Christmas Eve

Most of the Orthodox churches worldwide continue to adhere to the Julian calendar (as the Gregorian was established in 1582 by the Roman Catholic church, by then sundered from Orthodoxy for over 500 years). Which means that tonight is Christmas Eve, and tomorrow is Christmas.

Badnjak bonfire (2013)

Serbian tradition has the faithful burning an oak log in their fireplaces (or tossing branches of it on a public bonfire), following the vespers. One scene from the Mountain Wreath, a XIX century epic poem by the great Serbian poet and Bishop of Montenegro, Njegoš, takes place on Christmas Eve:

CHRISTMAS EVE

Bishop Danilo and Abbot Stefan sit by the fire, and the happy monastic students dance about the house and place Christmas logs on the fire.

ABBOT STEFAN
Have you, children, placed the logs on the fire?
Did you put them crosswise, to our custom?

STUDENTS
We have placed them as we should, grandfather.
Handfuls of wheat over them we have strewn,
and we have poured ruby wine over them.

ABBOT STEFAN
Now give me, too, a glass of good red wine,
and let it be a liter and a half,
that this old man may drink to Christmas logs.

They give him a glass of wine. He gives a Christmas toast and drinks the wine.

ABBOT STEFAN (wiping his moustache)
God's blessings on this joyous holiday!
Bring the gusle over here, my children.
My heart truly longs to hear it playing,
and to sing, too; I haven't forages.
Do not take it as sin, O Mighty Lord!
It is only an old man's old habit.

(The students give him the gusle)

ABBOT STEFAN (sings)
There is no day unless it can be seen,
nor is there real feast-day without Christmas!
I have observed Christmas in Bethlehem,
I have kept it on Mount Athos also,
and feted it in Holy Kiev, too;
but quite apart this celebration stands
for merriment and its simplicity.
The fire's burning brighter than ever,
the straw is spread in front of the fire.
Christmas logs are laid on the fire crossways.
The rifles crack, and roasts on spits do turn.
The gusle plays, and the dancers sing.
Grandfathers dance with their young grandchildren.
In the kolo join three generations,
it seems they're almost of the same age.
Everything is filled with bright mirth and joy,
but what I like best of all, so help me,
one has to drink a toast to everything!

(from a translation by Prof. Vasa D. Mihailovich, UNC Chapel Hill, 1997)

Liars, Cowards and Thugs

I've mentioned before that the Serbian Orthodox Church follows the Julian calendar, which is currently about two weeks off from the Gregorian commonly used in the West and elsewhere. So the Gregorian January 14 was the Julian January 1, and hence New Year's Day.

This was the occasion for the current UN General Assembly chairman, formerly Serbia's Minister of Foreign Affairs, to organize a little concert and reception on East River. It revolved around the performance of an a capella choir "Viva Vox" (notice the "chauvinistic" Latin name). A recording of the show is available on YouTube. And one of the songs the choir performed - and received by the audience with quite a bit of enthusiasm - was the "Drina March."

Within a day, the UN was being harassed by haters: the "Congress of North American Bosniaks" and its satellites (I've written about their activities before) sent a nasty letter to the Secretary-General, claiming the song was a symbol of "aggressors" and insulting to "victims of genocide."

The GenSec's spokesthing (can't even call it a "person" anymore, might offend someone) instinctively apologized, of course. Such behavior is par for the course for the spineless bureaucracy on East River, used nowadays primarily as a forum for politically correct hatred of the West or a fig leaf for Imperial intervention, depending on what day of the week it is.

Mainstream coverage of the apology was predictably laced with Serbophobic drivel. An AP piece published by just about everyone contained "facts" about the song taken off Wikipedia and characterizations that may as well have been copy-pasted from CNAB's letter. By way of example:

- the song was "originally written as a nationalist hymn after World War I".
Wrong! Stanislav Binički composed it following the Battle of Cer, in August 1914, after the outnumbered and outgunned Serbs fought off an invasion from Austria-Hungary.

- it "became a favorite of fascists and Serb nationalists".
Says who? First of all, this facetiously pretends that "fascist" and "Serb nationalist" are the same, and they are not. Were "fascists" decorated by the U.S.? Were they the people who saved U.S. airmen that bombed them? Or those who opposed the Communist takeover of Yugoslavia and the amnesty of Croatian Nazis (some of them later known as "Bosniaks") that followed? I know that "Serb nationalists" are somehow supposed to be evil incarnate, but can anyone actually coherently explain why - without relying on thoroughly debunked propaganda by their enemies, who just so happen to have been Nazi allies back in the day?

