#secrecy — Public Fediverse posts

Wednesday, May 13, 2026

https://activitypub.writeworks.uk/2026/05/wednesday-may-13-2026/

Wednesday, May 13, 2026

https://activitypub.writeworks.uk/2026/05/wednesday-may-13-2026/

Wednesday, May 13, 2026

https://activitypub.writeworks.uk/2026/05/wednesday-may-13-2026/

Wednesday, May 13, 2026

https://activitypub.writeworks.uk/2026/05/wednesday-may-13-2026/

This is the #4Corners program that revealed the #Bluetooth vulnerability of #Axon policing products (#Taser and #BodyCams). Aside from the taser-caused death allegations and the vigorous means by which the Axon company defends their products, I am also concerned about the bodycams our armed forces wear on deployments. Are they also #hackable?

Watching S2026 Taser Tactics in iview
https://iview.abc.net.au/show/four-corners/series/2026/video/NC2603H012S00

#NSWPolice #DeathInCustody #TasingDeaths #Secrecy

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.

https://www.europesays.com/people/55000/ The Zionist Regimes Secrecy Regarding Netanyahus Health Crisis #a #again #and #Benjamin #BenjaminNetanyahu #but #calculated #Crisis #delayed #demonstrated #engineering #governing #has #health #in #is #Islam #medical #Netanyahu #not #of #once #opinion #principle #public #rather #Regarding #regime #release #Report #s #secrecy #service #structure #survival #that #the #Times #tool #truth #within #Zionist

How Big Tech wrote secrecy into EU law to hide data centres' environmental toll

https://www.investigate-europe.eu/posts/big-tech-data-centres-secrecy-eu-law-environment-footprint

#HackerNews #BigTech #Secrecy #EU #Law #DataCentres #EnvironmentalImpact

RE: https://mastodon.social/@Incognitim/116419026099990886

I thought Governments were meant to be FOR the people? What the hell is this BS?
#Secrecy
#ClimateCriminals

'Former independent senator Rex Patrick this week obtained the partially redacted report after a freedom of information battle that lasted more than two years.' TWO YEARS! So much for Labor government accountability and transparency! #australia #ausgov #anthonyalbanese #mikepezzullo #rexpatrick #corruption #secrecy #auspol https://www.theguardian.com/australia-news/2026/apr/04/confidential-report-found-former-home-affairs-boss-michael-pezzullo-was-reckless-in-engagement-with-liberal-powerbroker

#Secrecy seems to be the hallmark of both #DetentionCenters and #Datacenters! Sneaky, sneaky...!

Mystery surrounds #RichmondVA-area home tied to firm behind $1.2B Army #Texas tent-camp contract

By: The Associated Press
Posted 3:36 PM, Aug 28, 2025

WASHINGTON (AP) — "When President Donald Trump's administration last month awarded a contract worth up to $1.2 billion to build and operate what it says will become the nation’s largest immigration detention complex, it didn’t turn to a large government contractor or even a firm that specializes in private prisons.

Instead, it handed the project on a military base to Acquisition Logistics LLC, a small business that has no listed experience running a correction facility and had never won a federal contract worth more than $16 million. The company also lacks a functioning website and lists as its address a modest home in suburban Virginia owned by a 77-year-old retired Navy flight officer."
https://www.wtvr.com/news/local-news/mystery-surrounds-richmond-area-home-aug-28-2025

#USPol #HistoryRepeats #TrumpSucks #ICESucks #AbolishICE #AbolishCBP #AbolishDHS #Shameful #Fascism #DetentionCenters #HumanRights #WeKnowWhereYouLive #InternmentCamp #CampEastMontana #Texas #ICE #ICEDetention

... #Albus’s record aligns with a model of governance where corporate and defense-industry progress is prioritized over public accountability. -- Legal #secrecy. That sounds like the #opposite of #transparency whether it's legal or not. All of the hidden is now becoming revealed. Sounds like Sunday.

