Mission Accomplished

This site has fulfilled its purpose; it has documented the Obama years in verse, and allowed me to maintain my sanity. What comes after will be different, and perhaps on a different medium. The four books of The Spy in the House of God are:

  1. The Earth is Flat and the Heavens a Dome (2007 - 11/2011)*
  2. Gold Smoke and Blue Fire (11/2011 - 10/2013)
  3. Adrift Without a Star (10/2013 - 12/2014)
  4. The Voice of the Four Winds (1/2015 - 11/2016)
* Poems from after this period may have ended up in the anthology. These dates are approximate.

Have you considered writing or reading traditional poetry, that is, poetry which follows strict structural rules whether rhyme, rhythm, syllables or subject? If, having read through what I have written you are still in doubt that such a thing is possible now, that beauty in verse and poetry is possible anymore, then as they say, go your way. 

But for the rest of you, especially those of you who write, simply start by imitating a writer you enjoy, when you are inspired to do so. There is no need to share the poetry with anyone, but reading it aloud is very helpful. I have been doing a series on various poets of our language (English, that is) on Social Matter. I will continue that, of course, and if you find a poet you like, that should be your starting place.

Oh, and one last thing. read Mencius Moldbug!

End of Cycle, "The Voice of the Four Winds"

This marks the end of my fourth cycle of poetry, this one called "The Voice of the Four Winds." Those who visit the blog will notice that it stopped following my normal "kairometer" color changes, which are the normal liturgical season colors. This is because I sensed, and had long sensed, that an era was coming to an end, specifically an era to which my dissident poetic voice was germane. A flight of birds is a traditional symbol of the departure of souls - of death.

While I have never been a political poet, and will not ever appreciably be (unless the politics should become whether royalism should be considered--) there has indeed been a political element or color to this work. The Voice of the Four Winds was about what the poem says, the end of the dream of Enlightenment. It may be that it stumbles along for another century (such is very likely) but I see in the recent political changes, away from the Enlightenment-inspired democratic internationalism (itself a development of democratic nationalism in reaction to the wars it created when it repudiated classical international law) and towards a reactionary form - form at least - of nationalism.

If it is to be classified as a form of fascism, I think that's not inaccurate. As I am not part of a political party nor speak for or against any of such, I think that present movements could be read as a retread of fascism, but a fascism that is isolationist rather than aggressive; as from the sovereign standpoint what got the fascists in trouble was their willingness to play the aggression game with the then-nascent "international community". This mistake will not be repeated, and certainly the emergence of a nascent national socialism (which I've privately predicted as being one of the two possible normal endpoints of democracy) is not surprising at all.

National socialism tends to combine both nativist and socialist views which both tend to be low-status but high energy. This happens naturally in the democratic cycle of "mobs, then experts, then mobs again" (as per Davila) when the high status mobs (say, for civil rights) and their elite masters fail thoroughly enough. At that point, there is an opening for a centrist candidate who is not moderate - for usually centrism is a moderation of different views which makes them acceptable to the status quo and gives everyone a little taste of what they want, but not the whole hog -- but rather who combines high-energy, low-status, fringe movements who are quite numerous and now willing to row the boat in the same direction.

There is definitely a racial aspect to this, and it is white. But whiteness is complex; I am an Englishman by heritage, and even that identity is itself a combination of tribes (Jutes, Danes, Angles, Saxons, etc) put together for practical reasons. Whiteness as an idea, by the very notion that it is whites and half-whites who simply invented the concern for "minorities" as it is, contains within it both a tremendous pride and chauvinism, as well as a consideration for strangers who are legitimate citizens or subjects of that realm.

Overall, the history of anti-racism is simply the attitudes of high-status-aping and high-class whites against low-status and low-class whites. Minorities were, in this game, simply a side-show and a prop used to demonstrate the moral superiority (and thus right to lord over) of the high-status whites, generally the group Moldbug refers to as Brahmins. Anti-racism is from my perspective, and I think the long-term Christian view will be, simply hatred of the poor.