- it was "banned by Yugoslavia's Communist government after World War II".
Wrong again. In fact, the Communists produced a movie about the Battle of Cer in 1964 (on its 50th anniversary), praising the Serb military prowess, featuring the song prominently throughout, and even sharing its title.

There was even a bit about how it was voted the new Serbian national anthem in 1992, but the government decided against it - supposedly because it would have been inappropriate due to the Bosnian War. But CNAB and the Empire and AP accuse that particular government of being the "aggressor" in the said war, so its supposed sensitivity in this instance makes zero sense whatsoever. Or rather, as much sense as the mainstream narrative.

So what is one supposed to make of the multiple covers of the catchy trumpet tune, from a 1960s acoustic version by "The Spotnicks"  (heard here in a Greek film), to a modern electric guitar cover? Never mind any of that, you're supposed to hate the song, and feel ashamed for liking it and demanding an encore - because professional victims of the CNAB claim it was a "favorite of [imaginary] fascists and [supposedly evil] Serb nationalists." And the AP says so as well, so it must be true, right?

Add that to the constant stream of apologies you're supposed to make, to anyone who demands them, for anything they can think of. Anything else would be "racist" or "insensitive," the two only sins of modernity in which all the other sins and vices have been declared virtuous, hypocrisy most of all.

Empire's Values

"Hypocrisy," wrote the great French writer Francois de La Rochefoucauld, "is the homage vice pays to virtue."

Today, vice is what passes for virtue, and hypocrisy seems to have become the principal value of the Atlantic Empire and its satellites.

It's bad enough that the Empire has internalized the belief that killing people is somehow "saving" them, due to the miraculous transubstantiation of anyone killed by Imperial ordnance into an "enemy combatant." But when a country that routinely invades others, overthrows governments by force or subterfuge, and sponsors terrorists (e.g. Osama bin Laden in Afghanistan, KLA, Libyan and Syrian "freedom fighters) is setting up a committee for "atrocity prevention," what is one to conclude other than that it has left logic a few exits back?

The "Pussy Riot" tempest in a teacup is a perfect example of hypocrisy that simply rampages throughout every layer of society in the Empire. Sure, the desecration visited upon an Orthodox temple by the three orgy-loving "activists" pales in comparison to the oeuvre  of those paragons of tolerance and freedom in Kosovistan (under NATO's loving gaze no less). But don't you see, that just shows how oppressive Russian autocracy truly is! In a truly free, democratic society, all the churches would be razed and evil Orthodoxy abolished - or so reason the Marxists.

Wait a second, isn't America supposed to have fought the "long, twilight struggle" against Marxism and Leninism for forty-odd years? And didn't the collapse of the Soviet Union and the abolition of Communism usher in the End of History? Well, sure - but that's beside the point, since we're all Marxists now.

Let me explain. Karl Marx argued that life had been better in "noble savage" times without private property. Sure, people lived in caves, had but rudimentary tools, starved more often than not and died of old age at thirty - but they were just! Because his vision of an egalitarian world ran up against the notion of objective truth or virtue - something valued not only by Christian and Jewish philosophers but the Greeks and Romans before them - Marx railed about religion being the "opiate of the masses" and posited the existence of "communist truth", i.e. whatever was useful to the communist cause. Half a century later, his disciple Vladimir Ilyich Ulanov (better known as "Lenin") distilled this to a simple dichotomy: "Who-Whom".

While Marxism-Leninism was officially retired about two decades ago, cultural Marxism remained alive and well. And at its foundation is the relativistic logic proposed by Marx and championed by Lenin: it doesn't matter what is done, but who does it to whom. When "we" do something, that is by definition good, and when those Other People do the same thing - or even something considered virtuous under the wretched old "normative" logic  - it is by definition evil. Isn't it wonderful to have a moral compass that always points exactly where one wants it to?

Imagine the existence of an "activist group" funded by a foreign government, with a lewd name rendered only in a foreign language (e.g. Пизда Бунт), specializing in public acts of indecent exposure they call performance art, and therefore protected free speech. Imagine them barging into the National Cathedral in Washington, DC. Or wold it have to be a mosque? Or maybe an abortion clinic? One never knows what's actually considered sacred by the Imperial establishment these days. In any case, do you honestly think those very same media that cried crocodile tears over the fate of "Pussy Riot" wouldn't be leading the lynch mob, torches and rope in hand, in this instance?