... #Albus’s record aligns with a model of governance where corporate and defense-industry progress is prioritized over public accountability. -- Legal #secrecy. That sounds like the #opposite of #transparency whether it's legal or not. All of the hidden is now becoming revealed. Sounds like Sunday.

The #Trump Administration exempts new #nuclear reactors from #environmental review

Geoff Brumfiel, February 2, 20263:09 PM ET

"The Trump Administration has created an exclusion for new experimental reactors being built at sites around the U.S. from a major environmental law. The law would have required them to disclose how their construction and operation might harm the environment, and it also typically required a written, public assessment of the possible consequences of a #NuclearAccident.

"The exclusion announcement comes just days after NPR revealed officials at the Department of Energy had secretly rewritten environmental, safety and security rules to make it easier for the reactors to be built.

"The Department of Energy announced the change Monday in a notice in the Federal Register. It said the department would begin excluding advanced nuclear reactors from the #NationalEnvironmentalPolicyAct. The act requires federal agencies to consider the environment when undertaking new projects and programs.

"The law also requires extensive reporting on how proposed programs might impact local ecosystems. That documentation, known as an #EnvironmentalImpactStatement, and a second lesser type of analysis, known as an #EnvironmentalAssessment, provide an opportunity for the public to review and comment on potential projects in their community."

Read more:
https://www.npr.org/2026/02/02/nx-s1-5696525/trump-nuclear-safety-regulations-environmental-review

#NoNukes #NoNewNukes #NuclearPlants #USPol #PublicReview #Secrecy #NuclearSafety #NuclearPollution #EnvironmentalImpact
#NoNukesWithoutConsent #EnvironmentalLaw #TrumpAdministration #NuclearPowerCorruptionAndLies

https://www.whro.org/environment/2026-01-16/federal-judge-rules-dominion-energy-can-resume-construction-on-virginia-beach-offshore-wind-farm “The government can't just wave around ‘national security’ as a magic wand” #secrecy #MagicWand #Virginia #DominionEnergy #CVOW #wind #energy #inflation #shortage #USPolitics #climate

I think people often confuse secrecy and privacy.

Secrecy is intentional concealment.

Privacy is the right to set boundaries on what is public.

"Arguing that you don't care about the right to privacy because you have nothing to hide is no different than saying you don't care about free speech because you have nothing to say." -Edward Snowden

#privacy #secrecy #EdwardSnowden #Snowden

“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

trumpsauthoritarianassault.blogspot.com/2025/11/foll... #PUTIN'SKompromat <-> #TRUMP'sLiesSocial <-> #SECRECY #CORRUPTION #CHILDSEXTRAFFICKING #REALESTATETRANSACTIONS #TRUMPJOHNSONEPSTEINSdirtyfossilfuelledRussianMONEYLAUNDERING <-> #FreeUlraine <-> #FreePalestine 🇺🇦🇵🇸 #TRUMPSEpsteinFiles <->

RE: https://bsky.app/profile/did:plc:gw6fyvl4pyzrnsbr7wqpp344/post/3lroir5glac2w

"Follow the Money" Transparenc...

https://youtu.be/ihh1fdW4-cA

#americafirst #assassination #blackmail #bureaucracy #culture #deepstate #deism #lunarlanding #moon #moonlanding #mythology @NASA #nineeleven #numerology #rfk #ritual #secrecy #secretsociety #space #society #strategy #triangular #twintowers #uspol #wtc

(6/6)

The #environmental burdens of #SpecialEconomicZones on the coastal and marine #environment: A remote sensing assessment in #Myanmar

Thiri Shwesin Aung, Indra Overland, Roman Vakulchuk, Yanhua Xie
November 2022

"Special economic zones (#SEZs) are unusual parts of the world economy in terms of law, institutions, and economic functions (Chaisse and Dimitropoulos 2021). SEZs are geographically delimited areas created to facilitate industrial activities through fiscal and regulatory incentives and infrastructure support (UNCTAD 2019). Such zones carve out jurisdiction as a subset of the overall state jurisdiction for the purposes of enacting different laws and regulations that are more trade and investment friendly (Zeng 2021). Since the year 2000, SEZs have mushroomed in developing countries to attract foreign direct investment (FDI), accelerate industrialization and create jobs (Aiyer 2017). There are 5400 SEZs in 147 economies around the world. Asia is home to three quarters of them (UNIDO 2015). They have been a core element of the economic development strategy of the Association of Southeast Asian Nations (ASEAN) and currently all ASEAN member states have SEZs (Aggarwal 2022).

