोरियन ग्रे में इसका वर्णन किया गया है।

      हममें से प्रत्येक का अपना है

मौत का दूत

एक गुप्त साथी के रूप में,

      एक दूसरे के नकारात्मक स्थान

जो हमारे स्वरूप की सीमाओं को परिभाषित करते हैं

जिसकी सीमाएँ इंटरफ़ेस हैं

      अस्तित्व के सीमांत क्षेत्र

पुनर्कल्पना और परिवर्तन की शक्तियों से भरा हुआ;

असीमित संभावनाओं के बीच अज्ञात

      इंसान बनने का

यहां चिह्नित स्थान ड्रेगन बनें

अस्तित्व, अर्थ और मूल्य के हमारे मानचित्रों पर

      यहीं वह दुनिया है जहां मैं रहता हूं,

ड्रेगन के बीच,

अज्ञात स्थानों में

     मानव बनने की हमारी टोपोलॉजी में,

निषिद्ध की सीमाओं से परे

और सामान्यता का अत्याचार

     यहाँ अनंत का उत्साह और आतंक है;

वह जो हमें अशुद्ध और ऊंचा करता है

खुद की सीमा से परे

      इस नृत्य में मृत्यु इतने लंबे समय से मेरी भागीदार रही है

आपको लगता होगा कि हम बेहतर शर्तों पर होंगे,

लेकिन मौत एक कठोर प्रेमी है

      जिसके लिए हमारा मांस बलिदान है

कि हमारे सपनों और इच्छाओं को उड़ान मिल सके

और वास्तविक, शाश्वत और सत्य बन जाओ।

      जैसा कि मैंने 1 जून 2021 की अपनी पोस्ट में लिखा था, मृत्यु एक गुप्त जुड़वां है; मृत्यु एक गुप्त जुड़वां है जो हमारे चेहरे को साझा करती है लेकिन हमारे सपनों को नहीं जो हमें हमारे शरीर की सीमाओं से परे उठाती और ऊंचा उठाती है, इसलिए मृत्यु को हमारी प्रतिध्वनियों और प्रतिबिंबों को चुरा लेना चाहिए, गुप्त इतिहास, अनकहे सत्य, अनकही शपथों से भरी छाया की चीज़ , निजी प्रेम और इच्छाओं के प्रति हजारों असंख्य निष्ठाएं उन्हें जीवित रखने और कार्रवाई द्वारा वास्तविक बनाने में हमारी विफलताओं के कारण धोखा खा गईं।

      मृत्यु उन सभी चीजों का आतंक है जो हम थे लेकिन नहीं बने, हमारे वियोग की हानि और एक ऐसी दुनिया में अर्थ की शून्यता जहां प्यार हमें छुटकारा नहीं दिला सकता, सुंदरता के लिए दुःख जो संदर्भ खो देता है जब इसे अब साझा नहीं किया जाता है और है यादों के टुकड़ों के साथ खो गया है जो इत्र के जिन्न की तरह समय के क्षणों को ट्रिगर करने के लिए अपनी बोतल से बाहर निकलता है और फिर एक प्यारे हाथ के भूत की तरह लुप्त हो जाता है जो अब हमारे हाथ को वापस नहीं पकड़ता है।

      हम फटी-पुरानी और टूटी हुई चीजें हैं, हमारी गुप्त परछाइयाँ और हम स्वयं हैं, जो अपने सुंदर सपनों और अपने भयानक दुःस्वप्नों के भंडार के साथ अब गरमागरम में रहते हैं, उन्हें अनंत काल तक ले जाते हैं; क्योंकि यह अस्तित्व का महान रहस्य है, कि हमारा सर्वश्रेष्ठ स्वयं उन सभी से बना है जिन्हें हम अस्वीकार करेंगे और छिपाकर रखेंगे, और जो हमारे गौरवशाली पापों के आंकड़ों के रूप में हमसे परे रहते हैं।

