Resistance Fiction – #SolutionsWatch

Prologue, Mounty, 019.

A field somewhere in Northern Ontario, Canada, December 26, 2020.

I'd never flown in a plane before, much less a helicopter.

When I was 16, Matteo and I took the train to Toronto to see a leafs game.

Even for the great eight trip to Quebec, we traveled in one of those two story coaches

with the tinted windows.

Now, strapped to a yellow cot, wrapped in some sort of emergency, crinkly, sub-zero sleeping

bag.

I stared at the air ambulance that awaited me.

It was painted orange with the letters O-R-N-G-E on the side, as if they left out the

A to save money.

From above, it's windshield extended a metal spike like a unicorn's horn, except this

orange flying unicorn had only three legs, two in the back and one in the front, disappearing

into a foot of snow.

Through the haze of pain, I could barely see the evergreen trees that surround at the

field, serving as a barrier against the howling wind.

The dark night was lit by the headlights of many police vehicles and the red and blue light

bar of an ambulance.

Our head, the blades of the medical copter were whipping in circles, making the cold

December air even colder, at least at none the excruciating pain in my chest a little.

On the unicorn's tail, a tiny vertical propeller was also spinning like a windmill and a hurricane,

proving how the seemingly inconsequential can alter the direction of the large and powerful.

Those are the dramatic opening paragraphs of the prologue to much ado about Corona, which

is a book by Canadian author John Manley, which builds itself as a novel about real love

and a fake pandemic that tells the fictional story of a very unusual, well, I suppose romance

that occurs during the lockdowns in Ontario, in a fictional town in Ontario in 2020 going

into 2021.

And it is an incredibly interesting novel, especially I would imagine for my readers listeners,

I should say, who are interested in exploring the madness of the world from a different

lens and one that is sympathetic to the worldview that I imagine many of my viewers share.

And if you are interested in that, I will commend this to your attention.

It's a book, as I say, and set in a fictional town in Ontario during the lockdowns as the

world descended into madness in 2020.

And it follows a regular Joe named Vincent McKnight, who travels down the rabbit hole as

it were and ends up engaging in a romance with a baker who's attempting to keep her bakery

open.

No summary that I give of this story can really do justice to it in its fuller details.

But it is an example of a phenomenon that I would like to think that my viewers are

probably well situated to understand by now, but let's talk about it.

Resistance fiction.

Yes, that's right.

Of course, recently here on Solutions Watch, I was talking about resistance cinema.

Of course, you can go back in the archives for that podcast exploration.

But today I want to talk about resistance fiction, which, as I say, is something that

I have discussed a number of times.

So I would imagine my viewers are already well situated to understand it.

But here on Solutions Watch, for example, I've talked about writing a new narrative and

how important narrative is to shaping not just our worldview, but then how we act in

the world based on that worldview.

You could look at subscriber exclusive videos I did.

I did one back a few years ago on the ring, as in the Lord of the Rings and the allegory

that exists or doesn't exist in that book and what it teaches us about resistance.

I've talked about 1984, of course.

You'll remember my episode 114 on New Speak is Double Plus Ungood.

And of course, there is the entire foam literature in the New World Order podcast series, the

raison d'etre, of which is or was or maybe to introduce people to works of well resistance

fiction, resistance cinema.

As well as dissecting some propaganda from time to time.

So yes, I take it as a given that people out there understand the importance of fiction

in shaping our worldview and thus shaping our reality.

And especially when there are enough people who have reached a certain threshold of consciousness

along these lines, it can be the ripple effect that truly changes the world around us.

So if narrative does change the world, then who are today's myth makers?

Who are writing the narratives today that will shape the world of tomorrow?

Well, as I say, this is one example of such a phenomenon.

It's much ado about Corona by John C.A. Manley, who also has another book called All the

Humans Are Sleeping.

And this book is set in a different fictional universe than the much ado about Corona,

but perhaps a related one or maybe just further down the road as it were.

This one takes place in the near future after a nuclear apocalypse of sorts sends people

scurrying into the metaverse to escape the dreary, horrible reality of existence.

And it talks about a couple of the lonely, lonely and lonely human survivors of that event

who decide, well, who are or are not going to go into the metaverse.

Again, it's a fictional telling of a tale that is already happening to a certain extent

in real life, just not obviously to that far of an extent.

So it allows the reader to see and explore the consciousness of what is coming down the

road, what we are stepping into, why so many people are blithe to the real dangers that

these technologies represent and what should people be thinking about that?

And I think both of these books do a good job of giving a fair view to the other side

of the equation to real human beings who have their qualms about, for example, the virus

spreaders or people who are, you're just an old funny guy who doesn't like technology.

The people in these stories are not two-dimensional characters.

They are fully fleshed out human beings with their own backgrounds and stories and motivations,

which I think makes it rewarding read.

So obviously the links to both of those stories will be in the show notes for today's episode

of Solutions Watch so you can go and purchase copy, explore these books for yourself.

But I had the chance to talk to John C. A. Manley about his writing, about the concept

of resistance fiction, and about the line between resistance fiction and predictive programming.

To what extent are writers who are warning about a possible future actually helping to

conjure that possible future into existence with their words?

Some very interesting topics.

So I started by asking John about Muchadu about Corona.

Well, I mean, muchadu about Corona.

Well, March, I guess March 2020, I remember sitting there watching the Prime Minister of

Canada announce that we all had to go into lockdown.

And that immediately, to me, I was just, you know, every cell in my body is screaming,

this is a farce, this is a authoritarian takeover.

I didn't believe for a second that it had to do with viral epidemic.

I was willing to believe that some of the politicians and other players on the lower level

were actually believing it, but at the top I didn't think it was very likely.

And I felt very scared, not of a virus, but of where this was leading when they're telling

people they have to all be locked up.

I remember the Prime Minister getting up and criticizing people for meeting on the beach

and how they had, you know, just criticizing people for getting together in public.

So I decided I was going to, I just decided to start writing, I was actually in the midst

of writing another urban fantasy that I've been working on for about a year.

I decided just to put that down for a day I wanted to write a short story about where

I saw this going.

So I typically write on the wall, so I taped a few pieces of paper to the wall.

And I started writing a short story, and that short story continued day after day after

day, where I was putting in about one to two hours every day, and I just thought I'm just

going to have to finish this.

If it was interesting, like I was saying, the, much I do about Corona was originally set

in 2030, like far in the future, where I thought that one I had far in the future, where

I thought this was going.

