HOW DO WE DO IT?

How do we do it?

How does beauty defeat insane, old men?

An Englishman discovered oil in Iran in the very beginning of the 20th century BEFORE it became the world’s resource and Iran agreed to a DEAL where Britain

I dreamed TDS sufferers

were wandering around the Bay of Pigs

looking for the Kennedy Center

could basically take oil out of Iran for decades. The 1953 “coup” story was a LIE. The Shah wanted oil independence for his country and one of his Prime Ministers, Mosaddegh, appointed by law by the Shah (two previous prime ministers of the Shah were murdered by Islam extremists

but all they found was an abandoned

day care center with a misspelled sign.

I dreamed TDS sufferers

were wandering around their home town

looking for an insurrection

connected to Khomeini and the Shah himself survived a shooting in the face in 1949) pushed internationally for Iran to take over its own Iranian oil facilities. Britain (Churchill was in charge at the time) was having NONE of this and

but all they found was a two hour,

unarmed, protest. They took photos

and this made them exhausted.

I can’t fit the history of Iran

in a tweet, so what do I say?

Britain got out its warships (running on Iranian oil) and blockaded Iran. Mosaddegh was approved by the Islamist/Communist parliament in Iran—he was NOT part of a “democratically elected government;” PM Mosaddegh was not elected by the people—only a majority of the parliament—a parliament, it should be pointed out,

I dreamed TDS sufferers

were living to tell their grandchildren

that a second childhood is wonderful.

which sympathized with terrorist Islamists. MI6 told the CIA what to do and also controlled SAVAK. Britain was taking Iran’s oil, not the U.S, who had enough of its own oil and was therefore in a position to be friendlier to Iran than Britain. The 1953 “coup” (when the Shah by law fired Mosaddegh because his PM was not getting anywhere

They were having a party

at the Watergate hotel

but Jimmy Carter spoiled everything.

What can you say to a TDS sufferer

who stands on the street with a sign

and had communist sympathies) was a fake spin by MI6 to make America and the CIA look like the villains. And, of course, to make the Shah look like a villain—because the Shah, it is important to note, wanted independence from Britain, as well. The Shah modernized Iran, and despite his puppet status, the Shah was able to use friendly relations with the United States to help Iran (which had

between her nieces and aunts, protesting

on behalf of crime?

How do you speak to a TDS sufferer

mostly been controlled in the 20th century by the Soviets in the north and Britain in the south. The U.S. actually helped kick the Soviets out.) Khomeini had a strong terrorist presence in Iran in the 40s and 50s but the Shah exiled Khomeini in the early 60s over the cause of women’s rights (go Shah!) By the 70s Iran was a modern, prosperous nation, but hated by the Left and U.S. mainstream media

who is a person just like you

but doesn’t believe a person is anything like you.

I believe everything. What did I do?

which portrayed the Shah as a torturer. (The Shah was dealing with Islamist/Communist terrorism. Charges against the Shah need to be seen in this light; he was actually kind and sensitive). The monster Khomeini’s return was facilitated by Jimmy Carter, the U.S. State Dept, the U.S. media (reporters flew WITH Khomeini on the plane from Paris as he came back from exile, portrayed as a kindly, religious savior

How do you speak to progress which cannot end?

Which is insane now but promises a smile up around the bend?

—in fact, he was a killer, and ate SAVAK for breakfast when he returned and turned Iran into a prison.) 1979, the year of the Iranian “revolution,” was also the expiration date for Britain’s oil deal—the UK (we know what they have since become) preferred to hand off Iran controlling its own oil to an Islamist dictator. After 9/11, with the globalist Bushes in control (seeing eye to eye with MI6 and globalist London) Iraq (Iran’s enemy) was attacked

Your girl who you kissed in the moonlight

is no longer your daughter.

You speak of empathy and poetry

but with a smile you vindicate slaughter.

I can’t fit the recent history of Iran

In a dirge, so what do I say?

Your girl who you kissed in the moonlight

is a they.

as the Middle East becomes the controlled chaos (further facilitated by Obama and Hillary) which we see today. Wonder why the Left and the US and British mainstream media are ignoring the people rebelling against the cruel Iran regime? Iran, like Venezuela, sends its oil to China. The globalist communists who hate the United States are still

the lying motherfuckers they have been for decades and will

FREE VENEZUELA! FREE IRAN!