"As part of an export-oriented development strategy, the zones commonly include industrial mega-areas that accommodate large-scale infrastructure, deep-sea ports, logistical infrastructure for oil and gas, hotels and tourism, and industrial complexes (Aggarwal 2022). They are primarily defined by a specific regulatory regime and a dedicated governance mechanism designed to relieve customs and tariffs and reduce the burden on businesses from permits, licenses, employment laws, and land access. In return, host governments expect investors to create positive spillover effects, such as facilitating innovation, boosting employment, raising exports, and diversifying the economy. The global experience of SEZs have been mixed, with some countries achieving successful economic outcomes, while others struggle to overcome market failures, institutional constraints, and social and environmental costs (Aggarwal 2022; Zeng 2021).

"The lax regulatory regimes of SEZs often raise concerns about environmental, social, and #HumanRights standards, as well as possible conflicts over #LandRights (Brussevich 2020). Several SEZs have failed to yield the expected economic benefits while having severe adverse impacts on the environment and local communities (Adunbi 2019; Aritenang and Chandramidi 2020; Chaisse and Ji 2020). On the other hand, while SEZs can be hotspots for environmental #mismanagement, they can also provide opportunities for implementing environmental policies specifically designed to regulate industries within the zones. Also, certain environmental advantages may ensue from the introduction of foreign financial resources and environmental technologies that are otherwise not readily available (Richardson 2004).

"However, according to the 'race to the bottom' literature, most SEZs have a net negative impact on the environment and local communities (Richardson 2004; UNIDO 2015; ZENG and DOUGLAS, 2012).

"Despite this contradiction, existing studies focusing on the direct and indirect impacts of SEZs have been rare (#WorldBank, 2017). Particularly, the magnitude and intensity of SEZ impacts on the environment remain understudied.
SEZs tend to be located in remote regions. As such, SEZ-related information and data are generally scarce, making it difficult to assess the environmental consequences of such zones. Many SEZs are also located in countries where there is limited scope for independent environmental assessment due to #authoritarian rule, #corruption, and/or #secrecy surrounding deals with foreign investors. Recent improvements in access to satellite data and computing platforms for machine learning have greatly improved the ability to comprehensively assess SEZs in any location in the world in near real time (Ali et al., 2020; Jensen et al., 2019). This article demonstrates how these technologies can be applied to provide evidence related to the environmental impacts of SEZs. The method is tried out on the Kyaukpyu SEZ in Myanmar. Myanmar is an authoritarian country and the #KyaukpyuSEZ is a flagship project of China's Belt and Road Initiative (#BRI) located in an inaccessible part of #Myanmar. This is precisely the type of case where independent access can be limited and a remote sensing approach can be useful.

"From 2010 onwards, Myanmar was navigating its economic transformation and a partial loosening of military rule. SEZ development was prioritized as a critical element of the country's industrialization (Oxfam 2017). The three most notable ongoing SEZ projects are the Kyaukpyu SEZ in the rural but strategically important Rakhine State, which is also the largest SEZ in Myanmar, the Thilawa SEZ on the outskirts of Myanmar's former capital Yangon, and the Dawei SEZ in the Tanintharyi Region. Tanintharyi is a long narrow southern territory of Myanmar bordering the Andaman Sea to the west and Thailand to the east.

"Although they are expected to encourage economic growth and reduce poverty, all three SEZ projects continue to face local opposition, particularly the Kyaukpyu and Dawei SEZs. The International Commission of Jurists (2017) has reported that SEZs in Myanmar are linked to human rights violations and environmental abuses (Donateo 2017). Although Myanmar's SEZ law adopted in 2014 reaffirms the applicability of environmental regulations to SEZ development, it does not clearly delineate responsibilities between developers and the state (DICA 2014). The law also does not conform with international human rights standards (MCRB 2018)."

