#collusion — Public Fediverse posts

RE: https://psiren.eu/@PSiReN/116573035034546995

#Look...

#IF #LittleTommyTanker and "his" #Cronies can #GetAway with #OvertRacism and #Fraud and #DoubleDealing and #Collusion / #Conspiracy; #Then, #Who do #YouThink #Enables that #ToHappen...

#IT's #NotLike #HMPoliceService isn't #FilledToTheGunnels with #RacistHomophobes as well..

#NoWonder #SpaceKarenX is #OnlyTooHappy to #KeepFunding #FarageLePen and #TheRemnants of #TheBNP / #NationalFront - their #PeurileIdeologies are #Aligned...

#Like... #D'uh...?!

🧙:PirateBadge:🤖:wolfparty:🤖:PirateBadge:🧙 | :fediverse:​🦹🌋🦄🌋🦹:fediverse:

#ExplainIT #Properly #MiserableMorons #RacistHomophobes #RacistHomophobicBullshit

Jesus christ.

Danish police set dogs on protesters outside a Maersk building. The company routinely ships weapons to Israel.

#StopArmingIsrael #FreePalestine #Collusion

https://www.europesays.com/africa/233133/ Social development department suspends minister Tolashe’s special adviser Kgatla #collusion #fraud #IrregularAppointment #Minister #NgwakoKgatla #PublicServiceCommission #SisisiTolashe #SocialDevelopment #SouthAfrica

Ischia is Burning: The Novel I Have Been Writing for Thirty-Six Years

Most books are written. A few are excavated. Ischia is Burning is a book I excavated from a steel filing cabinet in a Manhattan apartment, where it had been sitting for more than three decades inside a folder marked Ischia, in the form of a screenplay I wrote at twenty-five years old in the second year of an MFA program at Columbia. The novel that has just been published is what happened when I sat down with that folder in May, found the staples rusted and half the dialogue wincing, and wrote what the twenty-five-year-old version could not yet write. The novel is now available as a paperback and a Kindle edition, and a complete free web reading edition lives at BolesBooks.com.

I need to tell you where this started, because the thirty-six years between the conception and the delivery are the form of the book, not biographical trivia.

The Steel Filing Cabinet

In the spring of 1990 I was a graduate student in the Oscar Hammerstein II Center for Graduate Theatre Studies at Columbia University’s School of the Arts, in the dramatic writing concentration, working on a thesis screenplay for a class taught by Grafton Nunes. Grafton had produced Kathryn Bigelow’s first feature, The Loveless, with Willem Dafoe in his first leading role. He had spent his early career at Paramount. He knew what a film script was supposed to do and he knew when one was doing it.

I wrote a screenplay called Ischia is Burning. The country I had visited once. The island I had never seen. What I had read about it concerned the Greek colonial site at Pithekoussai, the oldest western Greek settlement in the central Mediterranean, founded in the eighth century before Christ on a volcanic island twelve miles off the Bay of Naples. The island had a basin. The basin had a name. I gave the basin sixteen children and four adults, and I gave the four adults eighteen years to build an Iron Age village around the children, and I gave the village a contamination event in the groundwater that would not have happened in the Iron Age.

Grafton read the screenplay. He told me it was the best student screenplay he had ever read. With a teacher’s specificity, he named the adjustments he wanted me to make. Blockbuster was the word he reached for, as if he were predicting a weather event.

I did not make the adjustments.

I gave the screenplay to Sam Crothers at The Producer Circle. Sam read it. He told me he loved it. The cohesion problems were the second thing he raised. After that came the matter of money, which Grafton had not raised at all. The last thing Sam asked me was what I was willing to wait for. Sam got sick within the year. He retired to Florida. We did not speak again. Marty Richards, who ran the Producer Circle, died in November 2012. Sam followed him in April 2013. Neither lived to see the novel.

I put the screenplay in a steel filing cabinet in an apartment on East 13th Street. It stayed there for thirty-six years. From time to time I took it out, read the first ten pages, and put it back. The notebook in which I had written down Grafton’s adjustments was lost in a move sometime in the late 1990s, and after that I told myself for a long set of years that I could not begin the novel because I could not remember what Grafton had said, and to begin without remembering would be to disrespect what he had given me.

I see now that the unremembered adjustments were the alibi. The actual reason was simpler. At twenty-five I was not old enough to write what finding out costs a child. Nor was I old enough to write what finding out costs the adults who have spent eighteen years not telling.

The Basin on Pithekoussai

The novel opens in the autumn of 1986 in a basin on the western flank of the Italian island of Ischia, in a place called Mezzavia. Mezzavia does not exist on any map I have been able to locate, although the road of that name does run between the towns of Forio and Casamicciola Terme on the actual island. In the novel, the basin holds four adults and sixteen children. The children range in age from six to seventeen. The adults are, by training, an anthropologist, a physician, a pilot, and a linguist. They have spent eighteen years building a closed Iron Age village around the children, complete with hand-woven clothing, a small iron mill the children themselves operate, a constructed Germanic dialect rooted in Old Norse and Old High German, an invented cosmology with four gods and eight constellations, and a sky with no airplanes in it.

The children believe they are living in the Iron Age. They believe this because the four adults have withheld twenty-four years of European history from them. No radios enter the basin. No printed page betrays the year. The antibiotic that would tell a child the world contains chemistry beyond the herbal poultice does not exist there.

In September of 1986, a cesium-137 contamination event begins to appear in the basin’s groundwater. The four adults face the question they have spent eighteen years not asking, which is what to do when the constructed world you have built around children begins to poison them, and the only treatment you can offer comes from a century the children are not allowed to know exists.

The title of the book is also a transmitted phrase. A pilot speaks it into a dispatch microphone at zero four sixteen on a Thursday in September 1986, from the cockpit of a plane climbing out of the American air base at Aviano in northeastern Italy. The book takes its thirty-three chapters to answer three questions about that phrase: what is burning, who is speaking it, and where the radio signal is going.

The novel is the answer the four adults arrive at.

The Temptation

The book moves at the velocity of a thriller and the moral architecture of an inquiry, which is what keeps it from settling cleanly into either form. What it pursues is a question older than the basin and older than the Iron Age the basin pretends to be. The question is what happens when a small group of educated people, looking at a larger group of human beings, decides in private that the larger group cannot be trusted with the truth and must be administered the world on a schedule the educated group will determine.

That question runs through the Tuskegee Syphilis Study, the Willowbrook hepatitis study, Decree 770 of the Socialist Republic of Romania, the Stanford prison experiment of 1971, the closed religious compounds of the American Southwest, and a hundred other documented projects in which one group of people decided what another group would be permitted to know. The Notes on Sources at the back of the novel walks through the historical anchors. Inside the novel itself, those anchors are kept off the page. What sits on the page is fiction. The four adults and the sixteen children of Mezzavia are inventions. What is not invented is the temptation that built them.

I am calling it temptation, and I want to be precise about the word. The four adults are educated, careful, well-spoken people who can defend every individual decision they made, which is precisely why naming them as monsters would let the reader off the hook. The novel is interested in how educated, careful, well-spoken people arrive at a project that, taken in aggregate, looks like the thing they would never have built if they had been able to see the whole shape of it from the outside. What the novel refuses to do is let them off the hook for what they built. It refuses, at the same time, the easy out of calling them monsters, because calling them monsters would close the question of how their colleagues, students, and followers found them defensible while the work was being done.

An Addendum the Way I Wrote It at Twenty-Five

The original 1990 screenplay is reproduced unaltered in the back of the book as Addendum I. The dialogue I made wince in May has been preserved exactly as I committed it in 1990, with its small infelicities and its young confidence both intact. I considered editing the screenplay. I decided against it. The point of including the screenplay at the back of the book is to show the reader the gap, in technique and in moral attention, between what I could write at twenty-five and what I could write at sixty-one, rather than to display the early version as a finished object. The story is identical across both versions, along with the four scientists, the sixteen children, the basin, and the fire. Two different writers, separated by thirty-six years, were working on the same material.

If a reader of the novel goes to the addendum and finds that the screenplay version reaches conclusions the novel does not reach, and lands its moral judgments where the novel will not land its moral judgments, that is the point. The young writer was bolder. The old writer is more careful, and more wounded, and less willing to tell the reader who the villain is.

For the Children Who Were Never Told

The dedication of the book is one sentence long. It reads, For the children who were never told.

I want to be clear about who that dedication is for. First, the sixteen fictional children of the basin on Pithekoussai, who are inventions, although the patterns of behavior they live inside are documented in places that were not inventions. Beyond them, the dedication names every reader who has ever sat across from a parent, or a doctor, or a government, and realized that the version of the world they had been given was a redacted version, edited by someone who had decided, on their behalf, what they could carry. The book is also for the adults who decided. Those four scientists in the basin can defend every individual decision they made. What the novel is interested in is why their defenses sound the way they do, and why those defenses have sounded the same way in every century in which someone has been entrusted with a knowledge that someone else has decided will not be shared.