As Carlyle points out, political equality makes those not capable of realizing it appear to be solecisms; literal miscreations. And such political equality had rendered the poor. Feminism is much like it, and of course unbridled capital is glad to have access to new, cheaper workers; not because it is evil but because it knows its incentives. Socialists, while seeming to oppose such excesses, merely were jealous of the power and wanted also to exploit, but for what they thought of as a good cause. There is no reason to assume that capital can be responsible to drive the best interests of any group of people other than the person presently holding the capital. If not at the service of some realm, it will not, as hoped by liberal fantasists, become its own realm, but rather slowly ruin itself by ruining the source of its prosperity by following its incentives to their end.

This symbolic repudiation is the theme of the Wind book, "Voice of the Four Winds" and it is the winds' voices who seem to say, calling as a symbol of judgment and ruin, that there are very many empty spaces to blow through. Where is the substance? It is long gone.

Thus to me this result - and we refer in this case to the recent Presidential election at the head of the world empire in disarray - was rather inevitable, though not by any means certain. By this is mean, it must needs have eventually happened, but whether one or another contender had succeed at achieving it was not certain. I cannot tell the future, but I can discern the shape of the sky, as our Lord says.

This volume spans a longer time than the others due to fewer poems being written per month, mainly because during this last period my work became far less experimental and far more intentional. Here are the poems. which begin where "Adrift Without a Star" ended. These poems are historical-anecdotal, they tell, like a Steely Dan song, part of a real fragment of real history which might otherwise be unrecorded:

  1. Without
  2. Storm
  3. The Orator Tells of His Secret Joy
  4. Burning Down the House 
  5. The Song at the Cusp of the Sky
  6. Raeleen's Song
  7. The Exile
  8. Conception
  9. The Rose of Love
  10. Stepping Out
  11. The Auspex in the Winter Light
  12. The Sage Ponders Human Industry
  13. The Dancer's Daughter
  14. Artificial Intelligence
  15. Words and Deeds
  16. Want and Lack
  17. The Driver's Question
  18. The Song at the Waiting Sea
  19. The Fire of Hearth
  20. The Orator Speaks of the Heart
  21. Another Canticle for Stories
  22. The Time of Iron
  23. Candle
  24. Lottery
  25. Harry Lee
  26. Third
  27. The Good Mother
  28. The Sage Speaks of the Social Medium
  29. The Orator Dismisses his Accuser
  30. Will and Testament
  31. Eggman
  32. No Man
  33. Rosemary Green
  34. A House United*
  35. The Orator to the Soothsayers
  36. Fifty Shades of Grey
  37. Wormwood
  38. Laboring Song
  39. Crocodile Song
  40. The Cathedral
  41. To Nothing
  42. Rain Comes
  43. Canticle for Mentation
  44. Who Will Wait For Us
  45. Schwarzchild and Cassandra
  46. Humanism
  47. Revision
  48. The Two Before the Storm
  49. A Heart of Darkness
  50. A Spy In the House of God
  51. Political Correctness
  52. Storm and Dusk
  53. Six-Twenty-Six (6.26)
  54. Partly Cloudy
  55. Everlasting No More
  56. Far Away
  57. The Auspex Sings to Rigel Kent
  58. The Orator to the Dancer
  59. The Sage to the Doctor
  60. The Poet and the Auspex
  61. Sonnet VI "Leverage"
  62. The Sage Considers the Dusk
  63. The Orator Considers the Spectacle of Power **
  64. Physics
  65. Determination
  66. The Song of Winnowing
  67. The Court's Witness
  68. Pandora's Spirits
  69. The Novel
  70. Sun and Shadow
  71. Seven Canticles for Prudence
  72. Twelve Types
  73. The Stone on the Shore
  74. Holography
  75. Cold Sun
  76. Eleven-Thirteen (11/13)
  77. To a Persian Rug
  78. A View to a Kill
  79. The Rectification of Names
  80. Rest
  81. The Young
  82. The Final Lecture
  83. Winter's Afternoon
  84. Aeons
  85. A Song of Winter
  86. Hall of Mirrors
  87. A Canticle for Flight
  88. The Song at the Great Chasm
  89. The Song of the Shacks on the Shore
  90. The Future
  91. Colder Still That Metal Box
  92. Blessing For a Woman
  93. Thirteen Ways of Looking at a Blackbird
  94. Nineteen-Eighty-Three (1983)
  95. By the Waters of Babylon
  96. Ever-Near
  97. Ars Poetica
  98. Borders
  99. The Orator Announces the Age
  100. The Song of the Pipes
  101. The Song of the Idol
  102. The Sage Discards the Modern Style
  103. Fifty's Lottery
  104. Bridge Song
  105. The Sage offers the Dire Solution
  106. Leave
  107. The Song of the Mirror
  108. To Silence
  109. Gun Control
  110. The Longest Mile
  111. A House Divided
  112. To Sickness
  113. The Words of the Companion
  114. Under the Sun
  115. The Milling-Stone
  116. Water Under the Bridge
  117. Verses for Economy
  118. O Thou Light of Good Cheer
  119. Pace
  120. The Orator Remarks Upon the Digital Word
  121. Sea Before Storm
  122. The Song of the Viols
  123. Love and Hate
  124. Tanuki Song
  125. The Onion
  126. Zombie Nation
  127. Sailing to Naples
  128. Rex
  129. Dux
  130. The Voice of the Four Winds
  131. The Inquisitor Speaks
*Also Published at The Mitrailleuse
** The image for this poem was in fact changed much later.