And I started writing flashbacks, and the flashbacks were set in 2020, which ended up being

what the book became.

Yeah, that's an, that's an interesting approach.

So you already know where this story is going for, for people who haven't read it, it sort

of ends on a cliffhanger.

So there is more to this story.

Yeah, no, I, basically, I haven't written to the end, but I got a lot of fillers and

ended up adding so many characters to the originals that I have to find a home for them

or killed them or sometimes.

Yeah, I can imagine just keeping all those characters, all those balls in the air and sorting

out who's who, and oh yeah, this person over here.

Anyway, beyond the logistics of writing it, obviously the question is, how did people

receive it?

And was this a, you know, was this a surprise to people who already knew you and you're

writing, or did this introduce you to new audiences, did this gain you some new friends

or enemies?

Well, I definitely lost a lot of friends with it.

It was, I took two years to finish the book, so it was kind of a progression, like when

I was working on it originally, the criticism was extremely high.

By, you know, 2022, the skepticism around COVID had grown significantly.

I'd say, like, I had relatives actually telling me, do not publish this.

This is very dangerous that you could get hurt or, you know, imprisoned.

I don't know what they were thinking.

I mean, the first year of the pandemic in, so our scoundemic in Canada, I found it was

pretty totalitarian and was going in an increasingly that direction, like I had, I was in addition

to writing the book also publishing, like, an article a day trying to convince people

that this was a hoax, which originally I thought was going to be all I needed to do was

just provide the information, because it was so obviously a far fetch.

And I realized it was, most people's reaction to the pandemic was emotional, not intellectual.

So that's why I kind of started viewing more towards focusing on the novel, because the

novel is essentially in a lot of ways an emotional way to connect with people.

I've been very surprised, like, for example, I get emails from nurses or PSWs who are working

in the nursing homes during the pandemic and saying that I really captured what was happening

in there, except if anything, I toned it down a bit, because I had a lot of firsthand

experience, the nursing home in our town, the military came in because it was such a mess.

There was, you know, residents who hadn't had their bed changed in like three days,

they had soiled their sheep's and feeding tubes clogged, rotting food in the room.

So I didn't want to make it that disgusting in my novel, so I toned it down a bit, but

also just the content, not the controversy, the conflict within the nurses, about being

in this environment, trying to do their best with staff disappearing and not being able

to give a patient a bath for like one month.

I mean, so I got a very good reaction and a surprising reaction from various nurses

and people in the healthcare field who saw it firsthand.

And I think, you know, I get messages like, I thought I was going crazy, there was

something wrong with me, because everything, you know, I'd have to like shut down part

of my brain to accept that what was happening around me was proper and normal and ethical.

So on that side, I got that, I mean, mainstream media has told us they ignored me.

I had several times where interviews were being set up with mainstream outlets.

And soon, you know, because I said I got a novel that really looks at both sides of the

controversy.

And I think I did a very good job in the novel of like the characters who were for the

lockdown of actually giving them a real devil's abacus.

Yeah.

Can I just interject here?

I wanted to say that was one of the things I really appreciated about this novel is that

people aren't just caricatures.

It could have been very easy, I think, to write about the, you know, the evil constable

on patrol who's trying to lock everybody down for no reason whatsoever, just because he's

a tyrannical asshole.

But in this case, no, it's because he has a very, very personal emotional reason for being

attached to this narrative.

And you drew that out in a way that, you know, really hits home.

So I thought that was one of the greatest things about the novel is that people aren't

just two-dimensional, you know, character cutouts.

These are actual human beings who have fleshed out stories for motivation and why they're

doing what they're doing.

Yeah, no, I appreciate hearing that because a constable Corona was an interesting one

because when I did write him the first draft, or by the fourth draft, he was still a very

two-dimensional kind of badass cop who just wanted, delighted in the power trip on people.

And I showed it, I had the draft shown to the cover artist, Jordan Henderson, and that

was his response because he just seems like a 2D cutout, you know, it's just this badass

cop.

So I scratched him and, you know, this is part of the reason it took a thousand hours

to write the novel.

And I went back and I changed and I made him older.

He was just on the verge of retirement.

He wasn't.

He was kind of a center cop.

But like you said, the reason that he is doing this get revealed slowly throughout the

novel and his progression from basically probably being a real nice guy cop who was probably,

you know, just trying to do his best, you know, I'm not saying it was an angel to what he

becomes by the end of the novel, which is largely a result not of him but of the circumstances

that he was put into by the, you know, the government and the measures that were enforced

on them.

I interestingly, another character that people are really like, I was really pleased to

see that the response was so well to him was Raj, who is the one character in the novel,

who's kind of on the fence between, you know, the resistance and not the resistance.

You kind of get the impression he doesn't, he kind of buys into the whole COVID stuff,

but he doesn't like the fact is being forced on his friends and his family.

So that character who was right on the fence, I found, I get so many people say he was

a favorite character, even though he wasn't.

He was obviously an interesting character and yeah, I was trying to figure out at times

like, is he on their side or not?

I guess he kind of, but not, yeah, it was an interesting dichotomy.

Yeah.

And then, I mean, one of the biggest things that happened recently was the Kirkus review,

which is a very prestigious magazine in the United States for reviewing both mainstream

published books and indie books.

They did a review of the novel, which it's an interesting review because they don't

definitely, it sounded like they really liked the story and the drama of it and the characters.

Like, they actually referred to it as having, you know, really, I forget what they were,

I was actually they worded it, but that they, they had really good character driven scenes

and action and intrigue, but they obviously, the message behind the story, they were very

on the other side of the fence.

They had one line, I've never heard before from a mainstream source, where they said

the novel is about the fearful versus the vaccine ready.

All right, yeah, the fearful versus the vaccine ready, that's one way of putting it.

So anyway, it was an ideological review is what you're saying.

Yeah, they actually referred to it as, they said that the, the argument, the idea

is got weighed down by the arguments and the characters and, and I, I think to a degree,

they may, I'll give them some, because I did feel by the end of it, I think the novel

could have been just a little less de-dactic and done more through just the story itself

versus some of the debates that some of the characters had between each other.

So I'll give them that, that it may have just been a touch to on that side of the fence,

but I, I can see that argument, but it's such an incredibly fine line to walk and it's

difficult to thread that needle perfectly.

Of course, there is going to be some didacticism in a novel like this, but I thought it was

refreshingly not just hitting people over the head.