How to Read the Book

The novel runs around 130,000 words across thirty-three chapters and a closing addendum. Paperback and Kindle edition are available now at Amazon, and a complete free web reading edition lives at BolesBooks.com, where the full bibliography of David Boles Books is also indexed. The Foreword tells the thirty-six-year story I have only summarized here. A Notes on Sources section walks through the historical record the novel draws on. Readers who want to put the book down and argue with somebody about it will find a Reading Group Discussion Guide in the back, which is the use I would most like the book to be put to.

I will be writing about Ischia is Burning at length over the coming weeks, including a Human Meme podcast episode on the moral physics of withheld knowledge, a Prairie Voice investigative piece on the documented American history of closed communities, and a conversation series on BolesBlogs.com about the book’s relationship to the Institutional Autopsy trilogy and to the question of what fiction can do that documentary work cannot. The conversation continues. The book is the entrance into it.

Sam Crothers asked me, in 1990, what I was willing to wait for. The answer arrived thirty-six years later. The book exists.

David Boles is the founder of David Boles Books and the editor of Prairie Voice. His Institutional Autopsy trilogy was completed in March 2026 with the publication of Underwritten. He lives in New York City with the Deaf ASL educator Janna Sweenie and two British Shorthair cats.

Ischia is Burning: The Novel I Have Been Writing for Thirty-Six Years

Most books are written. A few are excavated. Ischia is Burning is a book I excavated from a steel filing cabinet in a Manhattan apartment, where it had been sitting for more than three decades inside a folder marked Ischia, in the form of a screenplay I wrote at twenty-five years old in the second year of an MFA program at Columbia. The novel that has just been published is what happened when I sat down with that folder in May, found the staples rusted and half the dialogue wincing, and wrote what the twenty-five-year-old version could not yet write. The novel is now available as a paperback and a Kindle edition, and a complete free web reading edition lives at BolesBooks.com.

I need to tell you where this started, because the thirty-six years between the conception and the delivery are the form of the book, not biographical trivia.

The Steel Filing Cabinet

In the spring of 1990 I was a graduate student in the Oscar Hammerstein II Center for Graduate Theatre Studies at Columbia University’s School of the Arts, in the dramatic writing concentration, working on a thesis screenplay for a class taught by Grafton Nunes. Grafton had produced Kathryn Bigelow’s first feature, The Loveless, with Willem Dafoe in his first leading role. He had spent his early career at Paramount. He knew what a film script was supposed to do and he knew when one was doing it.

I wrote a screenplay called Ischia is Burning. The country I had visited once. The island I had never seen. What I had read about it concerned the Greek colonial site at Pithekoussai, the oldest western Greek settlement in the central Mediterranean, founded in the eighth century before Christ on a volcanic island twelve miles off the Bay of Naples. The island had a basin. The basin had a name. I gave the basin sixteen children and four adults, and I gave the four adults eighteen years to build an Iron Age village around the children, and I gave the village a contamination event in the groundwater that would not have happened in the Iron Age.

Grafton read the screenplay. He told me it was the best student screenplay he had ever read. With a teacher’s specificity, he named the adjustments he wanted me to make. Blockbuster was the word he reached for, as if he were predicting a weather event.

I did not make the adjustments.

I gave the screenplay to Sam Crothers at The Producer Circle. Sam read it. He told me he loved it. The cohesion problems were the second thing he raised. After that came the matter of money, which Grafton had not raised at all. The last thing Sam asked me was what I was willing to wait for. Sam got sick within the year. He retired to Florida. We did not speak again. Marty Richards, who ran the Producer Circle, died in November 2012. Sam followed him in April 2013. Neither lived to see the novel.

I put the screenplay in a steel filing cabinet in an apartment on East 13th Street. It stayed there for thirty-six years. From time to time I took it out, read the first ten pages, and put it back. The notebook in which I had written down Grafton’s adjustments was lost in a move sometime in the late 1990s, and after that I told myself for a long set of years that I could not begin the novel because I could not remember what Grafton had said, and to begin without remembering would be to disrespect what he had given me.

I see now that the unremembered adjustments were the alibi. The actual reason was simpler. At twenty-five I was not old enough to write what finding out costs a child. Nor was I old enough to write what finding out costs the adults who have spent eighteen years not telling.

The Basin on Pithekoussai

The novel opens in the autumn of 1986 in a basin on the western flank of the Italian island of Ischia, in a place called Mezzavia. Mezzavia does not exist on any map I have been able to locate, although the road of that name does run between the towns of Forio and Casamicciola Terme on the actual island. In the novel, the basin holds four adults and sixteen children. The children range in age from six to seventeen. The adults are, by training, an anthropologist, a physician, a pilot, and a linguist. They have spent eighteen years building a closed Iron Age village around the children, complete with hand-woven clothing, a small iron mill the children themselves operate, a constructed Germanic dialect rooted in Old Norse and Old High German, an invented cosmology with four gods and eight constellations, and a sky with no airplanes in it.

The children believe they are living in the Iron Age. They believe this because the four adults have withheld twenty-four years of European history from them. No radios enter the basin. No printed page betrays the year. The antibiotic that would tell a child the world contains chemistry beyond the herbal poultice does not exist there.

In September of 1986, a cesium-137 contamination event begins to appear in the basin’s groundwater. The four adults face the question they have spent eighteen years not asking, which is what to do when the constructed world you have built around children begins to poison them, and the only treatment you can offer comes from a century the children are not allowed to know exists.

The title of the book is also a transmitted phrase. A pilot speaks it into a dispatch microphone at zero four sixteen on a Thursday in September 1986, from the cockpit of a plane climbing out of the American air base at Aviano in northeastern Italy. The book takes its thirty-three chapters to answer three questions about that phrase: what is burning, who is speaking it, and where the radio signal is going.

The novel is the answer the four adults arrive at.

The Temptation

The book moves at the velocity of a thriller and the moral architecture of an inquiry, which is what keeps it from settling cleanly into either form. What it pursues is a question older than the basin and older than the Iron Age the basin pretends to be. The question is what happens when a small group of educated people, looking at a larger group of human beings, decides in private that the larger group cannot be trusted with the truth and must be administered the world on a schedule the educated group will determine.

That question runs through the Tuskegee Syphilis Study, the Willowbrook hepatitis study, Decree 770 of the Socialist Republic of Romania, the Stanford prison experiment of 1971, the closed religious compounds of the American Southwest, and a hundred other documented projects in which one group of people decided what another group would be permitted to know. The Notes on Sources at the back of the novel walks through the historical anchors. Inside the novel itself, those anchors are kept off the page. What sits on the page is fiction. The four adults and the sixteen children of Mezzavia are inventions. What is not invented is the temptation that built them.

I am calling it temptation, and I want to be precise about the word. The four adults are educated, careful, well-spoken people who can defend every individual decision they made, which is precisely why naming them as monsters would let the reader off the hook. The novel is interested in how educated, careful, well-spoken people arrive at a project that, taken in aggregate, looks like the thing they would never have built if they had been able to see the whole shape of it from the outside. What the novel refuses to do is let them off the hook for what they built. It refuses, at the same time, the easy out of calling them monsters, because calling them monsters would close the question of how their colleagues, students, and followers found them defensible while the work was being done.

An Addendum the Way I Wrote It at Twenty-Five

The original 1990 screenplay is reproduced unaltered in the back of the book as Addendum I. The dialogue I made wince in May has been preserved exactly as I committed it in 1990, with its small infelicities and its young confidence both intact. I considered editing the screenplay. I decided against it. The point of including the screenplay at the back of the book is to show the reader the gap, in technique and in moral attention, between what I could write at twenty-five and what I could write at sixty-one, rather than to display the early version as a finished object. The story is identical across both versions, along with the four scientists, the sixteen children, the basin, and the fire. Two different writers, separated by thirty-six years, were working on the same material.

If a reader of the novel goes to the addendum and finds that the screenplay version reaches conclusions the novel does not reach, and lands its moral judgments where the novel will not land its moral judgments, that is the point. The young writer was bolder. The old writer is more careful, and more wounded, and less willing to tell the reader who the villain is.

For the Children Who Were Never Told

The dedication of the book is one sentence long. It reads, For the children who were never told.