Read more:
https://www.sciencedirect.com/science/article/pii/S2352938522001173

#RaceToTheBottom #HumanRightsViolations #Pollution #EnvironmentalDegradation #EconomicSacrificZones #ForcedRelocation #ForcedDisplacement #HumanRightsViolations #EnvironmentalDegradation #IndigenousPeoples #ForestPeoples #SaveTheForests #Exploitation #CorporateColonialism

Secret Plans for Media Censorship
https://consortiumnews.com/2025/11/13/secret-plans-for-media-censorshiphip-in-australia/
William Evans reports on efforts by Australia&#8217;s Department of Home Affairs to revive the four-decade dead D-Notice system. By William Evans Declassified Australia CN at 30 Documents obtained by Declassified Australia show that following the June 2019 Federal Police raids&#8230;
#Politics #Australia #Censorship #CivilRights #ClimateChange #FreePress #Secrecy #U.s. #UnitedKingdon #AlanRusbridger #AnnikaSmethurst #AustralianFederalPolice(afp) #AustralianHomeAffairsSecretaryMikePezzullo #Britain’sDefenceAndSecurityMediaAdvisoryCommittee(dsma) #DNoticeSystem #EdwardSnowden #Journalism #MattKennard #MediaEntertainmentAndArtsAlliance(meaa) #PeterDutton #PeterGreste #PrimeMinisterScottMorrison #TheGuardian #WilliamEvans

trumpsauthoritarianassault.blogspot.com/2025/11/foll... #PUTIN'SKompromat <-> #TRUMP'sLiesSocial <-> #SECRECY #CORRUPTION #CHILDSEXTRAFFICKING #REALESTATETRANSACTIONS #TRUMPJOHNSONEPSTEINSdirtyfossilfuelledRussianMONEYLAUNDERING

"Follow the Money" Transparenc...

trumpsauthoritarianassault.blogspot.com/2025/11/foll... FOLLOW THE MONEY TRUMP<->MURDOCH<->ANDREW<->EPSTEIN<->PUTIN'S #KOMPROMAT #Espionage #Secrecy #Corruption #ChildSexTrafficking #RealEstate #TrumpAndEpsteinsRussianMoneyLaundering #FreeUlraine #FreePalestine 🇺🇦🇵🇸

RE: https://bsky.app/profile/did:plc:h4ib376komczbuknbxg5lg32/post/3m55cw34wjk2s

‘‘One Crisis, Two Faces’ A Civ...

FOLLOW THE MONEY TRUMP<->EPSTEIN<->PUTIN'S #KOMPROMAT #Espionage #Secrecy #Corruption #ChildSexTrafficking #RealEstate #TrumpAndEpsteinsRussianMoneyLaundering #FreeUlraine #FreePalestine 🇺🇦🇵🇸

RE: https://bsky.app/profile/did:plc:jugxnblbqnwsy5wehjfkoorq/post/3m4yhfgqo3s2f

The #Language of #Secrecy: A Brief #History of #Cryptography : Medium

5 Everyday #Behaviors That #Neurologists Avoid for Long-Term #Brain #Health : Misc

Traditional #Criticism Is in Trouble. Here’s What’s Replacing It. : Misc

Check our latest #KnowledgeLinks

https://knowledgezone.co.in/resources/bookmarks

If you live in #BritishColumbia - you should be aware of this & care about the #AbuseOfPower by #BCNDP #BCNewDeathParty.