And there was enough, again, intriguing characters, even the main character who doesn't come

into this from an ideological point of view, just comes in it from the outside, which I

think helps the average reader sort of enter this world and this idea that they probably

hadn't contemplated before.

So I thought it was a powerful way of doing that.

But then you write this incredible, you know, fleshed out detailed, hefty tone, hundreds

and hundreds of pages, and leave it on a bit of a cliffhanger.

And don't worry, you're going to get rights of the next one.

And then the next one comes along, not the second part at all.

It is all the humans are sleeping.

Tell us about this work and how it works.

Yeah.

That one I actually started writing 20 years ago was a short story I wrote before my son

was born.

So it was originally a reaction to that scene in the Matrix movie when you see Neo wake

up and he realizes he's been living in this pod his whole life.

And that image, that scene in the movie really like caused me to, it hit me to the core.

And that's what I love about stories when you can get that feeling.

And it's a hard to define feeling and hard to arrive at, but that scene in the movie had

that feeling for me, which I think we've had over and over again, you know, both in the

freedom movement or what we call the truce movement.

Like, you know, when you wake up and you suddenly realize that, oh, government is basically

just a violent organization that threatens people's lives in exchange for their money.

And we're all told to think it's this, you know, nice social welfare thing that's helping

keep poor people off the street and make sure that truggies get enough heroin through

a designated clinic and, you know, I'm being a little fascist there, but I'm also being

accurate too.

And, you know, I had the same experience with the medical system.

My late wife was very ill, kidney failure and type one diabetes since she was a child.

And I went in kind of at first with, you know, working with the medical system.

And I just started to gradually realize that there is nothing here about trying to actually

heal someone, you know, and that this is God's other ulterior motives and no one's getting

better.

So they give this, you know, so anyways, all the humans are sleeping more directly was,

I had this idea where, well, we saw this kind of, this is 20 years ago, so the move to

like the metaverse and the term metaverse, I don't think was used at the time, but you

know, virtual reality, like we saw in the Matrix movie, was an op, a future possibility.

I, for the record, I kind of doubt, and I think I've heard you say this too, I kind

of doubt whether it's biologically possible to do some of this connection between humans

and machines, but for the sake of the story and the metaphor, I went along with that.

I'm also a bit skeptical of whether you can have a full-scale nuclear attack like I have

in the novel, but again, it was a story device rather than trying to be factual.

My son's very angry at me, he's like, but dad, you're like, I know you're very skeptical

about whether nuclear weapons can do this type of thing, why did you put it in the book?

So but I wanted to give this option, like if we had the choice between going into a virtual

reality paradise or living in real life, you know, a lot of people will take the virtual

reality, a lot of people want real life, but what if you just make real life, you know,

you basically blow it all up, which is what the novel presents where there's a full-scale

nuclear attack and every, the remaining survivors are basically living in silos underneath

the ground, which is not a delightful way to live, so, and I thought it was parallel to

what happened with the COVID vaccines mandates, because it was like, you don't have to take

the vaccine, you just can't go to a restaurant, you can't go to a movie, you can't get on

it, you can't see your grandparents, you can't fly around the world exactly, yes, part

of part and parcel of the general, you know, making the world crappier so that we'll want

to escape into their digital Nirvana question mark, well anyway, yeah, so it's again, another

compelling gripping story with some people that again are fleshed out characters who have

their own motivations, et cetera, but rather than talking about it, why don't you read

a little bit about it? I was wondering if you could read a little passage, first set up,

maybe this passage, and then read a little passage from it, like this spaghetti farmer's

chapter.

This spaghetti farmer's chapter, yeah, you want to play it far?

No, I could follow along, yes.

Sure.

Well, no, I was wondering, do you want to read one of the characters, do you want to be

the robot?

Yeah.

Can I do a British accent?

Yeah.

Can you do a British accent?

Well, I have to do a British accent?

No, okay.

Are you listening?

Or you were in Ireland for quite a while, weren't you?

I lived in Ireland for a year, my parents didn't do an Irish accent, but I don't know.

I don't know, but my accent ability.

Well, and I also brought, suggested this chapter because I wish I had read reportage

before I had read all the humans of sleeping because this chapter deals with the Doomsday Vault,

and I hadn't actually heard the theory that you brought up, you know, that the Doomsday

Vault was actually, you know, possibly very likely there to deal with a GMO Fallout, you

know, type situation, GMO Fallout type situation where we just screw up our food supplies so

bad, we need to unfreeze some seeds.

To be fair, that's only one possible apocalypse for which this could have been created.

I mean, take your pick.

Well, why took a tick?

Yeah, exactly.

Yeah.

So, all right, well, each chapter starts with an epigraph by Dr. Marta Wink, which the

story said in 2041, but the epigraphs are from 2291.

Yeah, just one of the many reasons for locating the Jackavari Agricultural Station in the

Thromsook Finmark County, and the northernmost tip of Norway was to put it as close as possible

to what was popularly known as the Doomsday Vault.

Located on the Arctic Archipelago of Svalbard, 1200 kilometers north of mainland Norway,

the Svalbard Global Seed Vault contained 930,000 varieties of crops.

It had costs in a region government, 45 million coroner, to construct in 2006 by 2042.

The seeds that preserved had become priceless.

Dr. Marta Wink, PhD, the rise in fall of 21st century man, volume 3, page 213, rebirth

press 2291.

Peter caught up with Rebecca just in time to see domestical, the robot, usher her into

her new room.

She gasped.

This is like a hotel suite.

Little stoic expression broke into another one of its silicon smiles.

It looked authentic, but Peter knew it was a calculated response rather than a true expression

of happiness.

I went with a Victorian feel.

Explain the robot, it's British accent making the room feel all the more Victorian.

Domestical steps silently into the room and pulled the golden cord on the lamp adorn

with the red, jack her textured bell shade, black fringe.

Its light revealed in her night desk made of polished wood and a framed video screen

on the wall pretending to be a window.

The window screen displayed palm trees hanging over a beach with ocean waves lapping around

a sand castle.

Rebecca sprinted through the doorway, leaping onto the raised mattress of the queen-size

bed.

In the center of the room, she rolled over her.

She rolled over onto her back and stretched out her arms.

I feel like a queen, she proclaimed.

Peter smiled, leaned toward domestical and whispered.

A nice job, butler bot.

So, said Rebecca, do I get breakfast in bed?

If you so wish.

Answered domestical?