I want to be clear about who that dedication is for. First, the sixteen fictional children of the basin on Pithekoussai, who are inventions, although the patterns of behavior they live inside are documented in places that were not inventions. Beyond them, the dedication names every reader who has ever sat across from a parent, or a doctor, or a government, and realized that the version of the world they had been given was a redacted version, edited by someone who had decided, on their behalf, what they could carry. The book is also for the adults who decided. Those four scientists in the basin can defend every individual decision they made. What the novel is interested in is why their defenses sound the way they do, and why those defenses have sounded the same way in every century in which someone has been entrusted with a knowledge that someone else has decided will not be shared.

How to Read the Book

The novel runs around 130,000 words across thirty-three chapters and a closing addendum. Paperback and Kindle edition are available now at Amazon, and a complete free web reading edition lives at BolesBooks.com, where the full bibliography of David Boles Books is also indexed. The Foreword tells the thirty-six-year story I have only summarized here. A Notes on Sources section walks through the historical record the novel draws on. Readers who want to put the book down and argue with somebody about it will find a Reading Group Discussion Guide in the back, which is the use I would most like the book to be put to.

I will be writing about Ischia is Burning at length over the coming weeks, including a Human Meme podcast episode on the moral physics of withheld knowledge, a Prairie Voice investigative piece on the documented American history of closed communities, and a conversation series on BolesBlogs.com about the book’s relationship to the Institutional Autopsy trilogy and to the question of what fiction can do that documentary work cannot. The conversation continues. The book is the entrance into it.

Sam Crothers asked me, in 1990, what I was willing to wait for. The answer arrived thirty-six years later. The book exists.

David Boles is the founder of David Boles Books and the editor of Prairie Voice. His Institutional Autopsy trilogy was completed in March 2026 with the publication of Underwritten. He lives in New York City with the Deaf ASL educator Janna Sweenie and two British Shorthair cats.

Ischia is Burning: The Novel I Have Been Writing for Thirty-Six Years

Most books are written. A few are excavated. Ischia is Burning is a book I excavated from a steel filing cabinet in a Manhattan apartment, where it had been sitting for more than three decades inside a folder marked Ischia, in the form of a screenplay I wrote at twenty-five years old in the second year of an MFA program at Columbia. The novel that has just been published is what happened when I sat down with that folder in May, found the staples rusted and half the dialogue wincing, and wrote what the twenty-five-year-old version could not yet write. The novel is now available as a paperback and a Kindle edition, and a complete free web reading edition lives at BolesBooks.com.

I need to tell you where this started, because the thirty-six years between the conception and the delivery are the form of the book, not biographical trivia.

The Steel Filing Cabinet

In the spring of 1990 I was a graduate student in the Oscar Hammerstein II Center for Graduate Theatre Studies at Columbia University’s School of the Arts, in the dramatic writing concentration, working on a thesis screenplay for a class taught by Grafton Nunes. Grafton had produced Kathryn Bigelow’s first feature, The Loveless, with Willem Dafoe in his first leading role. He had spent his early career at Paramount. He knew what a film script was supposed to do and he knew when one was doing it.

I wrote a screenplay called Ischia is Burning. The country I had visited once. The island I had never seen. What I had read about it concerned the Greek colonial site at Pithekoussai, the oldest western Greek settlement in the central Mediterranean, founded in the eighth century before Christ on a volcanic island twelve miles off the Bay of Naples. The island had a basin. The basin had a name. I gave the basin sixteen children and four adults, and I gave the four adults eighteen years to build an Iron Age village around the children, and I gave the village a contamination event in the groundwater that would not have happened in the Iron Age.

Grafton read the screenplay. He told me it was the best student screenplay he had ever read. With a teacher’s specificity, he named the adjustments he wanted me to make. Blockbuster was the word he reached for, as if he were predicting a weather event.

I did not make the adjustments.

I gave the screenplay to Sam Crothers at The Producer Circle. Sam read it. He told me he loved it. The cohesion problems were the second thing he raised. After that came the matter of money, which Grafton had not raised at all. The last thing Sam asked me was what I was willing to wait for. Sam got sick within the year. He retired to Florida. We did not speak again. Marty Richards, who ran the Producer Circle, died in November 2012. Sam followed him in April 2013. Neither lived to see the novel.

I put the screenplay in a steel filing cabinet in an apartment on East 13th Street. It stayed there for thirty-six years. From time to time I took it out, read the first ten pages, and put it back. The notebook in which I had written down Grafton’s adjustments was lost in a move sometime in the late 1990s, and after that I told myself for a long set of years that I could not begin the novel because I could not remember what Grafton had said, and to begin without remembering would be to disrespect what he had given me.

I see now that the unremembered adjustments were the alibi. The actual reason was simpler. At twenty-five I was not old enough to write what finding out costs a child. Nor was I old enough to write what finding out costs the adults who have spent eighteen years not telling.

The Basin on Pithekoussai

The novel opens in the autumn of 1986 in a basin on the western flank of the Italian island of Ischia, in a place called Mezzavia. Mezzavia does not exist on any map I have been able to locate, although the road of that name does run between the towns of Forio and Casamicciola Terme on the actual island. In the novel, the basin holds four adults and sixteen children. The children range in age from six to seventeen. The adults are, by training, an anthropologist, a physician, a pilot, and a linguist. They have spent eighteen years building a closed Iron Age village around the children, complete with hand-woven clothing, a small iron mill the children themselves operate, a constructed Germanic dialect rooted in Old Norse and Old High German, an invented cosmology with four gods and eight constellations, and a sky with no airplanes in it.

The children believe they are living in the Iron Age. They believe this because the four adults have withheld twenty-four years of European history from them. No radios enter the basin. No printed page betrays the year. The antibiotic that would tell a child the world contains chemistry beyond the herbal poultice does not exist there.

In September of 1986, a cesium-137 contamination event begins to appear in the basin’s groundwater. The four adults face the question they have spent eighteen years not asking, which is what to do when the constructed world you have built around children begins to poison them, and the only treatment you can offer comes from a century the children are not allowed to know exists.

The title of the book is also a transmitted phrase. A pilot speaks it into a dispatch microphone at zero four sixteen on a Thursday in September 1986, from the cockpit of a plane climbing out of the American air base at Aviano in northeastern Italy. The book takes its thirty-three chapters to answer three questions about that phrase: what is burning, who is speaking it, and where the radio signal is going.

The novel is the answer the four adults arrive at.

The Temptation

The book moves at the velocity of a thriller and the moral architecture of an inquiry, which is what keeps it from settling cleanly into either form. What it pursues is a question older than the basin and older than the Iron Age the basin pretends to be. The question is what happens when a small group of educated people, looking at a larger group of human beings, decides in private that the larger group cannot be trusted with the truth and must be administered the world on a schedule the educated group will determine.

That question runs through the Tuskegee Syphilis Study, the Willowbrook hepatitis study, Decree 770 of the Socialist Republic of Romania, the Stanford prison experiment of 1971, the closed religious compounds of the American Southwest, and a hundred other documented projects in which one group of people decided what another group would be permitted to know. The Notes on Sources at the back of the novel walks through the historical anchors. Inside the novel itself, those anchors are kept off the page. What sits on the page is fiction. The four adults and the sixteen children of Mezzavia are inventions. What is not invented is the temptation that built them.

I am calling it temptation, and I want to be precise about the word. The four adults are educated, careful, well-spoken people who can defend every individual decision they made, which is precisely why naming them as monsters would let the reader off the hook. The novel is interested in how educated, careful, well-spoken people arrive at a project that, taken in aggregate, looks like the thing they would never have built if they had been able to see the whole shape of it from the outside. What the novel refuses to do is let them off the hook for what they built. It refuses, at the same time, the easy out of calling them monsters, because calling them monsters would close the question of how their colleagues, students, and followers found them defensible while the work was being done.

An Addendum the Way I Wrote It at Twenty-Five

The original 1990 screenplay is reproduced unaltered in the back of the book as Addendum I. The dialogue I made wince in May has been preserved exactly as I committed it in 1990, with its small infelicities and its young confidence both intact. I considered editing the screenplay. I decided against it. The point of including the screenplay at the back of the book is to show the reader the gap, in technique and in moral attention, between what I could write at twenty-five and what I could write at sixty-one, rather than to display the early version as a finished object. The story is identical across both versions, along with the four scientists, the sixteen children, the basin, and the fire. Two different writers, separated by thirty-six years, were working on the same material.

If a reader of the novel goes to the addendum and finds that the screenplay version reaches conclusions the novel does not reach, and lands its moral judgments where the novel will not land its moral judgments, that is the point. The young writer was bolder. The old writer is more careful, and more wounded, and less willing to tell the reader who the villain is.

For the Children Who Were Never Told

The dedication of the book is one sentence long. It reads, For the children who were never told.