#BCpoli #CDNpoli #FOI #Corruption #Secrecy #ShadyBusiness #DirtyRottenNDP #Sellouts

🚀💥 Ah, the classic tale of nuclear waste #reprocessing gaining "momentum" in the U.S.—or perhaps just a well-protected secret hidden behind a 403 Forbidden error. Clearly, the real #innovation here is mastering the art of keeping things under wraps with the latest in cache server #technology. 🔒🤦‍♂️
https://spectrum.ieee.org/nuclear-waste-reprocessing-transmutation #nuclearwaste #secrecy #cacheservers #HackerNews #ngated

🚀💥 Ah, the classic tale of nuclear waste #reprocessing gaining "momentum" in the U.S.—or perhaps just a well-protected secret hidden behind a 403 Forbidden error. Clearly, the real #innovation here is mastering the art of keeping things under wraps with the latest in cache server #technology. 🔒🤦‍♂️
https://spectrum.ieee.org/nuclear-waste-reprocessing-transmutation #nuclearwaste #secrecy #cacheservers #HackerNews #ngated

🚀💥 Ah, the classic tale of nuclear waste #reprocessing gaining "momentum" in the U.S.—or perhaps just a well-protected secret hidden behind a 403 Forbidden error. Clearly, the real #innovation here is mastering the art of keeping things under wraps with the latest in cache server #technology. 🔒🤦‍♂️
https://spectrum.ieee.org/nuclear-waste-reprocessing-transmutation #nuclearwaste #secrecy #cacheservers #HackerNews #ngated

🚀💥 Ah, the classic tale of nuclear waste #reprocessing gaining "momentum" in the U.S.—or perhaps just a well-protected secret hidden behind a 403 Forbidden error. Clearly, the real #innovation here is mastering the art of keeping things under wraps with the latest in cache server #technology. 🔒🤦‍♂️
https://spectrum.ieee.org/nuclear-waste-reprocessing-transmutation #nuclearwaste #secrecy #cacheservers #HackerNews #ngated

Britain’s Long History of Spying on Iran
https://consortiumnews.com/2025/07/02/britains-long-history-of-spying-on-iran/
The U.K. has spent decades trying to subvert Iran’s government, but also secretly sold them chemical weapons and spied on opposition activists, reports Martin Williams. By Martin Williams Declassified UK As bombs fell on Iran last month, the U.K. government&#8230;
#Politics #AdvancedTechnologies #CivilRights #Intelligence #Iran #Palestine #Secrecy #SocialMedia #Surveillance #UntilThisDayHistoricalPerspectivesOnTheNews #AngloIranianOilCompany #AyatollahKhomeini #Bp #Cyberwarfare #IranianRevolutionOf1979 #JointThreatResearchIntelligenceGroup(jtrig) #Lurl.me #MartinWilliams #Mi6 #MohammedMosaddeqh #PrimeMinisterTonyBlair #ShahMohammadRezaPahlavi #StuxnetVirus

A quotation from Moliere

TARTUFFE: Your scruple, then, is easy to allay:
   Our secret will be safe with us alone,
   And there’s no evil if the thing’s not known.
   The one offense lies in the public shame,
   And secret sin is sin only in name.
 
[Enfin votre scrupule est facile à détruire.
Vous êtes assurée ici d’un plein secret,
Et le mal n’est jamais que dans l’éclat qu’on fait.
Le scandale du monde est ce qui fait l’offense,
Et ce n’est pas pécher que pécher en silence]

Molière (1622-1673) French playwright, actor [stage name for Jean-Baptiste Poquelin]
Tartuffe, or the Hypocrite [Le Tartuffe, ou L’Imposteur], Act 4, sc. 5 (1669) [tr. Frame (1967)]

Sourcing, notes, other translations: wist.info/moliere/76486/

#quote #quotes #quotation #qotd #moliere #tartuffe #privacy #publicity #scandal #secrecy #sin #vice #wrongdoing

Update. "‘The Classified Catalog’ launches to track secrecy news"
https://freedom.press/the-classifieds/the-classified-catalog-launches-to-track-secrecy-news/

"The [Trump] administration is eroding the information environment in ways this country has never seen. More secrets are being kept, more data is being deleted, and more government employees are being censored. This excessive secrecy prevents the public from meaningfully participating in self-government on domestic policies from climate and health issues to foreign affairs. To combat this, Freedom of the Press Foundation (#FPF) began tracking reports of government secrecy in January 2025."