I've been programmed in 42 different cooking styles, including Arab-British, Cajun, French,

Indian, Italian, Mexican, Vietnamese.

You mean you have real food here?

Asked Rebecca as she fluffed the red pillow behind her head?

We will.

Said domestical.

Once we begin cultivating the greenhouse.

Oh, said Rebecca, turning over onto her stomach and bearing her face.

I guess that means we're stuck with loop poop.

She pretended to vomit into the pillow.

Loop is available.

Conceited domestical.

But I've also secured a supply of wheat flour, basmati rice, an assortment of dried beans,

semolina noodles, dehydrated mushrooms and tomatoes, and a wise selection of frozen fruits,

vegetables, fish and meats.

But if you prefer, loop.

No, explain, Rebecca.

Lifting her face from the pillow and inhaling deeply, and her other die then forced down

another loop shake.

We do not want you to die, Miss Stevens.

She cannot help her sincerity in the robot's voice.

Of course, these things could be programmed to imitate any emotion, better than most human

actors.

But for the first time, Peter was willing to entertain the thought that this robot might

truly be on their side.

Tell me, said Peter, what kind of seed do we have to work with?

We've been given full access to the entire inventory of the so-called global seed vault.

The doomsday vault, a firm Peter, domestical nodded.

Thus, we can grow just about every food crop, no demand.

Ha, said Peter, returning a lopsided grin.

He'd read about the seed vault many years ago on the National Geographic website.

It was buried in the side of some mountain in the Arctic sea.

Yes, that was right.

The Norwegians had built it.

Peter shook his head.

Ever in his most dystopian dreams would he have imagined he'd be the one who'd make

use of his contents.

Turning to Rebecca, with raised eyebrows, he said, I guess that means we can grow just

about anything.

Rebecca rolled out of the bed onto her feet, skipped over to domestical and asked, can

we grow pasta?

I want to be a spaghetti farmer.

Miss Stevens, spaghetti cannot be grown, but we can grow Durham wheat, which in the base

ingredient is the base ingredient in.

I know.

It was just a joke.

Ah.

The robot laughed.

It was good.

It was very funny.

It wasn't that funny.

I apologize for my exuberance.

You said there's pasta.

Only macaroni noodles.

Any cheese?

Parmesan.

And then these seem all exclaimed Rebecca, I'm starving.

This for sure, sought Peter.

Never fat.

She had always been rather robust.

Growing up in a farm does that to a girl.

Living part time in a human interface pod had done the opposite.

Start her approach to him and put her arm around his shoulder.

Mac and cheese dad, you want some?

If you're cooking, he extended his arms embracing her.

To a surprise, she didn't retreat.

For the first time since the blast, he felt a flicker of happiness and a sliver of hope.

He knew it wouldn't be easy, but he knew they could make it together.

She squeezed him back and turned to domestical.

I guess you don't eat, eh?

That is correct.

Too bad.

All the more for you too.

All right.

She clapped her hands together.

Take me to your doomsday kitchen.

Of course.

Said the robot and stepped out into the corridor, extending his arm and gesturing to the left.

This way, if you please.

A minute later, Peter was still smiling as he listened to his daughter singing her new

hit single, no more loop poop for me while they followed domestical down the long corridor.

On the right, the sun streamed through the panoramic window, below the window, for

the length of the corridor, ran a railing, which Rebecca was using for support.

Is she that out of shape?

Stop, Peter.

And any more time in that pod, and she'd need a wheelchair ahead of her.

She saw an approaching spider-bought racing towards them along the floor.

Before scurrying up and along the wall to avoid being trampled, his magnetic pincers

clamped softly as it passed Peter at shoulder height.

He turned, walking backwards, to see it disappear into the greenhouse.

Turning forward again, he glanced out the window.

The peak of neighboring Mount Rellas-Fari was carrying an enormous, was casting an enormous

shadow over the countryside below.

Suddenly Rebecca spoke out, don, what's this?

She was pointing to a metal door with a button in the shape of a downward pointing arrow.

Normally, domesticals responses were instantaneous.

This time, Peter noticed a pause before it spoke.

It's an elevator.

Domestical finally disclosed.

I figured that, shot back, Rebecca.

Where does it go?

The lift descends 15 stories into the mountain, providing a protected bunker.

Another pause.

With 24 human interface pods.

What?

Peter explained.

What do we need those damn coffins for?

Simply as a precaution, in case of a physical or psychological distress.

Peter was about to recommend dumping cement down the shaft, but Rebecca spoke first.

You mean you can reconnect me?

She asked the question quickly.

Domestical tilted his head and said, I beg your pardon, Miss Stevens.

I'm just asking, she repeated.

You're saying that you have human interface pods down there that are connected to the

metaverse?

Well.

It's a domestical.

They are offline right now, but yes, they can connect to the metaverse at any time.

She put her hand on the door of the elevator and turned to face its metal surface.

That's good to know, she said, you know, for emergencies.

Peter realized he was holding his breath.

Rebecca turned back to him and smiled.

Let's go have some mac and cheese.

She reached out her hand.

Peter exhaled and clasped it.

Then she let go and pulled back.

Ratio, she said.

She started running, letting out a healthy yelp.

Peter laughed.

Everything's going to be all right, he thought.

Or at least, good enough.

He turned to domestico and repeated the challenge.

Ratio, purple-bought.

Peter launched forward.

His legs felt stiff.

His lungs felt weak.

But for the first time in three months, he felt alive.

Up ahead, he saw Rebecca suddenly halt, sway side to side for a second, and then reach

out to her right.

Only the tips of her fingers brushed the railing before she collapsed on the floor.

Yay.

Thank you.

Very nice.

Yes.

Very nice robot.

I think I need to work on it.

Everyone in the comments, please comment on my absolutely terrible and offensive English

accent.

Yes.

An intriguing little bit of the story, and well, as all I can say, is it makes sense once

you read it in its context.

But I think that gives a sense of what this story is like and what it's about.

Generally speaking, in the science fiction realm, and in fact, I believe it has been

honored with an award, or at least a nomination for the award.

Tell us about that.

Yes.

It's been nominated for the Prometheus Awards, which is a specific, I think it's considered

the third most well-known and successful or popular science fiction award for fiction

novels.

And specifically for science fiction or fantasy or supernatural novels that have a pro-liberty

and anti-authoritarian theme to them.

It's been around for, I believe, about 27 years now.

So each year they nominate, right now this year we have 14 nominations.