I want to be clear about who that dedication is for. First, the sixteen fictional children of the basin on Pithekoussai, who are inventions, although the patterns of behavior they live inside are documented in places that were not inventions. Beyond them, the dedication names every reader who has ever sat across from a parent, or a doctor, or a government, and realized that the version of the world they had been given was a redacted version, edited by someone who had decided, on their behalf, what they could carry. The book is also for the adults who decided. Those four scientists in the basin can defend every individual decision they made. What the novel is interested in is why their defenses sound the way they do, and why those defenses have sounded the same way in every century in which someone has been entrusted with a knowledge that someone else has decided will not be shared.

How to Read the Book

The novel runs around 130,000 words across thirty-three chapters and a closing addendum. Paperback and Kindle edition are available now at Amazon, and a complete free web reading edition lives at BolesBooks.com, where the full bibliography of David Boles Books is also indexed. The Foreword tells the thirty-six-year story I have only summarized here. A Notes on Sources section walks through the historical record the novel draws on. Readers who want to put the book down and argue with somebody about it will find a Reading Group Discussion Guide in the back, which is the use I would most like the book to be put to.

I will be writing about Ischia is Burning at length over the coming weeks, including a Human Meme podcast episode on the moral physics of withheld knowledge, a Prairie Voice investigative piece on the documented American history of closed communities, and a conversation series on BolesBlogs.com about the book’s relationship to the Institutional Autopsy trilogy and to the question of what fiction can do that documentary work cannot. The conversation continues. The book is the entrance into it.

Sam Crothers asked me, in 1990, what I was willing to wait for. The answer arrived thirty-six years later. The book exists.

David Boles is the founder of David Boles Books and the editor of Prairie Voice. His Institutional Autopsy trilogy was completed in March 2026 with the publication of Underwritten. He lives in New York City with the Deaf ASL educator Janna Sweenie and two British Shorthair cats.

Ischia is Burning: The Novel I Have Been Writing for Thirty-Six Years

Most books are written. A few are excavated. Ischia is Burning is a book I excavated from a steel filing cabinet in a Manhattan apartment, where it had been sitting for more than three decades inside a folder marked Ischia, in the form of a screenplay I wrote at twenty-five years old in the second year of an MFA program at Columbia. The novel that has just been published is what happened when I sat down with that folder in May, found the staples rusted and half the dialogue wincing, and wrote what the twenty-five-year-old version could not yet write. The novel is now available as a paperback and a Kindle edition, and a complete free web reading edition lives at BolesBooks.com.

I need to tell you where this started, because the thirty-six years between the conception and the delivery are the form of the book, not biographical trivia.

The Steel Filing Cabinet

In the spring of 1990 I was a graduate student in the Oscar Hammerstein II Center for Graduate Theatre Studies at Columbia University’s School of the Arts, in the dramatic writing concentration, working on a thesis screenplay for a class taught by Grafton Nunes. Grafton had produced Kathryn Bigelow’s first feature, The Loveless, with Willem Dafoe in his first leading role. He had spent his early career at Paramount. He knew what a film script was supposed to do and he knew when one was doing it.

I wrote a screenplay called Ischia is Burning. The country I had visited once. The island I had never seen. What I had read about it concerned the Greek colonial site at Pithekoussai, the oldest western Greek settlement in the central Mediterranean, founded in the eighth century before Christ on a volcanic island twelve miles off the Bay of Naples. The island had a basin. The basin had a name. I gave the basin sixteen children and four adults, and I gave the four adults eighteen years to build an Iron Age village around the children, and I gave the village a contamination event in the groundwater that would not have happened in the Iron Age.

Grafton read the screenplay. He told me it was the best student screenplay he had ever read. With a teacher’s specificity, he named the adjustments he wanted me to make. Blockbuster was the word he reached for, as if he were predicting a weather event.

I did not make the adjustments.

I gave the screenplay to Sam Crothers at The Producer Circle. Sam read it. He told me he loved it. The cohesion problems were the second thing he raised. After that came the matter of money, which Grafton had not raised at all. The last thing Sam asked me was what I was willing to wait for. Sam got sick within the year. He retired to Florida. We did not speak again. Marty Richards, who ran the Producer Circle, died in November 2012. Sam followed him in April 2013. Neither lived to see the novel.

I put the screenplay in a steel filing cabinet in an apartment on East 13th Street. It stayed there for thirty-six years. From time to time I took it out, read the first ten pages, and put it back. The notebook in which I had written down Grafton’s adjustments was lost in a move sometime in the late 1990s, and after that I told myself for a long set of years that I could not begin the novel because I could not remember what Grafton had said, and to begin without remembering would be to disrespect what he had given me.

I see now that the unremembered adjustments were the alibi. The actual reason was simpler. At twenty-five I was not old enough to write what finding out costs a child. Nor was I old enough to write what finding out costs the adults who have spent eighteen years not telling.

The Basin on Pithekoussai

The novel opens in the autumn of 1986 in a basin on the western flank of the Italian island of Ischia, in a place called Mezzavia. Mezzavia does not exist on any map I have been able to locate, although the road of that name does run between the towns of Forio and Casamicciola Terme on the actual island. In the novel, the basin holds four adults and sixteen children. The children range in age from six to seventeen. The adults are, by training, an anthropologist, a physician, a pilot, and a linguist. They have spent eighteen years building a closed Iron Age village around the children, complete with hand-woven clothing, a small iron mill the children themselves operate, a constructed Germanic dialect rooted in Old Norse and Old High German, an invented cosmology with four gods and eight constellations, and a sky with no airplanes in it.

The children believe they are living in the Iron Age. They believe this because the four adults have withheld twenty-four years of European history from them. No radios enter the basin. No printed page betrays the year. The antibiotic that would tell a child the world contains chemistry beyond the herbal poultice does not exist there.

In September of 1986, a cesium-137 contamination event begins to appear in the basin’s groundwater. The four adults face the question they have spent eighteen years not asking, which is what to do when the constructed world you have built around children begins to poison them, and the only treatment you can offer comes from a century the children are not allowed to know exists.

The title of the book is also a transmitted phrase. A pilot speaks it into a dispatch microphone at zero four sixteen on a Thursday in September 1986, from the cockpit of a plane climbing out of the American air base at Aviano in northeastern Italy. The book takes its thirty-three chapters to answer three questions about that phrase: what is burning, who is speaking it, and where the radio signal is going.

The novel is the answer the four adults arrive at.

The Temptation

The book moves at the velocity of a thriller and the moral architecture of an inquiry, which is what keeps it from settling cleanly into either form. What it pursues is a question older than the basin and older than the Iron Age the basin pretends to be. The question is what happens when a small group of educated people, looking at a larger group of human beings, decides in private that the larger group cannot be trusted with the truth and must be administered the world on a schedule the educated group will determine.

That question runs through the Tuskegee Syphilis Study, the Willowbrook hepatitis study, Decree 770 of the Socialist Republic of Romania, the Stanford prison experiment of 1971, the closed religious compounds of the American Southwest, and a hundred other documented projects in which one group of people decided what another group would be permitted to know. The Notes on Sources at the back of the novel walks through the historical anchors. Inside the novel itself, those anchors are kept off the page. What sits on the page is fiction. The four adults and the sixteen children of Mezzavia are inventions. What is not invented is the temptation that built them.

I am calling it temptation, and I want to be precise about the word. The four adults are educated, careful, well-spoken people who can defend every individual decision they made, which is precisely why naming them as monsters would let the reader off the hook. The novel is interested in how educated, careful, well-spoken people arrive at a project that, taken in aggregate, looks like the thing they would never have built if they had been able to see the whole shape of it from the outside. What the novel refuses to do is let them off the hook for what they built. It refuses, at the same time, the easy out of calling them monsters, because calling them monsters would close the question of how their colleagues, students, and followers found them defensible while the work was being done.

An Addendum the Way I Wrote It at Twenty-Five

The original 1990 screenplay is reproduced unaltered in the back of the book as Addendum I. The dialogue I made wince in May has been preserved exactly as I committed it in 1990, with its small infelicities and its young confidence both intact. I considered editing the screenplay. I decided against it. The point of including the screenplay at the back of the book is to show the reader the gap, in technique and in moral attention, between what I could write at twenty-five and what I could write at sixty-one, rather than to display the early version as a finished object. The story is identical across both versions, along with the four scientists, the sixteen children, the basin, and the fire. Two different writers, separated by thirty-six years, were working on the same material.

If a reader of the novel goes to the addendum and finds that the screenplay version reaches conclusions the novel does not reach, and lands its moral judgments where the novel will not land its moral judgments, that is the point. The young writer was bolder. The old writer is more careful, and more wounded, and less willing to tell the reader who the villain is.

For the Children Who Were Never Told

The dedication of the book is one sentence long. It reads, For the children who were never told.