Or do you think they'd sing them praises as brave pioneers of tolerance, diversity and freedom of expression - as they've done with "Pussy Riot"?

The answer to that question pretty much determines whether you're a cultural Marxist - i.e. believe in that relativistic pseudo-logic of who/whom - or not.

Now, standing up for the downtrodden workers exploited by the Industrial Revolution's robber barons is a good thing. But the bright shining future Marx envisioned for them involved caves. They were concrete instead of stone, but that's hardly the point. The equality he envisioned turned into a coerced equality of misery for most, and a life of plenty for a few. How exactly was that a good thing? I've lived in a Marxist society, and I've seen how quickly and easily it morphed  into the worst version of pagan nihilism. When you make people believe they are no better than animals, don't be surprised when they bite.

To be fair, cultural Marxism is no more an American value than original Marxism was a Russian value. Both were imposed on their host nations, if by different means. And it isn't just a thing of the "left" (democrats, reformers, progressives, whatever), either. The "right" is hardly different, amounting to at best a caricature opposition. They say they are defending tradition, but are no longer capable of articulating what that tradition is, much less why it's worth fighting for. (See the just-finished RNC convention in Tampa for a host of examples). To a 1950s liberal, a typical "conservative" of today would seem to the left of Stalin.

Besides, targets of Imperial "do-gooderism" worldwide certainly don't care whether their murderers wear ties or tie-dyes. Dead is dead.

Whatever you want to call the ideology currently dominating the West (Transnational Progressivism, Globalism, One-Worldism, Secular Humanism, etc.), its basic philosophy is Marxist and neo-pagan. It loathes tradition, family and kinship, property and commerce. It extols coercion, violence, welfare and conflict. And it disguises itself with pleasant-sounding words whose meaning has either been reversed or eliminated entirely: equality, democracy, freedom, diversity.

Not content with dismantling their own countries in this manner, the followers of this ideology  desire to remake the world as well. In that, they are aided by veritable cults of fanatical followers,  drawn by promises of riches and power but find fulfillment only in the feeling of smug self-righteousness: the "human rights activists" and "NGOs" (funded by foreign governments, ironically), professional revolutionaries and their spear-carriers, useful idiots and true believers.

They target Christianity and Judaism, though for the time being they seem to have a love affair with Islam. It isn't a cozy relationship; both the riots in Europe and the bloodbaths in Iraq and Afghanistan offer object lessons in what happens when Islam and cultural Marxism mix. Not surprisingly, the cultural Marxists refuse to acknowledge the problem exists, since that would clash  with their narrative.

Fight back, and the mainstream media - as well as the twitterati and blogger brigades serving the Cult of Death - declare you uncivilized, primitive, retrograde, repressive. Pure projection, all of it - for it is they who desire to abolish civilization, extol force as the arbiter of all, wish to reverse the history of humanity and repress anyone who dissents. Much as they loathe the naive evangelicals who believe their actions can bring about the Rapture, the secular cult is exactly like them, in that they seek to "immanentize the Eschaton", bringing about the End of History by obliterating all competing thought.

Their ultimate objective is not universal happiness. Nor is it diversity, equality, freedom, democracy or justice. Those are but flowery phrases that are mere means to an end. And that end is "all the kingdoms of this world, and the glory of them." This is why they hate Christianity, for its unequivocal rejection of that offer. And why they attack Orthodoxy in particular: because, unlike most other branches of Christianity, it still persists in upholding that rejection.

Not Just A River in Egypt

An acquaintance of mine is vacationing on Cyprus, and recently posted this to her Facebook page:

The people of Cyprus are pretty religious and very Orthodox Christian. They keep icons on their desk in business offices, including the bank. Wednesday, the 15th, is dedicated to the Mother of God and it's a national holiday. Everything is closed.

But the cheapest satellite network here is the Nile Network [NTN], which the British here subscribe to for their holiday rental apartments and houses so that people on holiday have something to watch and they don't have to pay much. The Nile Network includes both Al Jazeera and CNN, and breaks 5 times a day for Muslim prayer. In the middle of an old American action movie (in English, with Arabic subtitles), an imam will come on and preach Islam - with English, Russian or Greek subtitles, depending on which holiday makers he is in the mood to hit today - for 15 minutes. The Nile Network tells you when a movie will be on, not as "Tuesday the 14th at 6 PM", but rather as "The Second Day (or 3rd) day of Ramadan at 6PM", so you have no idea when this movie is going to be on unless you check the Islamic calendar.