      मृत्यु हमारे इतिहास, यादों और पहचानों से बना एक घात शिकारी है, जिसे हमारे जागने के क्षण में सुंदर और भयानक सपनों के दायरे में वास्तविक बनने के लिए इन चीजों को चुराना होगा, हमारे जीवन के भ्रम से परे सच्चे अस्तित्व का एक क्षेत्र जो तिब्बती बौद्ध धर्म में बार्डो और इस्लाम में आलम अल मिथल सहित कई नाम हैं, जिन्हें कोलरिज ने प्राइमरी इमेजिनेशन कहा है, नव-प्लेटोनिक दर्शन में लोगो और जॉन के गॉस्पेल और जंग ने कलेक्टिव अनकांशस कहा है, और हमें अनजाने में पकड़ने का इंतजार करता है और हमें अनंत काल तक ले जाता है, जबकि यह हमारी अवास्तविक आशाओं और अव्यक्त इच्छाओं की छवि के साथ एक परी परिवर्तन की तरह हमारी जगह ले लेता है।

      मृत्यु एक अनोखा और व्यक्तिगत दानव है जो हमारे खुद को नकारने से निर्मित होता है, ऐसा इनकार एक परजीवी के रूप में कार्य करता है जो अपने मेजबान को नष्ट कर देता है और फ़नहाउस दर्पणों के जंगल में विकृत और कैप्चर की गई छवियों की तरह मिथ्याकरण की प्रक्रिया के माध्यम से संचालित होता है, लेकिन इसके बजाय यह एक बन सकता है सहजीवी, एक भयानक और राक्षसी अभिभावक आत्मा और आत्मा का मार्गदर्शक जो निषिद्ध ज्ञान के साथ हमारे सबसे बड़े अंधेरे के भीतर से बोलता है, जैसे कि एक शार्क द्वारा अज्ञात की खाई के माध्यम से अपनी यात्रा के दौरान अपने शत्रु और विजेता के रूप में नहीं बल्कि एक सेवक के रूप में। जो हमसे वह तैयार करता है जिसे हमें अपने हृदय के सिंहासन से उतार देना चाहिए; हम इंसान और हमारे खामोश और अनदेखे साथी हमारी मौत के देवदूत हैं जिनसे हमें जीत के लिए नहीं, बल्कि जीवन में हर चीज हमसे अधिक शक्तिशाली होने के लिए कुश्ती लड़नी चाहिए, बल्कि प्रतिरोध में अजेय और स्वतंत्र बनने के लिए लड़ना चाहिए।

      ऐसा हम भी कर सकते हैं

हमारी मानवता की खामियों और दुनिया की टूटन को तोड़े बिना सहन करें, हम जितना पैदा हुए थे, उससे कहीं अधिक वास्तविक और जीवंत बनें, अपने रूप की सीमाओं को पार करें, और सारत्रियन में हमारी सच्चाई के आंकड़ों के रूप में पूर्ण स्वतंत्रता और प्रामाणिकता के रूप में उदात्त बनें। जीवन की कला, सभी सच्ची कलाओं के लिए अपवित्र और उत्कृष्टता।

      यहां एक विश्वास है जो हमें कुछ भी त्यागने और अपने सच्चे स्वरूप को अपनाने, खुद की फिर से कल्पना करने और बदलने के लिए कहता है; और दु:ख की प्रक्रिया और मृत्यु के साथ काम करने का एक मार्ग प्रदान करता है, न कि हमारे जुनून पर नियंत्रण और प्रकृति पर प्रभुत्व के रूप में, बल्कि शक्ति और स्वायत्तता की जब्ती के रूप में, प्रकृति के प्राणियों के रूप में हमारे जंगलीपन के आलिंगन और उत्सव के रूप में और प्रकृति में निहित उन सच्चाइयों के रूप में। और हमारे शरीर में लिखा है.

     आइए हम अपनी राक्षसीता को अपनाएं और इस गुप्त जुड़वां के बारे में कहें जो कोई सीमा नहीं जानता और स्वतंत्र है जैसा कि प्रोस्पेरो विलियम शेक्सपियर के द टेम्पेस्ट के एक्ट वी, दृश्य 1 में कैलीबन के बारे में कहता है; “अंधेरे की इस बात को मैं अपना मानता हूं।”

     हम मृत्यु और अपनी शून्यता के आतंक का उत्तर कैसे देंगे? आइए हम ऐसी मौत को चुनौती दें और चुनौती दें, और जब यह एन्ट्रॉपी और अनसुलझे समय के अपने ठंडे हाथों से हम पर दावा करने की प्रतीक्षा कर रही है, तो हमें अपनी छाया और बनने की लालसा के गुप्त जुड़वां को पकड़ना और हिला देना चाहिए, निषिद्ध की सीमाओं का उल्लंघन करना चाहिए और अपना सर्वश्रेष्ठ प्रदर्शन करना चाहिए , हमारी आशाएँ और हमारी इच्छाएँ, दुनिया के मंच पर पहचानों के एक गुरिल्ला रंगमंच के रूप में, निडर भव्यता में, और मानव बनने की असीमित संभावनाओं के बीच कुछ भी खोने या अप्राप्य न रहने दें।