I want to be clear about who that dedication is for. First, the sixteen fictional children of the basin on Pithekoussai, who are inventions, although the patterns of behavior they live inside are documented in places that were not inventions. Beyond them, the dedication names every reader who has ever sat across from a parent, or a doctor, or a government, and realized that the version of the world they had been given was a redacted version, edited by someone who had decided, on their behalf, what they could carry. The book is also for the adults who decided. Those four scientists in the basin can defend every individual decision they made. What the novel is interested in is why their defenses sound the way they do, and why those defenses have sounded the same way in every century in which someone has been entrusted with a knowledge that someone else has decided will not be shared.

How to Read the Book

The novel runs around 130,000 words across thirty-three chapters and a closing addendum. Paperback and Kindle edition are available now at Amazon, and a complete free web reading edition lives at BolesBooks.com, where the full bibliography of David Boles Books is also indexed. The Foreword tells the thirty-six-year story I have only summarized here. A Notes on Sources section walks through the historical record the novel draws on. Readers who want to put the book down and argue with somebody about it will find a Reading Group Discussion Guide in the back, which is the use I would most like the book to be put to.

I will be writing about Ischia is Burning at length over the coming weeks, including a Human Meme podcast episode on the moral physics of withheld knowledge, a Prairie Voice investigative piece on the documented American history of closed communities, and a conversation series on BolesBlogs.com about the book’s relationship to the Institutional Autopsy trilogy and to the question of what fiction can do that documentary work cannot. The conversation continues. The book is the entrance into it.

Sam Crothers asked me, in 1990, what I was willing to wait for. The answer arrived thirty-six years later. The book exists.

David Boles is the founder of David Boles Books and the editor of Prairie Voice. His Institutional Autopsy trilogy was completed in March 2026 with the publication of Underwritten. He lives in New York City with the Deaf ASL educator Janna Sweenie and two British Shorthair cats.

Ischia is Burning: The Novel I Have Been Writing for Thirty-Six Years

Most books are written. A few are excavated. Ischia is Burning is a book I excavated from a steel filing cabinet in a Manhattan apartment, where it had been sitting for more than three decades inside a folder marked Ischia, in the form of a screenplay I wrote at twenty-five years old in the second year of an MFA program at Columbia. The novel that has just been published is what happened when I sat down with that folder in May, found the staples rusted and half the dialogue wincing, and wrote what the twenty-five-year-old version could not yet write. The novel is now available as a paperback and a Kindle edition, and a complete free web reading edition lives at BolesBooks.com.

I need to tell you where this started, because the thirty-six years between the conception and the delivery are the form of the book, not biographical trivia.

The Steel Filing Cabinet

In the spring of 1990 I was a graduate student in the Oscar Hammerstein II Center for Graduate Theatre Studies at Columbia University’s School of the Arts, in the dramatic writing concentration, working on a thesis screenplay for a class taught by Grafton Nunes. Grafton had produced Kathryn Bigelow’s first feature, The Loveless, with Willem Dafoe in his first leading role. He had spent his early career at Paramount. He knew what a film script was supposed to do and he knew when one was doing it.

I wrote a screenplay called Ischia is Burning. The country I had visited once. The island I had never seen. What I had read about it concerned the Greek colonial site at Pithekoussai, the oldest western Greek settlement in the central Mediterranean, founded in the eighth century before Christ on a volcanic island twelve miles off the Bay of Naples. The island had a basin. The basin had a name. I gave the basin sixteen children and four adults, and I gave the four adults eighteen years to build an Iron Age village around the children, and I gave the village a contamination event in the groundwater that would not have happened in the Iron Age.

Grafton read the screenplay. He told me it was the best student screenplay he had ever read. With a teacher’s specificity, he named the adjustments he wanted me to make. Blockbuster was the word he reached for, as if he were predicting a weather event.

I did not make the adjustments.

I gave the screenplay to Sam Crothers at The Producer Circle. Sam read it. He told me he loved it. The cohesion problems were the second thing he raised. After that came the matter of money, which Grafton had not raised at all. The last thing Sam asked me was what I was willing to wait for. Sam got sick within the year. He retired to Florida. We did not speak again. Marty Richards, who ran the Producer Circle, died in November 2012. Sam followed him in April 2013. Neither lived to see the novel.

I put the screenplay in a steel filing cabinet in an apartment on East 13th Street. It stayed there for thirty-six years. From time to time I took it out, read the first ten pages, and put it back. The notebook in which I had written down Grafton’s adjustments was lost in a move sometime in the late 1990s, and after that I told myself for a long set of years that I could not begin the novel because I could not remember what Grafton had said, and to begin without remembering would be to disrespect what he had given me.

I see now that the unremembered adjustments were the alibi. The actual reason was simpler. At twenty-five I was not old enough to write what finding out costs a child. Nor was I old enough to write what finding out costs the adults who have spent eighteen years not telling.

The Basin on Pithekoussai

The novel opens in the autumn of 1986 in a basin on the western flank of the Italian island of Ischia, in a place called Mezzavia. Mezzavia does not exist on any map I have been able to locate, although the road of that name does run between the towns of Forio and Casamicciola Terme on the actual island. In the novel, the basin holds four adults and sixteen children. The children range in age from six to seventeen. The adults are, by training, an anthropologist, a physician, a pilot, and a linguist. They have spent eighteen years building a closed Iron Age village around the children, complete with hand-woven clothing, a small iron mill the children themselves operate, a constructed Germanic dialect rooted in Old Norse and Old High German, an invented cosmology with four gods and eight constellations, and a sky with no airplanes in it.

The children believe they are living in the Iron Age. They believe this because the four adults have withheld twenty-four years of European history from them. No radios enter the basin. No printed page betrays the year. The antibiotic that would tell a child the world contains chemistry beyond the herbal poultice does not exist there.

In September of 1986, a cesium-137 contamination event begins to appear in the basin’s groundwater. The four adults face the question they have spent eighteen years not asking, which is what to do when the constructed world you have built around children begins to poison them, and the only treatment you can offer comes from a century the children are not allowed to know exists.

The title of the book is also a transmitted phrase. A pilot speaks it into a dispatch microphone at zero four sixteen on a Thursday in September 1986, from the cockpit of a plane climbing out of the American air base at Aviano in northeastern Italy. The book takes its thirty-three chapters to answer three questions about that phrase: what is burning, who is speaking it, and where the radio signal is going.

The novel is the answer the four adults arrive at.

The Temptation

The book moves at the velocity of a thriller and the moral architecture of an inquiry, which is what keeps it from settling cleanly into either form. What it pursues is a question older than the basin and older than the Iron Age the basin pretends to be. The question is what happens when a small group of educated people, looking at a larger group of human beings, decides in private that the larger group cannot be trusted with the truth and must be administered the world on a schedule the educated group will determine.

That question runs through the Tuskegee Syphilis Study, the Willowbrook hepatitis study, Decree 770 of the Socialist Republic of Romania, the Stanford prison experiment of 1971, the closed religious compounds of the American Southwest, and a hundred other documented projects in which one group of people decided what another group would be permitted to know. The Notes on Sources at the back of the novel walks through the historical anchors. Inside the novel itself, those anchors are kept off the page. What sits on the page is fiction. The four adults and the sixteen children of Mezzavia are inventions. What is not invented is the temptation that built them.

I am calling it temptation, and I want to be precise about the word. The four adults are educated, careful, well-spoken people who can defend every individual decision they made, which is precisely why naming them as monsters would let the reader off the hook. The novel is interested in how educated, careful, well-spoken people arrive at a project that, taken in aggregate, looks like the thing they would never have built if they had been able to see the whole shape of it from the outside. What the novel refuses to do is let them off the hook for what they built. It refuses, at the same time, the easy out of calling them monsters, because calling them monsters would close the question of how their colleagues, students, and followers found them defensible while the work was being done.

An Addendum the Way I Wrote It at Twenty-Five

The original 1990 screenplay is reproduced unaltered in the back of the book as Addendum I. The dialogue I made wince in May has been preserved exactly as I committed it in 1990, with its small infelicities and its young confidence both intact. I considered editing the screenplay. I decided against it. The point of including the screenplay at the back of the book is to show the reader the gap, in technique and in moral attention, between what I could write at twenty-five and what I could write at sixty-one, rather than to display the early version as a finished object. The story is identical across both versions, along with the four scientists, the sixteen children, the basin, and the fire. Two different writers, separated by thirty-six years, were working on the same material.

If a reader of the novel goes to the addendum and finds that the screenplay version reaches conclusions the novel does not reach, and lands its moral judgments where the novel will not land its moral judgments, that is the point. The young writer was bolder. The old writer is more careful, and more wounded, and less willing to tell the reader who the villain is.

For the Children Who Were Never Told

The dedication of the book is one sentence long. It reads, For the children who were never told.