World events are happening so fast these days, Scarriet, the beloved literary site relaxing by a lazy river somewhere, hardly dares to comment on them.

But since things are happening so fast, we wish to comment on them.

Oh helpless paradox.

Add to this dilemma, the fact that, while Scarriet wishes to comment on the world, Scarriet knows almost nothing of the world.

Well, here goes:

I asked this simple question to a political activist acquaintance from India who was raising the alarm on the current actions of the White House abroad.

“But don’t you think Venezuela and Iran are already captured nations?”

Breathlessly, I continued:

“They both are run by criminals. Criminal nations, by necessity, export (and import) criminality.

The United States, under certain of its regimes, exports criminality, as well. I’m not saying the United States is perfect—far from it.

We must treat every situation as unique, or no politics can be cogent or clear.

I agree sovereignty should be respected, (does the EU respect sovereignty?) but that principle must finally be curious as to the freedom and sanctity of a nation’s citizenry.

The current administration in the United States is fighting a long history of corruption and anti-democratic (deep state) entrenchment. Sometimes it is really that simple: moral builders vs. thieves.

Any political observer captured by entities such as the BBC, the EU (and its net zero insanity) and the mainstream “politics as usual” of the United States and its legacy media, will be compromised. Any person from India who doesn’t understand that London is still a snake (as much today as it was when London’s queen ruled India) will never understand politics.

Iran’s fall in 1979 hinged on the fact that Britain’s oil license in Iran expired in 1979 and Iran’s capture was deliberately fostered by the very same elements in the United States bent on destroying the current administration.”

I want the readers of Scarriet to understand. Scarriet is free. It is not compromised—by academia, by fear, by nonsense, by anything.

Scarriet understands poetry alone is not enough, but this is not the same as denying poetry is truth. Poetry is truth.

Poetry is better viewed as what it truly is when put next to mathematics, as Poe does in his “Eureka.”

The following (a glimpse of another of my text conversations, this time to family members) may help:

“I spent this afternoon re-reading the middle part of Eureka, more impressed than ever (if that is possible) by Poe’s 1848 essay. One needs to read this work very slowly (there is nothing else like it). There are sentences in Eureka which need to be contemplated for a week, a month.

For a moment I was actually entertaining the idea that Poe was the secret second coming of Christ. The truth of Eureka is that profound. It is SCIENCE—but music (poetry), too.

EMPHASIS is important. This is the one qualifying aspect of art which identifies it—EMPHASIS. [This alone is what makes Eureka a poem.]

Poe describes the miraculous mutuality of gravity.  The poet intentionally does so in such a manner that the reader comprehends the importance of the universality of gravity. Poe needs this fact in order to describe the origin of the universe. It is the only universality for Poe. It proves, for Poe, the indivisible One which precedes the Big Bang. Attraction (universal gravitation) and Diffusion (repulsion, electricity, light, irradiation) are Poe’s two opposite principles. [Poe says matter is repulsion.]

Einstein’s E = MC2 is all but stated by Eureka. [Einstein read Eureka] Poe also intuits the particle/wave paradox of light by calling light “particles” and then adds “impressions, if you wish” as Poe demonstrates the “distance squared” law of irradiation. 

Also, re: Gödel proving nothing can be proved or demonstrated—Poe explicitly says this very thing in Eureka!!

Poe was famous enough that a large number of people were given the opportunity to read Eureka—the Bible of the Second Coming, if you will.

Quite different from the Bible, yes.

Eureka is the scientific factual equivalent. [Subtly sprinkled with theology]

If everyone on earth were to understand Eureka, humankind would all become scientists and there would be peace on earth.

But in a kind a divine and miraculous irony no one understands Eureka.

Perhaps only I do. I know of no one who truly understands it; all the commentary I have read either dismisses it, or downplays it.

Perhaps I exaggerate, but Eureka has nowhere near the popularity of the bible—which generates an infinite amount of debate and even hatred, compared to the obscurity of Eureka—which I consider to be a divine work.

After all, the God of the Bible deemed it proper to wipe out the human race in “the famous flood,” an indication He was not a little peeved at the thickness and ignorance of humankind.