#Censorship #DefendResearch #Journalism #Monitoring #Secrecy #Takedowns #Trump #USPol #USPolitics

A quotation from Marcus Aurelius

Never regard something as doing you good if it makes you betray a trust, or lose your sense of shame, or makes you show hatred, suspicion, ill will, or hypocrisy, or a desire for things best done behind closed doors.
 
[Μὴ τιμήσῃς ποτὲ ὡς συμφέρον σεαυτοῦ, ὃ ἀναγκάσει σέ ποτε τὴν πίστιν παραβῆναι, τὴν αἰδῶ ἐγκαταλιπεῖν, μισῆσαί τινα, ὑποπτεῦσαι, καταράσασθαι, ὑποκρίνασθαι, ἐπιθυμῆσαί τινος τοίχων καὶ παραπετασμάτων δεομένου.]

Marcus Aurelius (AD 121-180) Roman emperor (161-180), Stoic philosopher
Meditations [To Himself; Τὰ εἰς ἑαυτόν], Book 3, ch. 7 (3.7) [tr. Hays (2003)]

Sourcing, notes, alternate translations: wist.info/marcus-aureleus/2675…

#quote #quotes #quotation #advantage #benefit #betrayal #corruption #dishonesty #embarrassment #evaluation #hatred #hypocrisy #immorality #insincerity #integrity #lying #profit #secrecy #selfrespect #suspicion #vice

A quotation from Marcus Aurelius

Never regard something as doing you good if it makes you betray a trust, or lose your sense of shame, or makes you show hatred, suspicion, ill will, or hypocrisy, or a desire for things best done behind closed doors.
 
[Μὴ τιμήσῃς ποτὲ ὡς συμφέρον σεαυτοῦ, ὃ ἀναγκάσει σέ ποτε τὴν πίστιν παραβῆναι, τὴν αἰδῶ ἐγκαταλιπεῖν, μισῆσαί τινα, ὑποπτεῦσαι, καταράσασθαι, ὑποκρίνασθαι, ἐπιθυμῆσαί τινος τοίχων καὶ παραπετασμάτων δεομένου.]

Marcus Aurelius (AD 121-180) Roman emperor (161-180), Stoic philosopher
Meditations [To Himself; Τὰ εἰς ἑαυτόν], Book 3, ch. 7 (3.7) [tr. Hays (2003)]

Sourcing, notes, alternate translations: wist.info/marcus-aureleus/2675…

#quote #quotes #quotation #advantage #benefit #betrayal #corruption #dishonesty #embarrassment #evaluation #hatred #hypocrisy #immorality #insincerity #integrity #lying #profit #secrecy #selfrespect #suspicion #vice

A quotation from Marcus Aurelius

Never regard something as doing you good if it makes you betray a trust, or lose your sense of shame, or makes you show hatred, suspicion, ill will, or hypocrisy, or a desire for things best done behind closed doors.
 
[Μὴ τιμήσῃς ποτὲ ὡς συμφέρον σεαυτοῦ, ὃ ἀναγκάσει σέ ποτε τὴν πίστιν παραβῆναι, τὴν αἰδῶ ἐγκαταλιπεῖν, μισῆσαί τινα, ὑποπτεῦσαι, καταράσασθαι, ὑποκρίνασθαι, ἐπιθυμῆσαί τινος τοίχων καὶ παραπετασμάτων δεομένου.]

Marcus Aurelius (AD 121-180) Roman emperor (161-180), Stoic philosopher
Meditations [To Himself; Τὰ εἰς ἑαυτόν], Book 3, ch. 7 (3.7) [tr. Hays (2003)]

Sourcing, notes, alternate translations: wist.info/marcus-aureleus/2675…

#quote #quotes #quotation #advantage #benefit #betrayal #corruption #dishonesty #embarrassment #evaluation #hatred #hypocrisy #immorality #insincerity #integrity #lying #profit #secrecy #selfrespect #suspicion #vice

"In their statement, #Lockbit 3.0 issued a stark ultimatum: the #FederalReserve has 48 hours to hire a new #negotiator and dismiss the current one, whom the attackers disparagingly referred to as a “#ClinicalIdiot” for valuing #American #banking #secrecy at $50,000." https://www.redhotcyber.com/en/post/lockbit-3-0-claims-attack-on-federal-reserve-33-terabytes-of-sensitive-data-allegedly-compromised/

SACR and its members harp on the idea that America is in a fatal stage of rot, and that they are an oppressed people waiting to rise up on behalf of a silent majority.