I want to be clear about who that dedication is for. First, the sixteen fictional children of the basin on Pithekoussai, who are inventions, although the patterns of behavior they live inside are documented in places that were not inventions. Beyond them, the dedication names every reader who has ever sat across from a parent, or a doctor, or a government, and realized that the version of the world they had been given was a redacted version, edited by someone who had decided, on their behalf, what they could carry. The book is also for the adults who decided. Those four scientists in the basin can defend every individual decision they made. What the novel is interested in is why their defenses sound the way they do, and why those defenses have sounded the same way in every century in which someone has been entrusted with a knowledge that someone else has decided will not be shared.

How to Read the Book

The novel runs around 130,000 words across thirty-three chapters and a closing addendum. Paperback and Kindle edition are available now at Amazon, and a complete free web reading edition lives at BolesBooks.com, where the full bibliography of David Boles Books is also indexed. The Foreword tells the thirty-six-year story I have only summarized here. A Notes on Sources section walks through the historical record the novel draws on. Readers who want to put the book down and argue with somebody about it will find a Reading Group Discussion Guide in the back, which is the use I would most like the book to be put to.

I will be writing about Ischia is Burning at length over the coming weeks, including a Human Meme podcast episode on the moral physics of withheld knowledge, a Prairie Voice investigative piece on the documented American history of closed communities, and a conversation series on BolesBlogs.com about the book’s relationship to the Institutional Autopsy trilogy and to the question of what fiction can do that documentary work cannot. The conversation continues. The book is the entrance into it.

Sam Crothers asked me, in 1990, what I was willing to wait for. The answer arrived thirty-six years later. The book exists.

David Boles is the founder of David Boles Books and the editor of Prairie Voice. His Institutional Autopsy trilogy was completed in March 2026 with the publication of Underwritten. He lives in New York City with the Deaf ASL educator Janna Sweenie and two British Shorthair cats.

Pesticide exposure linked to 150% higher cancer risk in major study

https://www.sciencedaily.com/releases/2026/04/260426012314.htm

A major study finds that living in pesticide-heavy environments could raise cancer risk by up to 150%, even when the chemicals are considered “safe” on their own. The research suggests these mixtures may silently damage cells years before cancer appears…

#Cancer #ToxicEnvironment #Profit #Risk #TestsInAVacuum #NoProtection #Governments #Collusion

UK’s criminalization of direct-action climate protests has counterproductive results, study says

https://www.aa.com.tr/en/world/uk-s-criminalization-of-direct-action-climate-protests-has-counterproductive-results-study-says/3918054

Punitive measures against nonviolent climate activists, including those who blocked roads or damaged buildings, may contribute to their radicalization…

#ClimateDefenders #Criminalization #Radicalization #ClimateJustice #Government #Collusion

https://www.europesays.com/people/36635/ Gates Foundation reviewing Jeffrey Epstein ties, will slash staff: WSJ #BerkshireHathawayInc #BillGates #BreakingNews:Politics #BusinessNews #Collusion #Crime #Laws #MelindaGates #MicrosoftCorp #Philanthropy #Politics #WarrenBuffett

Don't you feel better knowing the rich oil barons are profiting?

"Trading Desks Boom While Big Oil Output Stalls"

#Russia #China #USA #Security #News #Iran #Israel #War #EU #NATO #UN #Nuclear #Weapons #Politics #Pentagon #WW3 #Lebanon #WarCrimes #Incompetence #Ukraine #Corruption #Collusion

https://oilprice.com/Energy/Crude-Oil/Trading-Desks-Boom-While-Big-Oil-Output-Stalls.html

FYI: FTC sues WPP, Publicis, and Dentsu over brand safety collusion: FTC and eight states sued WPP, Publicis, and Dentsu on April 15, alleging they colluded on brand safety standards to demonetize conservative news publishers. https://ppc.land/ftc-sues-wpp-publicis-and-dentsu-over-brand-safety-collusion/ #FTC #BrandSafety #Collusion #DigitalMarketing #ConservativeMedia

@InsurgoFormica
You mean #Grifters , right? I mean, what’s the purpose of private enterprises if not to hoover cash? Especially in mostly uncompetitive sectors of commercial markets (not to say #Cartel -like environments).

Airlines buy fuel contracts well ahead of needs, so any rise in airfares due to increasing fuel costs is just an excuse to cash in by speculating future contract prices… This side of #Capitalism just seems wrong to me. If we’re all going to do it tough because of the #ChristoJewishCrusade and #FascistImperialism , then why should #PrivateEnterprises and #MultiNationalCorporation (both recognised as #Entities before the Courts) not suffer the same as the rest of us?

#EatTheRich #Antifa #AntiOligarchy #NeoClassicalEconomics #Greed #GreedFlation #Collusion and complicit governments.

I guess we're all suckers.

What we can do: https://www.AuthorFreeman.com/what-we-can-do/

Reposts of strips from my first-term collection, TRUMPBERT: OUR LONG NATIONAL NIGHTMARE (https://www.Trumpbert.com) most weekdays. New strips every Sunday.

#dilbert #parody #trump #satire #comic #webcomic #Putin #collusion #kleptocracy

The art of the deal with the devil.

How America would look if we put a bunch of scammers in charge: https://www.AuthorFreeman.com/scammers

#dilbert #parody #trump #satire #comic #webcomic #Putin #collusion #kleptocracy

Reposts of strips from my first-term collection, TRUMPBERT: OUR LONG NATIONAL NIGHTMARE (https://www.Trumpbert.com) most weekdays. New strips every Sunday.

How America would look if we put a bunch of scammers in charge: https://www.AuthorFreeman.com/scammers

#dilbert #parody #trump #satire #comic #webcomic #Putin #collusion #kleptocracy

How America would look if we put a bunch of scammers in charge: https://www.AuthorFreeman.com/scammers

Reposts of strips from my first-term collection, TRUMPBERT: OUR LONG NATIONAL NIGHTMARE (https://www.Trumpbert.com) most weekdays. New strips every Sunday.

#dilbert #parody #trump #satire #comic #webcomic #Putin #collusion #kleptocracy

Pollution des camions : une fraude massive incontrôlée au Québec
🔴 "Désactiver le système antipollution d'un camion, c'est l'équivalent d'ajouter 34 camions sur les routes."
https://ici.radio-canada.ca/info/long-format/2239788/pollution-camions-fraude-antipollution-quebec-saaq
#Québec #pollution #camion #SAAQ #antipollution #politique #CAQ #garage #collusion #fraude #crime #santé #transport #contrôle #inspections #média #environnement

"New Report Examines the Role of EU Funding and Export of High-Risk AI Systems in Escalating Human Rights Violations in Palestine and the Region": https://7amleh.org/post/eu-funding-export-high-risk-ai-palestine-region-en @palestine

#complicityInGenocide #complicity #connivance #collusion #EU #EuropeIsrael #proZionism #EuropeanUnion #Europe #AI #AIWar

Comment l’UE finance et exporte de l’IA à haut risque qui viole les droits fondamentaux des Palestinien·nes et participe à leur massacre : https://agencemediapalestine.fr/blog/2026/03/17/comment-lue-finance-et-exporte-de-lia-a-haut-risque-qui-viole-les-droits-fondamentaux-des-palestiniens-et-participe-a-leur-massacre/

#soutien #complicitéDeGénocide #complicité #connivence #collusion #UE #EuropeIsraël #proSionisme #UnionEuropéenne #Europe #IA

♪ Where have you been, Cohen Michael, O? ♫

Reposts of strips from my first-term collection, TRUMPBERT: OUR LONG NATIONAL NIGHTMARE (https://www.Trumpbert.com) most weekdays. New strips every Sunday.

What we can do: https://www.AuthorFreeman.com/what-we-can-do/

#dilbert #parody #trump #satire #comic #webcomic #Putin #collusion #MuellerReport

Reposts of strips from my first-term collection, TRUMPBERT: OUR LONG NATIONAL NIGHTMARE (https://www.Trumpbert.com) most weekdays. New strips every Sunday.

Also by Freeman Ng: BRIDGE ACROSS THE SKY, an Angel Island novel. https://www.AngelIslandNovel.com

#dilbert #parody #trump #satire #comic #webcomic #Putin #collusion #MuellerReport

Reposts of strips from my first-term collection, TRUMPBERT: OUR LONG NATIONAL NIGHTMARE (https://www.Trumpbert.com) most weekdays. New strips every Sunday.

What America would look like if we put a bunch of scammers in charge: https://www.AuthorFreeman.com/scammers

#dilbert #parody #trump #satire #comic #webcomic #Putin #collusion #MuellerReport

Reposts of strips from my first-term collection, TRUMPBERT: OUR LONG NATIONAL NIGHTMARE (https://www.Trumpbert.com) most weekdays. New strips every Sunday.