Enjoy reading all of the poems on this site (I should suspect there are at least five hundred good ones) and look forward to new work which will take a different form.


The Inquisitor Speaks

it is addressed thusly:

A postlude.
it reads:
Moloch is us; they have said
And right they were, for they saw
Seeing not with eyes of the dead
Knowing with a less-crooked law;
We railed at them, fine words
Which were the babbling of a child
Just the sharpening of swords
Our press the problem reconciled;
Our religion was eaten from within
By him, but it is us we must assay
The Inquisitor says of our sin:
Qui facit per alium, facit per se.
The end of the thing is found
Not in the lights of Shangri-la
The age of Aquarius? No sound--
But ogres, and the gaping maw;
The world outside of God is darkness.
And God is darkness! Did you know
With "philosophy" no less
They made "above" as it is below?
I shall have my satisfaction;
Followers of Strauss! I bring news--
Has God returned to take action--?
Flee then, where no man may pursue!
Take your cleverly laid fables
Your demons, your dispersed law
We come to clean the stables
We come red in tooth and claw;
White is our tunic of linen-made
Red blood of the cross there brazen
With gold and silver it is inlaid
The sign of victory, it is our blazon;
The Inquisitor speaks, for it is he
The sage, the orator, the poet
It is he who is in truth these three
They are but one, and they know it;
Followers of Strauss! Who else--
Swing gaily from the battlement;
"If ye had yet judged yourselves
You'd have not come under judgment."
a postscript is here written:
The End.


The Voice of the Four Winds

it is addressed thusly:

A vision.
it reads:
"The Dream is dead, the Dream is dead"
That is what the voices of the four winds said;
Calling at the window, rattling at the door
Unseen voices which cannot speak a word
If they once could they cannot any more
Yet this is a semblance of what I heard;

The east wind calls from the morning of the world
The light that was lost when the flag was unfurled
The spring which will not come for them again
Who once laid claim to the innermost light
There will be no more budding of their crops or their men
Let them watch with their lamps in the night;

The south wind sings in the burning zenith-bright
Of walking men in darkness in the mid day's light
Their summers of no cotton, their men of no truth
Who know no thing for what it may be
Their judgements of no power, their mercies of no ruth
Who seek but cannot find equality;

The west wind rumbles in the sunset of the West
With tears it calls beseeching to those we love the best
That have forgotten God, he the crown of our year
His it is now, then to roll up like a cloth
So remember beauty, and the dread of his fear
Kiss the Son quickly then, lest you find Him wroth;

The north wind howls at the pitch of twilight-time
Of those who have not reason, of those who have not rhyme
No good shall be performed in this winter of their soul
Seeming quick to listen, but of their charity
All shall eat and eat but yet never find their full
Passing over good for cold chains of slavery;

Such things have I heard when awake in the night
The death of man's progress, the snuffing of his light
But the winds at this must laugh, for we have been misled
Man went nowhere, for long ago he lost his mark
Yes the four winds said, yes, the Dream is truly dead
Man who was Enlightened was sleep-walking in the dark.