This place is pretty amazing. Most Greek Cypriots just basically ignore it all, never would subscribe to the Nile Network even for their holiday rentals, and kind of think that the British are a bit nuts.

A beach in Cyprus

The Cypriots might be onto something here. What else should one think of a tourist who pays good money to visit Cyprus, and instead of enjoying the local charms - food, landscapes, people, culture, etc. - they sit at their rental  and watch American action movies, with breaks for Islam?

Nile's Wikipedia page lists the network's goals thus (emphasis added):

• Address foreign viewers in Egypt and all over the world with regard to culture, economy, tourism, and art, and to initiate a constructive dialogue between different cultures in foreign languages. 
• Present the views of the Egyptian government and people on various issues concerning the Arab World and the Middle East, as well as global issues. 
• Reflect the image of modern Egypt, and all its concrete achievements in the form of national projects in the fields of education, women's rights, health care, and the establishment of a democratic atmosphere. 
• Broadcast news events from Egypt and the Arab World, and analyzing and discussing them with officials, politicians, analysts and cultured Egyptians, Arabs and foreigners in foreign languages. 
• Present objective news on international events, analyzing and discussing those events to help foreign viewers understand the truth about the Egyptian and Arab stances on the current international events in order to protect foreign viewers from falling prey to biased media. 
• Present images of Egypt and reflect its religions and values, humanitarian and tolerance. 

All the standard buzzwords and catchphrases are there. When you distill the verbiage, you're left with an understanding that Nile is an Egyptian propaganda channel. There's nothing wrong with that, mind you. But it's very interesting that they wrap that propaganda in American action movies - hardly a reflection of Egyptian "religion and values." 

I've observed a similar phenomenon in Serbia, where a network called B92 injects its propaganda (also called "news") into a stream of American entertainment programming. Not surprisingly, B92 was directly funded by the Empire for years - and may still be; though the station's ownership has supposedly changed, its slant hasn't changed in the slightest. The difference here is that NTN is spreading Egyptian propaganda abroad, while B92 is spreading Imperial propaganda at home (sometimes with hilarious results). Yet they have the same modus operandi: come for the fun, stay for the indoctrination.

Needless to say, this kind of propaganda works best on a thoroughly disoriented audience: people whose own culture, heritage, identity and values have been systematically stripped away. That way, when someone else's ideas and values are presented to them, they are embraced as a breath of fresh air. Earlier this year, indie Finnish satire Iron Sky played this for laughs in a subplot where a PR wizard earnestly brands an electoral campaign with ideas from actual Nazis (from the Moon!). 

Have the British been so tenderized? Brendan O'Neill seems to think so, illustrating the claim with examples of reactions against the people who dared dislike the opening ceremony of the Olympics. He also argued that the arrest of a boy who sent a nasty tweet to a British diver showed a "culture of intolerance" that has developed in the UK - paradoxically, in the name of imposing "tolerance" and "diversity." British tourists are already showing an alarming lack of judgment by choosing to watch TV while vacationing in what is by all accounts an exceptionally beautiful country. So, who knows?

Nile TV is merely exploiting an opening provided to it by culture warriors in the West. Serbs at least have a cause to be angry at B92, as it both creates and exploits the confusion in their society. If the British tourists fall for any of Nile's propaganda, it will be nobody's fault but their own. 

Succor From an Unlikely Source

Lord of the Rings (from Wikipedia)

As a big fan of J.R.R. Tolkien's work, and Peter Jackson's screen adaptations thereof, I was amused by something a friend mentioned this morning. The amusing part is not that Jackson's movie trilogy is currently being shown in Serbia, but by whom: none other than a TV network originally established and funded by the Empire to spread pro-Imperial and anti-Serb (or am I repeating myself here?) propaganda. How ironic is it that they are now showing - most likely in a bid to improve their ratings - an epic that stands for everything they fight against, from liberty, tradition, honor and decency, to resisting the seemingly unstoppable military and propaganda might of Mordor?