#dilbert #parody #trump #satire #comic #webcomic #Putin #collusion

Also by Freeman Ng: BRIDGE ACROSS THE SKY, an Angel Island novel. https://www.AngelIslandNovel.com

Reposts of strips from my first-term collection, TRUMPBERT: OUR LONG NATIONAL NIGHTMARE (https://www.Trumpbert.com) most weekdays. New strips every Sunday.

#dilbert #parody #trump #satire #comic #webcomic #Putin #collusion

What America would look like if we put a bunch of eight-year-olds in charge: https://www.AuthorFreeman.com/incompetents

Reposts of strips from my first-term collection, TRUMPBERT: OUR LONG NATIONAL NIGHTMARE (https://www.Trumpbert.com) most weekdays. New strips every Sunday.

#dilbert #parody #trump #satire #comic #webcomic #Putin #collusion

Three engineers charged with stealing Google secrets and sending data to Iran

People walk near a sign outside of Google headquarte…
#NewsBeep #News #Topstories #AlphabetClassA #AppleInc #AsiaEconomy #BreakingNews:Asia #BreakingNews:Markets #BreakingNews:Technology #BroadcomInc. #Business #businessnews #Collusion #Crime #Defense #Headlines #Iran #Markets #ProductsandServices #QUALCOMMINC #TaiwanSemiconductorManufacturingCoLtd #Technology #TopStories #UnitedStates
https://www.newsbeep.com/402830/

Pulitzer Board Demands Disclosure of ‘Unredacted’ Mueller Report to Fight Trump’s Defamation Lawsuit https://www.mediaite.com/media/news/pulitzer-board-demands-disclosure-of-unredacted-mueller-report-to-fight-trumps-defamation-lawsuit/
#USpol #media #civilLiberties #Russia #collusion

“HOW BRITISH STATE SECRECY JUST GOT WORSE”

by Grainne Teggart in Declassified UK

@Declassified_UK
@uk_politics
@UKLabour

“For too long, the purpose and effect of national security in legacy cases has been to withhold information about killings, collusion and other grave human rights violations”

https://www.declassifieduk.org/how-british-state-secrecy-just-got-worse/

#Press #UK #NorthernIreland #Troubles #Legacy #Government #Killings #Secrecy #Truth #Justice #Collusion #Murder #Stakeknife #Kenova #NCND

"Ce dont nous avons le plus besoin à ce stade, c'est que les responsables du génocide et ceux qui l'ont aidé et encouragé rendent des comptes. Il est tout aussi indispensable de soutenir une vision palestinienne de la reconstruction. Le plan Phoenix, publié en janvier 2025 par un groupe d'expert·es palestinien·nes issut·es de diverses disciplines, en est un exemple. Cette collaboration rassemble des voix de Gaza, de Cisjordanie et de la diaspora pour esquisser un plan de reconstruction à court et moyen terme. Surtout, elle inclut des personnes issues des municipalités de Gaza, qui connaissent intimement les communautés locales et ont une expérience directe des réalités sur le terrain."

Yara Hawari pour Al-Shabaka : https://agencemediapalestine.fr/blog/2025/11/20/la-resolution-2803-du-conseil-de-securite-des-nations-unies-proposee-par-trump-une-nouvelle-forme-de-domination-coloniale/

#responsabilité #duFleuveàLaMer #droitAuRetour #géopolitique #génocideEnContinu #occupation #guerreIsraëlGaza #nettoyageEthnique #crimesDeGuerre #colonialité #complicité #collusion #connivence #communautéInternationale #Gaza #agentivité #GazaPhoenix

Yup. It's the same #StrategyGroup! Wow!

Gov. #KristiNoem and the culture of #collusion in #SouthDakota

#FreedomWorksHere escaped legislative oversight but the saga raises larger concerns about the validity of competitive bidding and the stomach of state lawmakers.

By Patrick Lalley, Feb 19, 2024

Excerpt: "The seeds of the contract are found in the hiring of The Strategy Group as a media consultant for #Noem’s re-election campaign in 2022.

"The CEO of that company is #BenYoho, but he’s not the biggest fish in Ohio.
That’s #RexElsass, the founder and chairman of the board, an infamous figure in Ohio politics. We don’t have the time or space to go into Mr. Elsass’ backstory but it’s colorful, controversial and worth more than we’ll give it here.
The Strategy Group is one of a handful of firms doing media work for the big names of #Republican politics, including #Trump, #Pence, several governors and many members of Congress."

Read more:
https://www.siouxfallslive.com/news/sioux-falls/gov-kristi-noem-and-the-culture-of-collusion-in-south-dakota

Archived version:
https://archive.ph/phGkY

#USPol #GOP #Corruption #ChristoFascists #StrategyGroup #PowerCorruptionAndLies

Morgan McSweeney has served as Downing Street Chief of Staff under Prime Minister Keir Starmer since October 2024.
McSweeney was the campaign manager for the Labour Party and director of the think tank "Labour Together".
Morgan McSweeney has a murky history of targeting the Left of the Labour Party: https://www.thecanary.co/uk/news/2025/09/22/campaign-to-sabotage-corbyn-coming-back-to-bite-morgan-mcsweeney/

#plot #corruption #campaigning #influence #LabourParty #Wales #England #Britain #UK #UKPol #UKPolitics #proZionism #StandWithIsrael #collusion #support #coOpting #imperialism #government #cabinet #Starmer #KeirStarmer #McSweeney #Labour

Morgan McSweeney has served as Downing Street Chief of Staff under Prime Minister Keir Starmer since October 2024.
McSweeney was the campaign manager for the Labour Party and director of the think tank "Labour Together".
Morgan McSweeney has a murky history of targeting the Left of the Labour Party: https://www.thecanary.co/uk/news/2025/09/22/campaign-to-sabotage-corbyn-coming-back-to-bite-morgan-mcsweeney/

#plot #corruption #campaigning #influence #LabourParty #Wales #England #Britain #UK #UKPol #UKPolitics #proZionism #StandWithIsrael #collusion #support #coOpting #imperialism #government #cabinet #Starmer #KeirStarmer #McSweeney #Labour

Morgan McSweeney has served as Downing Street Chief of Staff under Prime Minister Keir Starmer since October 2024.
McSweeney was the campaign manager for the Labour Party and director of the think tank "Labour Together".
Morgan McSweeney has a murky history of targeting the Left of the Labour Party: https://www.thecanary.co/uk/news/2025/09/22/campaign-to-sabotage-corbyn-coming-back-to-bite-morgan-mcsweeney/

#plot #corruption #campaigning #influence #LabourParty #Wales #England #Britain #UK #UKPol #UKPolitics #proZionism #StandWithIsrael #collusion #support #coOpting #imperialism #government #cabinet #Starmer #KeirStarmer #McSweeney #Labour

Morgan McSweeney has served as Downing Street Chief of Staff under Prime Minister Keir Starmer since October 2024.
McSweeney was the campaign manager for the Labour Party and director of the think tank "Labour Together".
Morgan McSweeney has a murky history of targeting the Left of the Labour Party: https://www.thecanary.co/uk/news/2025/09/22/campaign-to-sabotage-corbyn-coming-back-to-bite-morgan-mcsweeney/

#plot #corruption #campaigning #influence #LabourParty #Wales #England #Britain #UK #UKPol #UKPolitics #proZionism #StandWithIsrael #collusion #support #coOpting #imperialism #government #cabinet #Starmer #KeirStarmer #McSweeney #Labour

Morgan McSweeney has served as Downing Street Chief of Staff under Prime Minister Keir Starmer since October 2024.
McSweeney was the campaign manager for the Labour Party and director of the think tank "Labour Together".
Morgan McSweeney has a murky history of targeting the Left of the Labour Party: https://www.thecanary.co/uk/news/2025/09/22/campaign-to-sabotage-corbyn-coming-back-to-bite-morgan-mcsweeney/

#plot #corruption #campaigning #influence #LabourParty #Wales #England #Britain #UK #UKPol #UKPolitics #proZionism #StandWithIsrael #collusion #support #coOpting #imperialism #government #cabinet #Starmer #KeirStarmer #McSweeney #Labour

"Moog in Wolverhampton was targeted by pro-Palestine activists in August. We can now reveal the company has been exporting aircraft components to Israel’s ministry of defence." https://www.declassifieduk.org/uk-aerospace-firm-supplying-israels-defence-ministry/

#engineering #UK #britain #coloniality #proZionism #StandWithIsrael #arms #armsSales #armsTrade #StopArmingIsrael #DefundIsrael #Labour #LabourParty #UKPol #UKPolitics #collusion #imperialism #exports #industry #Moog

A subjective history of a ‘long march through the institutions’: https://www.counterfire.org/article/ploughshares-to-swords-the-story-of-the-german-greens/