I have two of the novels other than, well, all the humans are sleeping, of course, powerless

by Harry Turtle-Dove, which is an alternative fiction set.

And it's kind of hard to tell the date around probably in 1960, California, but it's an

alternative history where the United States had joined the Soviet Union.

So it's a really cool opener to this, because the man, he's assigned a flower shop, no,

sorry, a vegetable shop where he sells vegetables.

And each year they give them a new poster they have to put on the window of their store

promoting true Communism and that type of thing.

And this guy who's never been very rebellious, he just doesn't like the system.

He just couldn't put the poster up that time.

And that ricochets into so many things, which was similar to what I had done at Much

A Do About Corona, because no one really did anything to harm anybody in that novel, but

the retaliation from the police, which escalates to a point that if I wrote that novel back

in like 19, even 2010, you would say that was too far-fetched.

And then now it's like, so yeah, it got Turtle-Dove, I got another storm dragon, which is

more kind of science fiction, it's set on another planet.

This is actually a young adult's novel set on a planet where they got a settlement where

the government's very totalitarian and it's about a boy and his dragon who help overcome

the problematic forces in charge.

So the sites run by the libertary or the awards are run by the Libertarian Future Society.

You know what, let's pick up on that thread, because that's an interesting sort of junction

of what we're talking about here, resistance fiction, but also speculative fiction, science

fiction.

And I have certainly noticed there is a libertarian anarchist bent in a lot of science fiction.

And the sort of freedom spirit has been preserved there, perhaps more strongly than any other

particular genre of writing.

A, if you notice that yourself and B, why on earth might that bait B?

That's a good question.

I'm kind of split down the line on it, because in some ways it is, in some ways it isn't

like probably one of the biggest examples of science fiction, most people know Star Trek.

And that one you could go almost either way with it.

Sometimes it looks like a communist utopia, where it's like, though it's definitely always

from a military angle, which actually kind of fits on the communist utopia angle.

You know, they kind of talk about, but then they got like the debor, which is supposed

to be like the super communist, to make the regular communist utopia look kind of good.

Like, I kind of almost wondered why they didn't want to get a simulated, because it was

kind of a question they were all going.

But then on the other hand, it's interesting, because some of the, like, a really good

science fiction series, I'm not sure if you've heard of the silo series by Hugh Howey.

Oh, yeah, in fact, yes, I know the TV adaptation of it.

I haven't read the books.

You've seen the apples.

I think it's apples done at birth.

Yeah.

So that was, interestingly, the origin of that was the author was retired boat charter

guy.

And he ended up just getting a kind of a day job at a bookstore.

And he was writing these short stories, publishing them on the Amazon.

He wrote this one story called wool.

And I think it was about 10,000 words.

And he started to notice it was selling like 3,000 copies of wheat called by itself.

So then he decided, well, I'm going to write a few more chapters to this, and eventually

became this three-part wool trilogy, which, you know, it's very much a top-down, controlled

government where everyone's living in these silos underneath the ground.

And if you read the entire story because they control people's through deception, not

through force, which, you know, it's kind of the direction everything's going to the

kind of fifth generational warfare, which I think is partly why we see that seem emerging

in science fiction, particularly because fifth generational warfare is a lot easier

to do with technology.

It's a lot harder to do in the Middle Ages.

You could do it somewhat with belief systems and so forth, but it's a lot more work.

People are just better connected.

But it's interesting because Hugh Howie, the author to that, was like totally 100% behind

the COVID mandates.

And I'm saying this because you can just go to his blog.

And he has long essays explaining why it was good to force people to take vaccines and

to wear a mask, which I think, you know, gets into the whole issue of how much of this

fiction is, resistance fiction and then predictive programming, or is it reflective programming?

Hmm.

You know, that's such a fascinating question because as soon as you mentioned, for example,

the matrix in that scene that, yeah, I'm sure a lot of us can relate to from our own

rabbit hole experiences and waking up to the matrix and jacking out and, oh my God,

where am I?

What's really happening?

Is this what real life is like?

This is a powerful and emotionally resonant scene because it obviously represents an

experience that a lot of people have of waking up to reality.

But again, there's so many things around the matrix, not only, of course, Neos Passport

expiring on 9, 11, 2001, but many, many other things in the matrix.

I know that.

Yes.

Someone figured out if you pause at the right moment as they're showing as passport, you

can, you have to zoom in, you have to have the, you know, Blu-ray edition, like rotate

the screen, but it's literally Neos Passport expires on September 11, 2001.

Anyway, there's beyond that, there's a lot of things that clearly in that movie speak

to what we all went through in the process of 9, 11 and there, thereafter falling down

that rabbit hole and waking up to the matrix.

But it really does.

That is one of those works that really does beg the question of, is this predictive programming?

Is it resistance fiction?

What is the line between the two?

And I go back, for example, to Orwell and Huxley, and just knowing what I know about Huxley

and his family and everything that he was involved in, the eugenics and all of that.

I hear him talking morning about the scientific dictatorship that's now possible and the ability

to make people enjoy their own servitude and all of that, and obviously the warning that

was Brave New World.

But at the same time, I feel like he was slaubering a little bit, salivating at the thought

of this scientific, maybe I'm reading it to that, but it seems to me that Huxley was

more on the predictive programing side of it, whereas when I read Orwell and I read

in 1984, I see that as resistance fiction, and I see that as, again, setting the template

for so much of what we now understand in reality and double-think in all of these concepts

that he introduced to the vernacular.

But I'm sure people could, and I have heard people make the argument that, no, 1984 was

predictive programming, too, as well rather than resistance fiction, where do we draw

that line?

How do we draw that line?

How do you draw that line in the work that you're doing?

Well, if my work specifically was through the characters, like I'm the characters in

extension of me in a lot of ways, like they say, you know, everybody you dream about in

your dreams is the extension of yourself, in the same way I think the characters were,

and, you know, I despise totalitarianism in any form, like even when it's to make people

be better and good and that kind of shaky stuff.

So I, but at the same time, it can become, I honestly don't have a really good answer

for it.

Like I was finding it interesting when we were fighting the COVID stuff, I remember one

of the people in our local group saying to me, it's like, how do people love the hunger

games?

Like there's all these people, all these kids and teenagers, they love the hunger games.

And yet they're strapping on their mask and getting their shots and hiding at home.

And like can't they see that this, and sometimes I'm concerned too, especially when it's

more in the cinema arena versus a novel fiction is that you can see these characters resisting

and it kind of fulfills it for you.