      आइए हम मौत को अराजकता और परिवर्तन लाने वाले के रूप में जवाब दें, और अपनी दुनिया और मानव जाति को हमारे शरीर में लिखी सुंदर, भयानक सच्चाइयों की चीज़ बनाएं, और हमारे सपनों और बुरे सपनों को एक बहादुर नई दुनिया बनाएं।

      जैसा कि मैंने वर्षों पहले अपनी माँ की मृत्यु पर चिंतन करते हुए लिखा था; तो फिर हम कौन बनें? हमसे उन सतहों, छवियों और मुखौटों के बारे में पूछता है जो हर पल दूसरों के साथ हमारी सीमाओं पर बातचीत करते हैं।

      जिस पर हमारा गुप्त स्व, अंधकार और जुनून का स्व, वह स्व जो दर्पण से परे रहता है और कोई सीमा नहीं जानता, समय और स्थान से असीमित और संभावनाओं में अनंत है, उत्तर देता है; आप कौन बनना चाहते हैं?

Aghori / episode of The Believer with Reza Aslan

The Dice Man, Luke Rhinehart

Kali: The Goddess of Destruction

Tibetan Buddhist afterlife

Here’s a Comic Book Guide to the Bardo, the Tibetan Buddhist Afterlife

How to Feed Your Demons; a manual on the practice of Chod

https://usermanual.wiki/Pdf/Tulpamancy20Guide20Into20the20Strange20and20Wonderful.1558794621

                   The Ramayana, a reading list

Arrow of the Blue-Skinned God, Jonah Blank

The Ramayana: A Modern Retelling of the Great Indian Epic, Vālmīki, Ramesh Menon

https://www.goodreads.com/book/show/141153.The_Ramayana?ref=nav_sb_ss_1_57

The Ramayana: A Shortened Modern Prose Version of the Indian Epic, R.K. Narayan (Translator), Pankaj Mishra (Introduction)

https://www.goodreads.com/book/show/129876.The_Ramayana?ref=nav_sb_ss_1_65

Ramayana Unravelled: Lesser Known Facets of Rishi Vālmiki’s Epic, Ami Ganatra

                               Kali, a reading list

Oh Terrifying Mother: Sexuality, Violence and Worship of the Goddess Kali,

Sarah Caldwell

https://www.goodreads.com/book/show/2618069-oh-terrifying-mothe

r

Encountering Kali, Rachel Fell McDermott, Jeffrey J. Kripal (Editors)

https://www.goodreads.com/book/show/1405091.Encountering_Kali

Kali: The Black Goddess of Dakshineswar, Elizabeth U. Harding

https://www.goodreads.com/book/show/597877.Kali

Tantra: The Path of Ecstasy, Georg Feuerstein

https://www.goodreads.com/book/show/137529.Tantra?ref=rae_3https://i.pinimg.com/originals/5f/2b/a9/5f2ba94b665d3d97fc164da47cf8e9d3.jpg

October 30 2024 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 hate speech, it 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 watch the trials of Trump and his failed 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 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)

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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 Democracyhttp://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.

     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

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

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 2024 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.”

     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, 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.

     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. 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 reevaluating 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.

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)

Borne Series, by Jeff VanderMeer

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

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

Free Women, Free Men: Sex, Gender, Feminism, by Camille Paglia

https://www.goodreads.com/book/show/30351044-free-women-free-men

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

History of Beauty, by Umberto Eco

October 27 2024 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 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 and 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 election now and in the glorious liberation struggle of Kamala Harris and the Democratic Party against 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 five 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 VVitch. 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 tires “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

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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.

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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.

                    Jay’s Notes

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

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

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 2024 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 exclusionary otherness and 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 between theocratic patriarchal sexual terror and democracy, 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 women was truly like, as typified in the witch trials.

      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, 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 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 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 Starhawkhttps://www.goodreads.com/book/show/84259.Dreaming_the_Dark

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