The SACR website speaks to the deeply held grievance and sense of a lack of masculine purpose which animates the group.

SACR exists, the website says, because “a man is no longer encouraged to fly to the stars,”
because “those who rule today spit on such ambitions;
they corrupt the sinews of America.”

“They have alienated men from family, community, and God.

We counter and conquer this poison, rebuilding a society where a man can find genuine fulfilment,
true to his nature and calling,
rejoicing in virtue and vitality,” the website says,
before offering a Google docs link where men can apply.

At the end of the day, SACR’s members are not oppressed.

Claremont is free to publish whatever it likes
— it’s widely seen as tremendously influential on the right generally and in MAGA circles specifically.

SACR chapters can meet; Haywood can blog
— in fact, on Tuesday he wrote an encomium to The Camp of the Saints, a 1970s French novel in which a horde of Indian immigrants overwhelms, degrades, and exterminates the white West.

“The goal of the Left was always total expropriation of white people and then, if at all possible, their extermination,
a goal made explicit by many powerful people in 2020,” Haywood wrote.

“How, given this history, should white Americans respond?”

SACR may be his answer.

In emails from November 2020, Yenor wrote to Skyler Kressin, the head of the SACR chapter in Coeur d’Alene, Idaho, and on the group’s national board.

Yenor sent a screenshot of an Amazon link to
“The Super Afrikaners,”
a 1979 nonfiction account of the #Afrikaner #Broederbond,
a semi-secret society which ruled South Africa under apartheid.

“That good?” Yenor titled the subject line, highlighting the book — long out of print — and its $95.62 price.

“That’s the one,” Kressin replied.

South Africa, with its visions of white settlers driven away from status and wealth, appear consistently in Haywood’s writings, and in Fischer’s as well.

The Broederbond, an Afrikaner-only, Calvinist-only group of elites which functioned as a series of hundreds of independent “cells” across the country, offers an eerie reflection of SACR’s structure.

Williams told TPM that the Afrikaner Broederbond came up in conversations over what SACR would be, but denied that it served as a model for the group.

The grievance, perceived loss of status, and lack of metaphysical meaning that these men feel are very real, to them.

But there’s enough in America’s own history to understand the aims and tradition in which SACR is operating.

#Statement #Marriage #Aaron #Renn #secrecy #confidentiality #faithfulness #virtue #alignment #influence #capability #entrepreneurship #lawfare #cybersecurity #wealth #Trinitarian #Christianity #Women #cold #civil #war #Charles #Haywood #feudalism #armed #patronage #Williams #Beck #Americanized #assimilated #mission #statement #prayers #Scott #Yenor #mini #state #Christian #men #patriarchal #force #authority #democracy #sacker #SACR #Christian #traditionalist #white #financial #politics #Claremont #Institute #Harvard #Law #theocracy #alignment #deference #patriarchal #leadership #Natural #Law

SACR and its members harp on the idea that America is in a fatal stage of rot, and that they are an oppressed people waiting to rise up on behalf of a silent majority.

The SACR website speaks to the deeply held grievance and sense of a lack of masculine purpose which animates the group.

SACR exists, the website says, because “a man is no longer encouraged to fly to the stars,”
because “those who rule today spit on such ambitions;
they corrupt the sinews of America.”

“They have alienated men from family, community, and God.

We counter and conquer this poison, rebuilding a society where a man can find genuine fulfilment,
true to his nature and calling,
rejoicing in virtue and vitality,” the website says,
before offering a Google docs link where men can apply.

At the end of the day, SACR’s members are not oppressed.

Claremont is free to publish whatever it likes
— it’s widely seen as tremendously influential on the right generally and in MAGA circles specifically.