So you feel like, oh, it's almost like with sports, you know, a lot of people watch sports,

they don't feel the need to actually play sports because they're watching people play

sports all the time.

So you know, you see catness with her, you know, mighty arrows blasting tyranny out of

the sky.

And then you feel like you've kind of done it.

I don't know if that's it because there is something.

Well, in a way, isn't that kind of, yeah, clearly people experience that perhaps more

viscerally when they're engaged in a movie in the cinema.

But in a way, that's the similar to what you would take out of a book as well.

And isn't that an indictment of all fiction?

Well, and all of it is just our trying to live through these things so that we don't have

to do it ourselves.

What is the space then for resistance fiction to actually provoke real world action?

I feel it's, it got some inspiring and also got to face the fears.

And that's what I tried to do in that and actually actually do it in a fun way because

I cover it, especially in much of you about Corona, it gets, there's some very dark scenes

in the book.

Not as dark as it could have been, but there's also a lot of friendly banter and stuff.

I really liked Josh Whedon who did the Firefly series, I don't know if you've ever seen

the Firefly series, but it's interesting series because it got canceled after like six

episodes.

It was so anti government, anti tyranny, it's set in the far future whereas this tyrannical

government has one.

And it's about a small band of people who are still resisting.

And they purposely tried to get that show off the air because they put it like one week

at one time and the next week they changed the day and the time it was on and just kept

on doing that.

It got canceled and they just, they didn't show all the episodes, they threw all the

episodes onto a DVD and said, well, just put on the internet or on Amazon to make some

money.

The things sold like crazy.

So much so that they got a movie to finish the series up, like a movie that followed

a canceled TV series, it hasn't happened since Star Trek, but Josh Whedon's attitude

with Adi says he said, make it dark, make it grim, make it real, but then for the love

of God tell a joke.

So I tried to get that in there, but also I think I had the face, the fear of like, what's

the worst thing that I could do to these characters, especially the main character, you know, without

killing him.

And I don't know, I think if you can have people go through all the fear and emotions that

they're going to feel when they're trying to resist and come out the other side, then

I think you have some hope of inspiring them.

So and then that's a beautiful thing about the novel over the screen is you can get inside

the character's head, you can't do that with the screen.

So that's always been the biggest difference with novels over not to put down movies, movies

have their own benefits and so forth.

So different art form.

Yeah.

Yeah.

Like the, you know, the Jones plantations, a masterpiece, for example, but, but you can get

inside people's head, you can become, the character can reflect back, back and forth

between the reader and the character and you have multiple characters, so there's one

that they're going to latch on to more so.

So yeah, I think that's, I think it, yeah, if you can get them through the emotional

journey that's going to happen and inspire them to get out the other side.

This is it.

I mean, there are characters in books that I've read over the years that sort of inhabit

my mind and ways that I'm sure I'm not even consciously aware of, but, you know, that

start to form your perception of the world and the way that you can live.

And I think at its best, that is what resistance fiction can do is at least implant the, the

sort of the idea for how a hero acts in the world, not necessarily, you know, killing

the dragon with your sword, but at any rate, how you stand up to tyranny and can provide

that template.

So I'd like to put the question to you.

What is some resistance fiction that has inspired you in your reading over the years?

Well, I have to invent, I don't know if it's going to sound cliché or not, but to kill

a mockingbird was a big influence on me.

And I think that novel, the same, right, it had that same effect where, you know, specifically

talking about the discrimination against the black population and the cells, but it did

it all through a story from the point of view of a little girl.

I mean, the amount, I think it took her like 10 years to write the book.

So it was an intense, dense, extremely well written book.

So that's one of them.

I mean, I know there's a lot of controversy over Harper Lee and her motives and all that

kind of stuff, but as a stand alone, it was good.

Amortals, a gentleman of Moscow, I had quite a bit of influence on it.

You know, that's a story about a man who's after the Bolsheviks, I'm not sure exactly the

dates on it, but basically when the Russians kind of went full capitalism, they took all

the people with money and they kind of locked them up and house the rest, basically locked

down for the rest of their life and it's about this one man who's told that he's not allowed

to leave a hotel till he dies.

So he's basically put in lockdown on a hotel and he's lived there for, I can't remember,

20 years.

And you see him resisting in every which way he can.

He never, I don't want to ruin the ending, very good novel.

One of the ones I've, has a lot of impact on me was, and it comes from a total communist

was the Shawshank Redemption by Stephen King.

Because Stephen King is like full, I don't know, I don't know if he's full-blown communist,

but if you ever sat there and listened to him, I got a deal of clipped just recently

with him just saying how disgustity was with people in Florida during the lockdown, just

going out and walking around, you know, it's like what kind of example is this.

But the Shawshank Redemption, which was a short story originally, to me is, you know,

it's about a man who's been captured by the state, he's been thrown in prison for a crime

he didn't commit.

And it's about how he fights, he does what little he can, and he has a very long-term

plan.

And he just perseveres every day with this very small effort that he can make, and I don't

want to ruin it for anyone who hasn't spread the book or seen the movie, both of which

I think were excellent.

So that feeling at the end of that movie, when you get, you figure out what he was really

doing, and that, that's what I, you know, it's a story can capture that feeling, because

when I read Brave New Normal, I did not feel uplifted by the end of that book, I did not

feel hopeful, I found a kind of weird, it was almost kind of like a really like twisted

verse of the Jetsons.

Do you mean Brave New World or Brave New?

Sorry, did I say normal?

Yes.

Sorry, sorry, I meant Brave New World.

Yeah, sorry, yeah, Brave New World, my next book is actually called Brave New Normal.

Sorry, Brave New World.

The whole thing is just, it's a disturbing story I found, and I didn't feel like, you

know, it was kind of like, this is like watching, instead of watching Star Trek, just watching

the Bork Show.

Yes.

No, you know what, it reminds me of, I'm sorry, I should have pulled this off my bookshelf

before we talked, but BF Skinner's Walden 2, which I did on my film literature in New World

Order series several years ago, if you haven't read that, it's again, such a creepy, creepy

book, but clearly to me, that is an attempt at predictive programming, not resistance fiction,

but people can hear my film literature in the New World Order podcast for more about

that.

But yeah, same sort of creepy feeling about the Jetson's future that they want us to be

excited about, I think, but my God, this is not sound exciting.

But you know what?

Is this, is this about thorough?

No.

No, no.

No.

No.

It's about BF Skinner wanting to puppeteer people like their pigeons in his Skinner box,

essentially.