#environmentalism #Grünen #DieGrünen #Greens #TheGreens #atlantism #complicity #collusion #connivance #Baerbock #AnnalenaBaerbock #decline #warfare #GazaMethod #imperialism #politics #recycling #manipulation #coOpting #coloniality #proZionism #StandWithIsrael #Germany #GermanHistory #politicalScience

A subjective history of a ‘long march through the institutions’: https://www.counterfire.org/article/ploughshares-to-swords-the-story-of-the-german-greens/

#environmentalism #Grünen #DieGrünen #Greens #TheGreens #atlantism #complicity #collusion #connivance #Baerbock #AnnalenaBaerbock #decline #warfare #GazaMethod #imperialism #politics #recycling #manipulation #coOpting #coloniality #proZionism #StandWithIsrael #Germany #GermanHistory #politicalScience

A subjective history of a ‘long march through the institutions’: https://www.counterfire.org/article/ploughshares-to-swords-the-story-of-the-german-greens/

#environmentalism #Grünen #DieGrünen #Greens #TheGreens #atlantism #complicity #collusion #connivance #Baerbock #AnnalenaBaerbock #decline #warfare #GazaMethod #imperialism #politics #recycling #manipulation #coOpting #coloniality #proZionism #StandWithIsrael #Germany #GermanHistory #politicalScience

A subjective history of a ‘long march through the institutions’: https://www.counterfire.org/article/ploughshares-to-swords-the-story-of-the-german-greens/

#environmentalism #Grünen #DieGrünen #Greens #TheGreens #atlantism #complicity #collusion #connivance #Baerbock #AnnalenaBaerbock #decline #warfare #GazaMethod #imperialism #politics #recycling #manipulation #coOpting #coloniality #proZionism #StandWithIsrael #Germany #GermanHistory #politicalScience

A subjective history of a ‘long march through the institutions’: https://www.counterfire.org/article/ploughshares-to-swords-the-story-of-the-german-greens/

#environmentalism #Grünen #DieGrünen #Greens #TheGreens #atlantism #complicity #collusion #connivance #Baerbock #AnnalenaBaerbock #decline #warfare #GazaMethod #imperialism #politics #recycling #manipulation #coOpting #coloniality #proZionism #StandWithIsrael #Germany #GermanHistory #politicalScience

[C'est fondamental.]

Yara Hawari : Une reconnaissance symbolique « n'est pas seulement inefficace, elle est dangereuse. Elle renforce un cadre partitionniste étroit qui réduit "la Palestine" à la Cisjordanie et à Gaza et le peuple palestinien à moins de la moitié de ce que nous sommes. »

Inès Abdel Razek : « La Cour internationale de justice (CIJ), dans ses avis consultatifs de 2004 et 2024, indique un cadre juridique de responsabilité qui offre une alternative à l'impasse politique du cadre à deux États.
« En fait, les avis juridiques de la CIJ font peser la responsabilité sur la communauté internationale d'agir, et pas juste de jouer le rôle de médiateur. »

Yara Hawari : « Notre souveraineté ne peut et ne doit pas être définie par des cadres fondés sur notre fragmentation. Nous devons imaginer autre chose, car ce qui nous est proposé n'est pas la libération, mais le confinement. »

(en) https://al-shabaka.org/roundtables/statehood-without-liberation-europes-response-to-genocide/

#responsabilité #duFleuveàLaMer #AutoritéPalestinienne #solutionàDeuxÉtats #droitAuRetour #géopolitique #génocideEnContinu #occupation #guerreIsraëlGaza #nettoyageEthnique #crimesDeGuerre #colonialité #complicité #collusion #connivence #EuropeIsrael #EuropePalestine #alliés #France #communautéInternationale #Cisjordanie #réfugiés #Macron #macroner #agentivité

@palestine @eu

"The recent wave of symbolic recognitions that began in 2024 now appears to be the only step many European powers are willing to take in the face of genocide, following nearly two years of moral, material, and diplomatic support for the Israeli regime as well as near-total impunity."

Why now? What political or strategic interests? https://al-shabaka.org/roundtables/statehood-without-liberation-europes-response-to-genocide/

Yara Hawari: "This kind of recognition is not just ineffective—it is dangerous. It reinforces a narrow partitionist framework that reduces “Palestine” to the West Bank and Gaza and the Palestinian people to less than half of who we are."

#twoStateSolution #normalization #StandWithIsrael #proZionism #negotiations #coloniality #support #genocideSupport #complicity #collusion #connivance #EuropeIsrael #EuropePalestine #allies #EU #Germany #NL #Netherlands #France #israelPalestine

"Germany is open about its uninhibited support for Israel‘s war of extermination and genocide in Palestine, and wants to make sure the entire world sees it."

"Establishment forces have translated Holocaust remembrance chiefly as support for Israel, elevating its protection to a German Staatsraison (national interest) coupled with zero tolerance for criticism of Israel, which is automatically treated as antisemitism".

Gjovalin Macaj: https://www.middleeasteye.net/opinion/germanys-zeal-israeli-genocide-revives-its-dangerous-exceptionalism

@eu @israel 🧵

#transgression #GazaMethod #allies #collusion #connivance #complicity #internationalCommunity #imperialism #counterTerrorism #conflation #confusion #antisemitism #politics #recycling #manipulation #coloniality #proZionism #StandWithIsrael #IHRA #IHL #Germany #FriedrichMerz #Merz #exceptionalism #whiteSupremacy #arrestWarrants #ICC #ICJ #EuropeIsrael

"Germany is open about its uninhibited support for Israel‘s war of extermination and genocide in Palestine, and wants to make sure the entire world sees it."

"Establishment forces have translated Holocaust remembrance chiefly as support for Israel, elevating its protection to a German Staatsraison (national interest) coupled with zero tolerance for criticism of Israel, which is automatically treated as antisemitism".

Gjovalin Macaj: https://www.middleeasteye.net/opinion/germanys-zeal-israeli-genocide-revives-its-dangerous-exceptionalism

@[email protected] @[email protected] 🧵

#transgression #GazaMethod #allies #collusion #connivance #complicity #internationalCommunity #imperialism #counterTerrorism #conflation #confusion #antisemitism #politics #recycling #manipulation #coloniality #proZionism #StandWithIsrael #IHRA #IHL #Germany #FriedrichMerz #Merz #exceptionalism #whiteSupremacy #arrestWarrants #ICC #ICJ #EuropeIsrael

"Germany is open about its uninhibited support for Israel‘s war of extermination and genocide in Palestine, and wants to make sure the entire world sees it."

"Establishment forces have translated Holocaust remembrance chiefly as support for Israel, elevating its protection to a German Staatsraison (national interest) coupled with zero tolerance for criticism of Israel, which is automatically treated as antisemitism".

Gjovalin Macaj: https://www.middleeasteye.net/opinion/germanys-zeal-israeli-genocide-revives-its-dangerous-exceptionalism

@eu @israel 🧵

#transgression #GazaMethod #allies #collusion #connivance #complicity #internationalCommunity #imperialism #counterTerrorism #conflation #confusion #antisemitism #politics #recycling #manipulation #coloniality #proZionism #StandWithIsrael #IHRA #IHL #Germany #FriedrichMerz #Merz #exceptionalism #whiteSupremacy #arrestWarrants #ICC #ICJ #EuropeIsrael

"Germany is open about its uninhibited support for Israel‘s war of extermination and genocide in Palestine, and wants to make sure the entire world sees it."

"Establishment forces have translated Holocaust remembrance chiefly as support for Israel, elevating its protection to a German Staatsraison (national interest) coupled with zero tolerance for criticism of Israel, which is automatically treated as antisemitism".

Gjovalin Macaj: https://www.middleeasteye.net/opinion/germanys-zeal-israeli-genocide-revives-its-dangerous-exceptionalism

@eu @israel 🧵

#transgression #GazaMethod #allies #collusion #connivance #complicity #internationalCommunity #imperialism #counterTerrorism #conflation #confusion #antisemitism #politics #recycling #manipulation #coloniality #proZionism #StandWithIsrael #IHRA #IHL #Germany #FriedrichMerz #Merz #exceptionalism #whiteSupremacy #arrestWarrants #ICC #ICJ #EuropeIsrael

Would the EU have ever had needed to implore #Biden or #Obama #European to not negotiate away #Ukrainian territory in his meeting w #Russian President #Vladimir #Putin on Fri. #Fascism #Ukraine #democracy #war #EU #NATO #collusion #criminal #corruption #collusion #justice. The "talks" not really talks folks, are taking place despite Russian leader #VladimirPutin #ceasefire #refusal and without #Ukraine #volodymyrzelensky No #ceasefire no #peace #alaska #summit meeting to decide upon meetings