CR!S!S:

CR!S!S:

What the Future Fascists of America seem to have forgotten is their actual role in the Human Network. They do not work solely in the agricultural industry; they work in the agricultural SECTOR of the SURVIVAL Industry. All human life and a great deal of domesticated animal life depends directly upon the production of food by agricultural means, so it follows logically that the farmers of the United States are responsible directly for the security and welfare of all such life WITHIN the United States, as well as a great deal of it without, (depending upon what science and politics can fathom) and any LOSS of life by avenues of malnutrition, food poisoning, and competition over resources would reflect poorly upon the Survival Industry, which of course includes not only the agricultural sector but all so military, police, and scientific research, all three of which ought to be the Tool of the People in reinforcing the Ideal of Survival. In short: when someone dies, someone ought to get fired.

At some critical juncture in my maturation I came to the realization that the point of life was to Create. All human beings are by trade creators. Farming is an art, and no one has contested in our recent time that warfare is as well. Our president at present would contest that salesmanship is artistry, and even someone in the unskilled labor field (no pun intended) might proclaim that sexuality is art.

Martin Heidegger said that human beings were those beings who build. He was answering an age-old question: what ARE human beings? Are we those beings who think? Are we those beings who write? His answer was a decent and fairly inclusive one for someone who had Nazi inclinations: we are those beings that build. Want to get more inclusive than just that? After all: by his generous definition, we are kin to birds, and birds are human beings. Okay: we are those beings who CREATE. And the artist is the pinnacle of that. All of our lives, in every time and place, in every culture, under every superstition and in spite of each oppression, have been aimed at leaving behind one great legacy: the work of Art, the opus, our stairway to the Gods, something familiar yet totally unique and novel. All of any young man’s life should have this as its solitary focus: to ensure that as much of his inner vision is made flesh, in preferably harmless form, as is possible. Even sexuality is only the beginning of creation. Hence we call it “procreation”. Even entertainment is only a way to make one’s own return from work to play; hence it is “RE-creation”. Our minds are WIRED to be artists; the most staunch realists expose the most absurd of fantasies because their own creative minds, pushed into the Unconscious Sector, cannot help but to revolt in the most riotous of ways.

Fascism has all ways oppressed and tried to put restrictions upon Artistry. But all of the greatest dictators our history has seen were artists or at least great connoisseurs. Hitler was a painter. Stalin was a writer, a romantic poet. Kim Jung Il boasted the widest choice of films the World has ever known. In some ways, he surpassed the U.S. Government.

And Fascism can fool people into believing that they HATE something. Hence North Koreans protest Modern Art, as though by their own will. Like most protestors in America today, their revolution is surely a scripted one.

AT some critical juncture in my maturation I realized all or most of this. But then I looked about me. Just outside my window, there was talent going down the drain like water in a reckless drought. The finest artists I knew in my graduating class had turned to drugs or, worse yet, jobs to cope with living. Artistry was not revered but shamelessly condemned, and even those who practiced it religiously did so within the confines of a clergy who defined their every brushstroke from a tender age. People began to work for MONEY rather than for the CREATIVE ACT ITSELF. And though I hated them, as much as I was capable of hatred then, for doing so, I could not help but pity them and search for someone to protest to. Where was the Complaint Department?

As it turns out, the Survival Industry had failed. The People were about to elect proto-Fascist Donald Trump, a salesman who, to my mind, only made one work, a show called the Apprentice. It was a most moving drama about corporate capitalism, fully adorned with heroes and recognizable villains. Omarosa, whose name Microsoft Word inexplicably forgets and underlines in red, was likened to a Disney villain, though I still recall an episode in which her discerning Bohemian eye helped usher her team towards victory. She prided herself in her knowledge of the Fine Arts.

People make Art to make a living, but people don’t realize that people make a living just to live for making Art. In ancient civilization, the Ruling Class ensured that the Survival Industry accounted for the welfare of the State, for only by so doing could the Creative Industry fulfill the Kingdom’s TRUE Purpose: to become Human. Art was not for the entertainment of the working class, even less so for subjective and equivocal derision, rendered inferior by its subjectivity. The value of a work of Art was not disputed but ordained, whether by the monarch or by the Gods who had helped shape it. Art served the entirety of Human Progress, and the entirety of Human Progress served Art in turn.

This is all so why the staunchest totalitarians are so artistic. When the monarchical ego overtakes the personality, when it is married to the machine of State in the first coronation, what is repressed is the tender and human drive to create. This is perhaps why even genocide can be said to have been elevated to a High Art in the Twentieth Century.

You can’t stop this train.

Why then, I wondered, did my colleagues have to sell their Souls to make a living? Where would Art be without Soul? How DARE they to USE Art for their own purposes? Had our wisest teachers not taught them to NEVER do ANY thing as a means towards an end?! And who would be so CRUEL as to ROB them of their freedom to LIVE, REGARDLESS of the consequences which they were forbidden by nature to seek, FORCED to STOOP to the level of USING their own God-given blessings to COMPENSATE for the shortcomings of the System?

Of course, it was the Future Fascists of America.

People who had worked in the Survival Industry began to think, somehow, that what they had created would BELONG to them and not to those who needed it. They turned on their true purpose and abused their privilege, insisting that all Artists become servants to the FARMERS, and not that the both of them should serve the Common Good.

It was for this reason that I had the quite mortifying luxury of speaking with a farmer and a member of the military who had spoken of ART as a luxury afforded by survival. Yet when I spoke of survival with him, asking what was to be done about the people dying even in the midst of great, egregious wealth, he only had to say he knew plenty “good” people who would never work for free.

There are no good people who never work for free. This is because without things being given freely, there can be no freedom. And without freedom, as it was pointed out, especially in works like A Clockwork Orange, it’s very difficult to Be Good.

My freedom was stolen by these deviant ingrates and Fascists.

It’s time that we start using our creativity to take this power back.

After all: one way or another, God’s chosen people have now been reduced to their own Survival.

Dm.A.A.