Please do read it if you are interested, it is, it's creepy and disturbing, and exactly

what Skinner would probably write about.

Anyway, just the last one, the author, which I think deserves a good mention, was Ein

Ran.

Yeah.

All right.

Interesting.

Yes.

I, you know, the funniest thing is, and I hesitate to tell this story, but back in university,

I did have a friend who, who highly recommended Ein Ran.

And so I did read The Fountainhead, and I was so unimpressed with her as a fiction writer

that I couldn't get excited about the philosophy.

Interesting.

I bet.

We're going to write philosophy, just write philosophy, that's fine, I can read that.

But this fiction was not, I didn't, I did not like it.

I did not think those were fully fleshed out characters.

I thought they were tropes and ideas and, you know, two-dimensional cutouts.

One of the problems of Ein Ran's philosophy about fiction, like I actually have for some

time.

It's not here, I got a whole book on her.

Oh yeah, here it is.

Ein Ran, like, you know, she had a very, she had a philosophy about everything in life.

But she, she had this theory that she had to make these characters, like her main characters,

these perfect human beings.

She did want very black and white characters, and that I think was a bit of a, a flaw.

But.

This isn't what worked me anyway.

Yeah.

But, but I appreciate that a lot of people have garnered something from those stories,

and hey, who am I to get in the way of that?

But you know what?

John, you have inspired me today because obviously I, I mean, I am a reader.

I've always been interested in reading in fiction.

But as people know, I did do the film literature and New World Order podcast series for many

years until I found that I just wasn't comfortable with the way that it was being received or

not received by the audience, and I questioned whether and how to do a book club in podcast

form with people listening in who 99% of them haven't read the book and never will.

What, what is the point of this?

What are we doing?

So I have, I have put that podcast on hiatus for many years now, but you are inspiring

me to give it another try and to see if the audience will be along for the ride.

If there is actual worthwhile engagement to be had from such a series, so I would like

to invite you, John Manley, would you be interested in being the first guest on the

Re-Vivified Film Literature New World Order podcast?

I'd be honored.

Well then, we will have to set a date for that and think about what book, resistance fiction,

predictive programming or other type of book we would like to talk about and we'll talk

about that off air.

But anyway, thank you very much for your time for all of this writing, these efforts that

you've gone to.

I know it is probably more of a compulsion than something that you're doing out of just

the, the niceness of your heart because that is the only reason people actually do, but

tend to paper usually.

But I appreciate it nonetheless and obviously this is going to touch a lot of people.

Yeah, I remember when, you know, we were all kind of worrying whether they're all going

in up in COVID concentration camps or, you know, just be shot or in lethal injection

or all that kind of thing.

The main thing keeping me up at night was I haven't published a book yet, I haven't finished

the novel.

Well I kind of just combine the two, well I can fight this and let's give it a try.

It works.

Well tell us about blazing pine cone publishing.

What is blazing pine cone?

Well, blazing pine cone was supposed to be kind of a metaphor.

There's a theory that the pineal gland in the brain helps produce a lot of creative ideas

and so forth.

So that's in the pineal gland and the brain looks like a pine cone.

So I kind of find when I get my best idea, it kind of feels like that part of the brain

is a nice metaphor.

I didn't want to be one of those authors to just use their name, you know, just John Manley

Dot C.A.

So I wanted something like that.

So I realized, especially with much ado about Corona, there was just no point trying to

get this published by a mainstream publisher because that was not going to happen.

So I did in the publishing, which I don't regret at all, and so blazingpinecone.com, if

people want to go there, I have the first 27 chapters of all the humans are sleeping

available in like ebook and audiobook format.

So you can just go and listen to like one third of the book and I say, well, if you don't

want to continue then it's not your book.

And then I'm doing the same with much ado about Corona.

So and that that that site originally was called much ado about Corona.com.

You may remember at the time, because I remember you gave me a mention in one of the Dino

Awards, because I originally had with a site was just focused on every day I was putting

out a new article.

Well, so I was writing this novel trying to stop the COVID oppression and eventually once

a novel came out, I decided I'm going to go from the different, I appreciated reading

in your in your book, James, because you started off as a novel, it would be novelist

and you turn journalist and I sort of started off as a journalist and I went novelist.

So now the world's all balanced and everything, no, no, no, no, we have to go back the other

way.

Okay.

I'll start the man labor port and yes, and I'll start blazingpinecone, yeah, can you write

the sequel?

Well, I should, if I do, I'm going to be doing of all the humans are sleeping now wherever

it is.

All the humans are sleeping, I'm going to be doing a second edition of that slightly because

one of the criticisms I got over and over again was people were upset that Brent wasn't in

the story enough.

So I did feel like kind of gifted there.

So maybe instead when, if I do the second edition, when Peter says, you know, he's read

about the Doomsday Vault and the National Geographic website, I'll just change it to the

Corbett report.

I appreciate it.

You know, we should mention the Corbett report in every book though.

Well, we should mention fans of the Corbett report will be happy to see if you, when they

read much to do about Krona, there is a, I think, an amusing scene in there with the

characters referencing the Corbett report and the QAnon phenomenon.

Yeah.

I appreciate it being contrasted to be a QAnon people, not like those people.

It's like this.

Yeah.

Yeah.

Yeah.

Excellent.

Well, John, thank you again for your time, for your work, for doing what you do.

Keep at it.

We're all rooting for you.

For whichever sequel comes out first.

I'm assuming all the humans are sleeping.

Well, actually, it's a prequel to much to do about Krona's coming out next.

It's almost done.

It's called COVID disobedience.

And I think, in particular, you might find it, it's set three months before what happened

in much to do about Krona.

And it's set, while it's set in two periods, it's set in 2020, at right at the beginning

of the lockdown, and it's set in 1846, July 23rd, and I'm not sure if that date rings

a bell, July 23rd.

That's the day Henry David Sturrow got thrown in prison for not paying the poll tax.

And I, what has emerged with, originally it was just a short story, again, with Stephanie

because I wanted to do, I had this story in my mind for quite a while, because it happened

in Toronto, well, Brampton near Toronto, where they were actually locking kids in their

room for like three, four weeks at a time, because they had a positive PCR test, no access

with the rest of the family.

So I wanted to do a story about that.

So I have a story with Stephanie and that, and that oddly enough, Henry David Sturrow

came into the story at one point.