That led me to contemplate how the "Lord of the Rings" would look if amended and adapted to fit the Imperial vision of the world, promoted by this particular network and the quisling cult it serves. Perhaps it would involve a panel of "expert analysts", explaining to the public what the story really means:

• Bilbo Baggins is a thief and a rogue, who stole the Ring from its rightful owner, Gollum;
• Gollum is an exemplar for progressive citizenry, putting above all the search for his personal pleasure, the "Preciouss";
• Frodo, Sam, Merry and Pippin are dangerous terrorists who got a hold of a Weapon of Mass Destruction;
• Aragorn represents the anachronistic and outdated institution of hereditary monarchy;
• Legolas and Gimli are closeted LGBTQ persons;
• Elrond and Galadriel are selfish Elves who refuse to share their bountiful wealth with the underprivileged Orcs of Misty Mountains. Moreover, they aided the Fellowship's invasion and destruction of Moria, which the peaceful Orcs barely managed to liberate from their Dwarvish oppressors, with Sauron's selfless aid;
• Gandalf is the instrument of the Wizard-Elvish conspiracy against peace and welfare of all the peoples of Middle Earth, offered by the legitimate overlord Sauron;
• Sauron is the misunderstood, well-intentioned peacemaker, who only wishes to integrate all of Middle Earth and usher in an end to history of warfare and strife;
• Saruman is a realist, who understands the value of Mordor's politics of peace. He promotes industrial development and biological research, for which he is targeted by fanatical eco-terrorists;
• The Nazgul only wanted to retrieve the WMD from the Hobbit terrorists, but the evil Gandalf murdered their poor innocent horses at Bruinen, and later interfered in their humanitarian air patrols over the bandit Rohirrim and rebels of Gondor;
• Theoden is a crazed dictator, leading his people to ruin by choosing to fight Sauron and Saruman instead of reaching a peaceful settlement with them, abolishing the anachronistic monarchy and living in peace under the progressive, pragmatic democrat Grima Wormtongue;
• Denethor is a wise leader of Gondor, usurped by evil wizard-conspirator Gandalf, who also turned his sons to treason. Boromir is the misunderstood hero, while Faramir an incompetent fool holding outdated ideals;
• The siege of Minas Tirith was Mordor's legitimate response to the aggression of Elven "Axis of Evil" (Rivendell-Lothlorien), led by Gandalf, and the terrorist activities of the Fellowship...

And so on.

You may laugh at the obvious twisting of the story, but this is precisely the kind of poisonous drivel being poured into the eyes and ears of Serbs for years now, via this particular TV network and many others, by various servants of Empire: NATO lobbyists, self-proclaimed reformers, promoters of regional autonomy, "cultural decontamination," liberal and other Democrats, etc. The entire ideology of Serbia's quisling cult is servitude - to the Empire and its coercive might - expressed through contempt for liberty, justice, tradition and natural values.


There is a great quote from Gandalf, midway through The Two Towers: "Oft evil will shall evil mar." True enough, for in a bid to improve its ability to tell lies, the cult's TV is actually giving succor to those who oppose the present-day Sauron and his servants. Irony is not dead, and there is yet hope for the world.

The Bonfire of the Hypocrisies

(with apologies to Tom Wolfe)

Many a time in the recent past have I thought to myself that we are living in the world mocked in the 1987 movie "The Running Man" (adapted from a Stephen King novel, no less). We're not quite at the point where executions have become game shows, but judging by the standards of "reality" programming, we're arguably not far off.

Another argument that we live in a world gone completely mad is the sight of the American public piling onto Mr. Carlos Estevez, a.k.a. Charlie Sheen, for daring to be himself.

Writes Anthony Gregory (LRC):

There is something rotten in our mass culture. It is the stench of an establishment that pushes a flavor of social progressivism upon the country while reserving the right to burn social heretics at the stake on even the most hypocritical of pretenses.

And it is against this establishment’s witchhunt and all its nefarious social consequences that a defense must be waged. Most certainly, it can be argued that Sheen has not acted virtuously. But the attacks on him have clearly been more distasteful, more pathetic, more indicative of a society in decline, than his own behavior. For the crimes of drug use, sexual deviance, and political incorrectness, a great talent has been thrown under the bus by a drug addled, sexually deviant, socially insensitive, politically clueless mass media and liberal culture. They have eaten one of their own. It has happened many times before, to Robert Downey, Jr., Britney Spears, Tiger Woods, and now Christina Aguilera. And it will happen again. And if even the most handsomely paid actor on TV is helpless against the official pop culture’s hypocritical lynch mob, what hope do any of us little people have should the mob decide we too deserve to be lynched?

And check out Ilana Mercer's great write-ups on the subject, here and here.

Meanwhile, Bradley Manning is stripped naked by his captors, while the government tormenting him thus preaches "human rights" to the world.