The circumstances of Eureka are symbolically parallel, proving how ignorant the human race is, since no human being is receptive to its divine insights, which are there, if one looks—in my humble opinion.

In Eureka, Poe self-consciously reflects on how he will be called mad for what he is trying to articulate. But READ it, carefully. Then you will KNOW.

If you choose NOT to know, that’s fine, too, of course.”

You may have noticed that I’m far away from Venezuela and Iran.

I will now quote myself in a textual conversation with family members, same time period (near-present).

It is a glimpse of me torturing myself over mathematics—a subject which I never understood. The specific topic happens to be the mystery of what a mathematical “mean” is, as it relates to the “Gauss counting puzzle.”

We can’t know poetry unless we know mathematics.

We will never understand Venezuela, Iran, or mathematics, without poetry.

The “lazy river” of Scarriet is alive.

Here is the final conversation:

“I should thank [Uncle] Bill for posting the [standard, textbook] info on the ‘mean.’ 

Let me clarify why I am prolix.

‘The mean,’ to me, is the ‘middle of the counting.’

Example. The ‘mean’ of 1 thru 3 is 2. As one counts from 1 to 3, the ‘middle of that counting’ is 2. It also works for 1 thru 5. As one travels from Kamchakta (1) to Afghanistan (5), one notices the mean, or the middle, is Ural (3). There are an equal number of territories (2) on either side of Ural (the Mean) as I destroy Ian, Aaron, Dave, or Jenny, on my journey, my march, my conquest, with the yellow pieces.

[I reference the game ‘Risk,’ since we play that game during family reunions.] 

However, if I travel from 1 to 100, the ‘mean,’ I am informed by the mathematicians, is 55. 

Immediately I am struck by an inconsistency. 55 is clearly not in the middle of 1 to 100. 50 is. 

The fact that a mathematical process or operation which involves simple counting is not consistent shakes me to the very core. If this is not consistent, what is? How can such a simple process, visible to my eye, undergo a fundamental alteration of principle? 

Shouldn’t something as simple as “one, two, three” remain in place for the journey 1 thru 100? 

What if the ‘counting amount’ were a container and the ‘mean’ the amount of gas in that container? For a container of 3, the “mean” (2) is 66.6% —the container is two/thirds filled with gas. But if the ‘container and its gas’ is simply increased to 100 from 3, now the gas in our tank has shrunk to 55%.  

How is this possible? The relation of gas to tank did not change. The ‘mean’ is still the ‘middle of counting,’ whether we count to 3 or 100. But we lost gas. 

But what’s worse, is that “the math” lost the gas. 

We didn’t lose the gas. The math did. 

The mathematicians will run to their formulas and make everything all right. 

The math will fix the math. 

But the poet is not satisfied. The poet feels betrayed. The poet will never quite trust math, again. 

Socrates, and later Poe (see Dupin), famously proclaimed that the true philosopher is both mathematician and poet. 

Imagination (see Eureka) is necessary to discover the scientific secrets of the universe—even though the mathematicians are likely to hang the person who is too imaginative. 

There is a method to my madness.”  

Venezuela!

Iran!

I had to say something.

Now I feel better.

MAKE FRANCE LAFAYETTE AGAIN

“Make France Lafayette Again” is a more historically interesting, if not a better, meme than “No Kings.”

What good news for the world when America was born with the help of France in the 18th century.

After winning crucial battles, and helping to fund, the American Revolution, before he was 25, Lafayette worked with Thomas Jefferson on “Declaration of the Rights of Man and of the Citizen” during the French Revolution. He supported the abolition of slavery. He was chased out of France by French Revolution extremists and the Austrian army caught him in the Netherlands and threw him in jail for 5 years. (Ah! Europe!)

President James Monroe invited Lafayette to the United States in 1824, where he visited all 24 states to a deserved hero’s welcome. A young Poe was in one of the Lafayette parades.

When Lafayette died, and France allied herself with Opium Wars Britain in the 19th century under Napoleon III, the world fell apart.

During the American Civil War, France was in Mexico. Britain and her ally, France, told the Confederacy “you win some battles and we’ll recognize you” leading to a 3 year Robert E. Lee meat-grinder, from which the United States has never quite recovered.