And so now what I have is two stories, parallel, one chapter set in 1846, telling the story

of Henry David Sturrow being arrested for not paying the poll tax, as in the carceration

and eventually being let out, whilst every other chapter is telling the story with Stephanie

trying to help this girl in lockdown.

And then the two stories come together.

So that's going to be out soon.

I can't wait.

Looking forward to it.

And how do people follow you again, blazingpinecone.com?

Yeah, go to blazingpinecone.com, they can enter their name and email address, well, just

email address.

I don't want their name.

I don't mind, but I just started with save time.

I have a newsletter that goes out three times a week and they get three copies of the previews

for the audiobook and the print book and lots of other fun stuff.

So yeah, blazingpinecone.com.

Excellent.

John Manley, let's leave it there.

Thank you again for your time.

Thank you very much.

Okay.

I hope you guys were as captivated and interested in that conversation as I was.

I think it's an incredibly interesting idea to think about resistance fiction.

Where does it?

What is it?

How does it function?

Where does the line between resistance fiction and predictive programming lie?

How can we more effectively use narrative to help get people to understand our point of

view?

And who are the people out there who are doing it all valuable and important questions

to be exploring?

So I'm glad there are people like John Manley out there who are exploring them.

Of course, you can find out more about him at the blazingpinecone website, link in the

show notes as always.

And there, of course, you can find links to his works and start exploring that.

But I think the question of resistance fiction and how it works and how it can be done

more effectively and who is effectively doing it is an important one.

And obviously, along those lines, yes, here you've heard it here first.

Some literature and new world order revived.

Shall we give it another go, guys?

Let's try.

And I'll see what the feedback is like on this series and whether it is worth continuing

it.

But I think I'm going to try doing this crazy internet book club with the general audience

that generally has not read the book and see how that works and see if there is anything

good that can come of it.

But I'm excited at any rate because I always am excited to read good fiction and to explore

these ideas.

So I hope people out there are similarly interested and exploring and also helping to support

those writers who are out there attempting to put this in narrative form.

Of course, you will know that I am such a writer, although my book is not fiction.

Obviously, I have the nonfiction reportage essays on the new world order, which as you

know by now, 20 essays collected from 15 years of writing and those essays are now available

in hardcover and paperback.

And there is an audiobook download.

There is an e-book download.

All of those formats, all of those versions are available, of course, at reportagebook.com

and or wherever fine books are sold.

And as you may have seen with my recent announcement, also, reportage is now available only for

corporate report members, only for paid subscribers to the corporate report.

You have the opportunity to get a special collectible audiobook data CD of the reportage

audiobook.

So it's the whole audiobook, all eight plus hours on a single CD, but of course, it's

not a regular CD.

It's a data CD.

So it can be read in a CD ROM or may perhaps buy certain MP3 CD compatible CD players.

If you happen to have such a thing, otherwise, it just makes a good collectible and helps

support this work.

So if you are interested in that, the link to that will be in the show notes.

Remember, you will have to be a member of the website logged in in order to purchase

that special collectible data CD.

Anyway, other than that, I hope you are all as excited about the revived film literature

in the New World Order as I am.

I'm trepidacious about as well, but we'll see how it goes.

But I think narrative is incredibly important.

More important than we tend to give it credit for in our haughty geopolitical discussions.

We don't tend to think about the ways that people's narratives are shaping their world

views and what they see and don't see and the way that they act in the world.

So let's see if we can explore this idea in greater detail.

As always, I'm interested to hear your comments.

So corporate report members, please log in, leave your comments on corporate report.com

in the post below.

But in the meantime, and finally here today, I'm going to leave the last words to William

Fockner.

I know I've played them here on the podcast before, but I think they are as apt now as they

ever were.

And I think we all need to hear and reflect on them at this particular juncture in

world history.

So these, this is the recording of William Fockner reading his acceptance speech for the

Nobel Prize in literature.

We'll leave it there for today.

James Corbett, corporate report.com.

Thank you for joining me for today's exploration.

I'm looking forward to talking to you again in the near future.

I feel that this award was not made to me as a man, but to my work.

A life's work in the agony and sweat of the human spirit, not for glory and least of

all for profit, but to create out of the materials of the human spirit, something which did not

exist before.

So this award is only mine in trust.

It will not be difficult to find a dedication for the money part of it, commensurate with

the purpose and significant for the origin.

But I would like to do the same with the acclaimed who, by using this moment as a pinnacle from

which I might be listened to, by the young men and women already dedicated to the same

anguish and travail, among whom is already that one who will someday stand here, where

I am standing.

I will try to do it today as a general and universal physical fear, so long sustained

by now that we can even bear it, there are no longer problems of the spirit.

There's only the question, when will I be blown up?

Because of this, the young man and woman writing today has forgotten the problems of the

human heart and conflict for itself, which alone can make good writing, because only that

is worth writing about, worth the agony and the sweat.

He must learn them again.

He must teach himself that the basis of all things is to be afraid, and teaching himself

that, forget it forever, leaving no room in his workshop for anything but the old

verities and truths of the heart.

The old universal truths lacking which any story is a femoral in doom, love and honor,

and pity and pride and compassion and sacrifice.

Until he does so, he labors under our curse.

He writes not of love but of lust, of deceit in which nobody loses anything of value,

of victories without hope and most of all without pity or compassion.

His grief grieve on no universal bones, leaving no scars.

He writes not of the heart but of the glands.

Until he learns these things, he will write as though he stood among and watched the end

of man.

I decline to accept the end of man.

It is easy enough to say that man is immortal, simply because he will endure, that when

the last ding dong of doom has clang and faded from the last worthless rock hanging tideless

in the last red and dying evening, that even then there will still be one more sound, that

of his puny and exhaustible voice still talking.

Very few to accept this, I believe that man will not merely endure, he will prevail.

He is immortal, not because he alone among creatures has an inexhaustible voice, but because

he has a soul, a spirit capable of compassion and sacrifice and endurance.

The porch, the writer's duty, is to write about these things.

It is his privilege to help man endure by lifting his heart, by reminding him of the courage

and honor and hope and pride and compassion and pity and sacrifice, which have been the

glory of his past.

The porch's voice need not merely be the record of man.

It can be one of the props, the pillows to help him endure and prevail.

The deep state, false flags, 9-11 truth, the Federal Reserve, secret wars and hidden

histories.

Take news, medical martial law, ceaseless propaganda, James Corbett, Repertage, Essays on the

New World Order, available where books are sold, until they're not.

Repertagebook.com