O tempora o mores.

Imaginary Outlets

It isn't often that I can laugh uproariously upon reading what is supposed to be a serious quote from the legacy media. Usually, their stuff is so out of touch with reality, it's painful, frustrating, or both.

In today's New York Times there is an article (warning: they may require you to register) on the runaway success of "World of Warcraft." It's a massive multi-player online game that appeals to both player-vs-player and role-player crowds, and has over 4 million subscribers worldwide - a phenomenon in the industry that used to be proud of half a million. Anyway, the Gray Lady quotes a skeptic thusly:

"I don't think there are four million people in the world who really want to play online games every month," said Michael Pachter, a research analyst for Wedbush Morgan, a securities firm. "World of Warcraft is such an exception. I frankly think it's the buzz factor, and eventually it will come back to the mean, maybe a million subscribers."

"It may continue to grow in China," Mr. Pachter added, "but not in Europe or the U.S. We don't need the imaginary outlet to feel a sense of accomplishment here. It just doesn't work in the U.S. It just doesn't make any sense." (emphasis added)

No need for imaginary outlets? Why, then, are millions of Americans investing money they don't have into plywood palaces at obscenely inflated prices, courtesy of Boss Greenspan's cheap credit and fiat currency? Why are thousands of bureaucrats intent on reshaping the world against the wishes of its "reality-based" community? The world would be a better place if they all paid $15 a month to stay at home and play "American Empire" or "The Sims." Or "World of Warcraft," come to think of it; having to earn money the hard way - fighting monsters and crafting products people can use - might teach people a thing or two they appear to have forgotten.

Antiwar Verse

Rudyard Kipling's poetry, though good, was in the service of promoting the Empire of the day - in his case, the British. Richard Cummings of LewRockwell.com writes Kiplingesque verse against the empire of the day - in this case, American.

Here is just a sample, to whet your appetite:

The bombs that you dropped
Left Fallujah in rubble,
For the stench there can't be any words.
But no one could tell
In this bloody hell,
Were they Sunnis, or Shi'ites or Kurds?

Read the whole thing here.

If I had any poetic talent whatsoever, I would try to try to adapt this to the Balkans; but beyond "Were they Muslims, or Croats, or Serbs?" nothing comes to mind.

Our Arrakis

A resource-rich desert, easily seized from its previous owner by a military operation that was the result of a devious scheme; but the expected flow of riches is being thwarted by the ignored and underestimated desert-dwelling religious fanatics, who strike at will and melt away into the shadows; efforts of the occupying force to subjugate the fanatics, despite overwhelming firepower, are futile.

Sounds like Iraq? It is. But I was actually walking about the setting of Frank Herbert's Dune. The parallels are eerie, aren't they?

Someone better get the White House and the Pentagon some copies of Herbert's masterpiece, before any more Sardaukar get slaughtered. Now that would be supporting the troops!

A Kosovo Joke

Jason Miko writes on Reality Macedonia today, and tries to explain Kosovo through a joke:

It is today, nearly six years after NATO and the UN took over Kosovo. An elderly Albanian couple is sitting in their dark flat in Pristina. The electricity is out, yet again, and they are sitting in front of a blank television, lights out, food beginning to rot in the refrigerator which isn’t running, no hot water, and certainly no cooking to do. They are just sitting there, wondering what to do next when all of the sudden, the crackle of electricity is heard when the lights begin to flicker. The television comes to life, the hum of the refrigerator can be heard and the water heater starts up.

The old man looks at his wife and says “Honey, get my gun. The Serbs are back.”

This really says it all, on so many levels.

(By the way - Reality Macedonia is a fantastic site, and the people there have done some truly excellent work on explaining the Macedonian-Albanian relations and the situation in that beleaguered country. I should put up a permanent link to them first chance I get...)

Outrunning Entropy

The first time I read this, I was reminded of the European Union, which I only semi-jokingly call "Soviet" nowadays. The book it comes from is the fifth in a space-opera series (of which I will admit to being an unabashed fan) by David Weber. All emphasis added.