France’s Salon des Refuses (avant-garde art) in the 1870s was a French government act, killing history painting; preferring color-ist art to better hide international crimes.

France since then has pretty much led the way in destroying classical art and conservative values. Khomeini arrived in Iran from Paris. Pol Pot studied in France. Jean-Paul Sartre (“hell is other people”) and Simone de Beauvoir (“one is not born, but rather becomes, a woman”) are your typical, 20th Century French intellectuals.

Rapacious, snobby, Europe (Britain’s monarch was the monarch of India until the middle of the 20th century) has been the academic standard for American intellectuals—since the libeled author Poe was murdered in 1849.

The Armory Show, which brought Duchamp and modern (French) art to America in the dark days which culminated in World War One, was facilitated by John Quinn, an Irishman, who joined British intelligence as an associate of Aleister Crowley, and was an attorney for T.S. Eliot and Ezra Pound. The American public greeted the new art in the Armory Show with, “this is crap!” But they would soon be instructed.

American who aspire to be “educated” are inhibited by deep shame (“we’re just hillbillies”) and still grovel, for many complex reasons, before European “theory.”

The magazine “Vanity Fair” is a typical snobby example of Americans succumbing to everything Europe. Of course their politics is far-weird-Left.

Americans who did resist the pull of Europe were merely funneled into the American avant-garde, trapped in the bottom of William Carlos Williams’ red wheelbarrow.

America fueled Europe’s two world wars with Texas and Pennsylvania crude—Europe was all too happy to go to America for gas and muscle and make their “dumb cousin” be the fall guy for everything. Britain stole Iran’s oil, but the United States (far less imperial, in truth, than greedy, insane Europe) became the “great Satan.” It didn’t hurt that MI6 trained the American-hating CIA.

American presidents: Nixon, Carter, Reagan, Clinton, basically boobs. JFK’s father was ambassador to England. JFK, therefore, had some class. But Americans had no class. One still looked to Europe for that. And America couldn’t even keep their one classy president alive.

France: “Hey, U.S. we failed in Vietnam, you give it a try.” U.S. “OK!”

European intellectuals do the talking. USA, you listen.

But there’s been a steady erosion of European brains and morality since Lafayette lost the handle on the French Revolution, the Lafayette who in 1824 visited the widow of Poe’s revolutionary war hero grandfather when he toured the U.S.

America should bring back the rigor of “Philosophy of Composition” Poe, swept away by “Make It New.”

I know, I know, we do so love a good English accent! It makes a person sound so smart! (Prince Andrew. Simon Cowell. Tony Blair.)

Oh, this bowing and scraping before Europe.

A New Yawk accent is perfectly fine.

Maybe we could stop chanting USA! USA! USA! and instead whisper, “United States of America! United States of America! United States of America!”

Maybe that wouldn’t work.

But conservatives need to have a march and print hats that say,

“Make France Lafayette Again”

Let’s gooooooo!

ACTIVE AND INACTIVE INGREDIENTS

All political debate, science, philosophy, all human knowledge and human interaction, all life, finally, is a matter of the inactive ingredient.

The inactive ingredient is necessary. The active ingredient needs it.

The biggest debate of our time—are vaccines safe?—resides entirely around the question of the inactive ingredient. Critics of vaccines say inactive ingredients in the vaccine are not inactive. This is basically the whole debate.

Every bit of human moral expression hinges on the inactive ingredient question. We have thousands of random thoughts during a day. Consider which thoughts are inactive (harmless) and which are not—your opinion here will make you either a puritan or an adulterer.

The beliefs which fill stadiums with united, enthusiastic, followers depends on one thing—not an agreement on which ingredients of their enthusiasm are active, and which are inactive—but one in which the enthusiasm of the crowd is the active ingredient—the idol of the day and the crowd of the day are both inactive ingredients.

Here, in a nutshell, is what we call the sometimes frightening but always jubilant nature of the crowd, the mob—participating in things like sports and democratic politics.

The inactive ingredients are all the details which push up against each other, randomly, in the spectacle of the avenue or the arena, including the crowd itself. The weather, the individual traits which make up the mob itself—but do not keep it from being a mob. These inactive ingredients are necessary—they “flesh out” and “give life” to the active ingredient: the enthusiasm for the game result: “We won!” Or, the message of the gathering: “X for president!” “Abortion on Demand!” “Free the Slaves!”