(“Flag in Exile,” Chapter 7):

There'd been a time when the Republic of Haven—not "the People's Republic," but simply "the Republic"—had inspired an entire quadrant. It had been a bright, burning beacon, a wealthy, vastly productive renaissance which had rivaled Old Earth herself as the cultural and intellectual touchstone of humanity. Yet that glorious promise had died. Not at the hands of foreign conquerors or barbarians from the marches, but in its sleep, victim of the best of motives. It had sacrificed itself upon the altar of equality. Not the equality of opportunity, but of outcomes. It had looked upon its own wealth and the inevitable inequities of any human society and decided to rectify them, and somehow the lunatics had taken over the asylum. They'd transformed the Republic into the People's Republic—a vast, crazed machine that promised everyone more and better of everything, regardless of their own contributions to the system. And, in the process, they'd built a bureaucratic Titan locked into a headlong voyage to self-destruction and capable of swallowing reformers like gnats.

[…] The Legislaturalists' parents and grandparents had taken too many workers out of the labor force in the name of "equality," debased the educational system too terribly in the name of "democratization." They'd taught the Dolists that their only responsibilities were to be born, to breathe, and to draw their Basic Living Stipends, and that the function of their schools was to offer students "validation"—whatever the hell that was—rather than education. And when the rulers realized they'd gutted their own economy, that its total collapse was only a few, inevitable decades away unless they could somehow undo their "reforms," they'd lacked the courage to face the consequences.

Perhaps they … actually could have repaired the damage, but they hadn't. Rather than face the political consequences of dismantling their vote-buying system of bread and circuses, they'd looked for another way to fill the welfare coffers, and so the People's Republic had turned conquistador. The Legislaturalists had engulfed their interstellar neighbors, looting other economies to transfuse life back into the corpse of the old Republic of Haven, and, for a time, it had seemed to work.

But appearances had been misleading, for they'd exported their own system to the worlds they conquered. They'd had no choice—it was the only one they knew—yet it had poisoned the captive economies as inexorably as their own. The need to squeeze those economies to prop up their own had only made them collapse sooner, and as the revenue sources dried up, they'd been forced to conquer still more worlds, and still more. Each victim provided a brief, illusory spurt of prosperity, but only until it, too, failed and became yet another burden rather than an asset. It had been like trying to outrun entropy, yet they'd left themselves no other option, and as conquest bloated the People's Republic, the forces needed to safeguard those conquests and add still more to them had grown, as well.”

Ephraim Kishon, RIP

I was reading the latest piece by Matt Taibbi in New York Press, courtesy of a link from LRC, and went back to the main page to see if there were other articles worth perusing; that's when I saw it: Ephraim Kishon, 80.

Kishon may not be known to many North Americans, but I remember his satire fondly; several of his short story collections were translated by a Croatian publisher. In fact, it was the quality of Kishon translations that hinted at the rapidly deteriorating situation in Yugoslavia. Camel through the eye of the needle was brilliant; the following collection (whose name escapes me now) came out on the eve of Croatia's secession, and reflected the imposition of new words and language rules. It was marginal and damn-near illegible, but that wasn't Kishon's fault.

He wrote about Israel in a fashion that someone living in Yugoslavia - beset by similar bureaucratic and socialist challenges - could understand; but he also wrote about people, and whether in Israel or Yugoslavia, or the U.S., human nature is still pretty constant. I can still quote bits and pieces of his stories, and I've used his linguistic gambit from Operation Babylon (or whatever the story was actually called) many times. Dvargichoke plokay gvishkir? is perfect when you have to feign ignorance of the local language.

Since coming to the States, I've tried - mostly unsuccessfully - to find his work in English. I guess I'll have no choice but to improve my German.

Kishon may have passed on, but his readers will keep on laughing for ever, just like his Job Kunstatter, a poor trucker driven mad by the parking police.

Dvella, Ephraim. Dvella.

"Freedom!"?

It must be a sign of the times that the Imperator Orbis can make a speech proclaiming his commitment to freedom and opposition to tyranny - with a straight face.

I've long enjoyed the alternate-history works of Harry Turtledove, even though he sometimes took shortcuts and easy roads by making things in his alt-timelines unfold almost exactly as they have in real history ("second-order counterfactuals"). How Few Remain and his Great War series - in which the Confederacy won its independence, and faced the Union again on the opposing sides of the Great War in 1914 - largely avoided this pitfall of alt-history. Until, that is, Turtledove introduced the character of Confederate artilley sergeant Jake Featherston in a clear analogy to a certain Austrian-born corporal with a handlebar mustache. The post-war series, American Empire, unfolds very much like our timeline, with Featherston coming to power on a racist, revanchist platform and starting a war against the USA in 1941.

But here's the reason I mentioned this in the first place: Featherston's party aren't the National Socialists, but the incongruously named "Freedom Party." Instead of "Heil Hitler!" they salute each other "Freedom!"

And I just can't help but think of Jake Featherston and the Freedom Party when I hear that word defiled and desecrated by the current Emperor, when what he is doing - and intends to continue doing - is the exact opposite of freedom in just about every way. I'm not accusing Bush the Lesser of being a Nazi (though he may be a fascist); it's just a word-association that rings all sorts of eerie bells.

But by far the worst thing is that there was no political alternative to the American Empire this past election; Kerry wasn't a voice, but an echo. And that's another parallel to Turtledove's alt-universe. Once the Great War starts, there are no "good guys," only power, interest and carnage. However horribly depressing that may seem, at least Turtledove is honest about it and pulls no punches. At first I was taken aback by this seeming nihilism. But on second glance, I suspect the actual history of the XX century was just as grim. It's just that we've all lied to ourselves so well, we actually believe this arguably the darkest age of humanity was really about something good in the end.

Now I'm the farthest thing from a nihilist. I actually believe in liberty and redemption. But this ain't it. Not even close.

Triumph of Believers

William S. Lind, premier theorist of Fourth Generation warfare, writes today on Antiwar.com:

"Fourth Generation war is triumphing over the products of rationalism because people who believe in something will always defeat people who believe in nothing at all. (emphasis added)
If we look at those who are fighting Fourth Generation war ... one characteristic they share is that they believe very powerfully in something. The "something" varies; it may be a religion, a gang, a clan or tribe, a nation (outside the West, nationalism is still alive), or a culture. But it is something worth fighting for, worth killing for, and worth dying for. The key element is not what they believe in, but belief itself."

As for the West - a.k.a. the European Civilization - it has long since stopped believing in anything but force, after the cultural suicide launched in 1914:

As Martin van Creveld points out in his key book on Fourth Generation war, The Rise and Decline of the State, up until World War I the West believed in something, too. Its god was the state. But that god died in the mud of Flanders. After World War I, decent Western elites could no longer believe in anything: "the best lack all conviction." Fascism and Communism offered new faiths, but in the course of the 20th century, they too proved false gods (all ideologies are counterfeit religions). Now, all that the West's elites and the "globalist" elites elsewhere who mimic them can offer is "civil society." Unlike real belief, civil society is not worth fighting for, killing for, or dying for.

Ironically, the fiercest force in service of the moribund Empire are the mimicking globalists (the "missionary intellectuals" of Serbia, for example), who actually believe the claptrap about "civil society," "democracy" and "human rights."

But I don't think the proponents of "civil society" are necessarily reluctant to kill in the name of their quasi-ideology; they've done so all too often in the past 15 years, notably in the Balkans. They are, however, reluctant to die for it. And that makes sense. Killing is easy; dying - not so much.

Decline of Creativity

A good friend commented to me today:

"It's beginning to dawn on me that the problem with most TV may not be want of talent; it may be that the talent is not what is wanted."

Writers that flourished on certain shows under the creative leadership of talented producers often languish in other shows when managed by network suits, who for all their business sense display an appalling lack of creativity. Thanks to its obsolete business model - selling advertising based on viewer estimates compiled by a vastly outdated system - network TV is going the opposite of the Web: trying to be all things to all people. The result is predictably bland, formulaic and focus-grouped to death.

I won't even go into how so-called "reality" shows dealt an additional blow to scripted television, both good and bad; that sort of base voyerism is barely short of the Roman circenses. In fact, I'll go out on a limb and say the only reason we haven't seen actual gladiator games yet is that animal "rights" groups would protest the cruelty of feeding lions with idiots.

Books aren't much better. Most popular fiction is painfully formulaic. Science fiction and especially fantasy are even worse. Though I've seen plenty of gems, often their authors fall prey to assembly-line writing and start churning out neverending series that falter midway through. Even my favorite recent subgenre, alternate history, often suffers from second-order counterfactuals (i.e. despite a major fork in the road, events unfold just as they have in our timeline, only the actors are different. Please!).

I've thought J.K. Rowling a breath of fresh air (though I've dismissed the Pottermania for a couple of years, till I finally got persuaded to read the books; I finished the four then available in a week!), but The Order of the Phoenix filled me with dread that she, too, has succumbed to success-induced cluelessness.

Maybe this is all just a reflection of the cultural decline of the West; perhaps it is time for a last-ditch effort to preserve civilization? Appreciating creativity and shunning mediocrity would certainly be a good start.