The success of the poem includes the same consideration.

The contemporary poet wrestles with precisely the same question: which elements of my poem do I wish the reader to notice?

For today’s poet, inactive ingredients are necessary. The old, dead poets (the modern poet’s aesthetic rivals and in some cases, enemies) used the same words (we are assuming a common language; English, for instance) and also used every one of the thousands (even millions) of tricks which elevates language and feelings in general towards the “wise,” the “sensitive,” the “poetic.”

Most of these “tricks” cannot be avoided. They live in the language we and our ancestors share; they reside in the feelings of sorrow, awe, and mirth which shake every human body.

The only recourse for the contemporary poet—who wishes to be not only original, but original in a contemporary manner—is to make sure that every “old” trick, when it does happen to appear, be presented as an inactive ingredient—not consciously noticed by the modern reader.

The poet, unlike the sports fan, is forced into a higher level of consciousness.

In the mob, the details which lie beneath the uniting spectacle of the idol remain inactive due to the force of the spectacle and the attractiveness and simplicity of the idol.

In the poem they do not—each detail is potentially active—depending strictly on the ongoing structure and plan of the poem as the poet is composing.

Art is the greatest antidote to the mob.

However, art can appeal to the mob; in fact, it is forced to appeal to the mob, but this is for another discussion.

The modern poet’s challenge is an unhappy one.

With greater and greater urgency, contemporary poets (there must be millions of them) are forced to make all the ingredients of their poems inactive, (all those elements or ingredients which recall, in any way, their ancestors, the old “sublime” poets) as their work becomes filled with as much modern randomness and anti-structural and anti-formalist elements as possible—without becoming (or sometimes becoming) pure prose.

The modern poet is burdened by the dual task (previously mentioned) of being not only original, but being original in a thoroughly contemporary manner.

But why is this duality necessary? When the poet can rhyme, for instance, in an original manner? And defeat his rival ancestors that way?

We commonly think of rhyming couplets, for instance, as deeply limiting. But the combinations of moves on a chessboard are almost infinite; infinite songs can be composed from twelve notes. We can be experimental and original in rhyme for millions of years yet.

Contemporaries associate rhyming with bad poetry—but this is only because rhyming is a skill few poets possess—it is not the rhyming which is bad, it is the lack of skill which is—but rhyme is blamed.

Almost all modern poets fear to rhyme (the vast majority of volumes issued today are absent of it). It is as if rhyming were the bubonic plague.

To the contemporary poet, rhyming is the bubonic plague.

Contemporaries fear rhyme would immediately manifest itself not only as an unwanted ingredient, but as an active one—too noticeably musical or jubilant.

The highly skilled poet, however, (one who doesn’t hate his ancestors, but loves them) might try something different: risk original rhyme and win the day, while smoothly presenting rhyme (and the calm day) as inactive ingredients.

footnote:

One can see inactive ingredients in chemistry analogies in the literary criticism of the two greatest American poetry critics, Poe (AI did not find it when I asked) and Eliot (AI did find it) and Eliot seems to have stolen his idea from Poe. Eliot’s analogy is this: the poet’s mind is a sliver of platinum which effects the combination and transformation of two other elements while remaining itself completely unchanged. Now let me quote Poe twice:

This pure Imagination chooses, from either beauty or deformity, only the most combinable things hitherto uncombined; — the compound as a general rule, partaking (in character) of sublimity or beauty, in the ratio of the respective sublimity or beauty of the things combined — which are themselves still to be considered as atomic — that is to say, as previous combinations. But, as often analogously happens in physical chemistry, so not unfrequently does it occur in this chemistry of the intellect, that the admixture of two elements will result in a something that shall have nothing of the quality of one of them — or even nothing of the qualities of either.(97)

He repeated the idea more than a year later.(98)

Another idea from chemistry he uses for an analogy in his “Rationale of Verse”:

In chemistry, the best way of separating two bodies is to add a third; in speculation, fact often agrees with fact and argument with argument, until an additional well-meaning fact or argument sets everything by the ears.(99)