SACR chapters can meet; Haywood can blog
— in fact, on Tuesday he wrote an encomium to The Camp of the Saints, a 1970s French novel in which a horde of Indian immigrants overwhelms, degrades, and exterminates the white West.

“The goal of the Left was always total expropriation of white people and then, if at all possible, their extermination,
a goal made explicit by many powerful people in 2020,” Haywood wrote.

“How, given this history, should white Americans respond?”

SACR may be his answer.

In emails from November 2020, Yenor wrote to Skyler Kressin, the head of the SACR chapter in Coeur d’Alene, Idaho, and on the group’s national board.

Yenor sent a screenshot of an Amazon link to
“The Super Afrikaners,”
a 1979 nonfiction account of the #Afrikaner #Broederbond,
a semi-secret society which ruled South Africa under apartheid.

“That good?” Yenor titled the subject line, highlighting the book — long out of print — and its $95.62 price.

“That’s the one,” Kressin replied.

South Africa, with its visions of white settlers driven away from status and wealth, appear consistently in Haywood’s writings, and in Fischer’s as well.

The Broederbond, an Afrikaner-only, Calvinist-only group of elites which functioned as a series of hundreds of independent “cells” across the country, offers an eerie reflection of SACR’s structure.

Williams told TPM that the Afrikaner Broederbond came up in conversations over what SACR would be, but denied that it served as a model for the group.

The grievance, perceived loss of status, and lack of metaphysical meaning that these men feel are very real, to them.

But there’s enough in America’s own history to understand the aims and tradition in which SACR is operating.

#Statement #Marriage #Aaron #Renn #secrecy #confidentiality #faithfulness #virtue #alignment #influence #capability #entrepreneurship #lawfare #cybersecurity #wealth #Trinitarian #Christianity #Women #cold #civil #war #Charles #Haywood #feudalism #armed #patronage #Williams #Beck #Americanized #assimilated #mission #statement #prayers #Scott #Yenor #mini #state #Christian #men #patriarchal #force #authority #democracy #sacker #SACR #Christian #traditionalist #white #financial #politics #Claremont #Institute #Harvard #Law #theocracy #alignment #deference #patriarchal #leadership #Natural #Law

SACR and its members harp on the idea that America is in a fatal stage of rot, and that they are an oppressed people waiting to rise up on behalf of a silent majority.

The SACR website speaks to the deeply held grievance and sense of a lack of masculine purpose which animates the group.

SACR exists, the website says, because “a man is no longer encouraged to fly to the stars,”
because “those who rule today spit on such ambitions;
they corrupt the sinews of America.”

“They have alienated men from family, community, and God.

We counter and conquer this poison, rebuilding a society where a man can find genuine fulfilment,
true to his nature and calling,
rejoicing in virtue and vitality,” the website says,
before offering a Google docs link where men can apply.

At the end of the day, SACR’s members are not oppressed.

Claremont is free to publish whatever it likes
— it’s widely seen as tremendously influential on the right generally and in MAGA circles specifically.

SACR chapters can meet; Haywood can blog
— in fact, on Tuesday he wrote an encomium to The Camp of the Saints, a 1970s French novel in which a horde of Indian immigrants overwhelms, degrades, and exterminates the white West.

“The goal of the Left was always total expropriation of white people and then, if at all possible, their extermination,
a goal made explicit by many powerful people in 2020,” Haywood wrote.

“How, given this history, should white Americans respond?”

SACR may be his answer.

In emails from November 2020, Yenor wrote to Skyler Kressin, the head of the SACR chapter in Coeur d’Alene, Idaho, and on the group’s national board.

Yenor sent a screenshot of an Amazon link to
“The Super Afrikaners,”
a 1979 nonfiction account of the #Afrikaner #Broederbond,
a semi-secret society which ruled South Africa under apartheid.

“That good?” Yenor titled the subject line, highlighting the book — long out of print — and its $95.62 price.

“That’s the one,” Kressin replied.

South Africa, with its visions of white settlers driven away from status and wealth, appear consistently in Haywood’s writings, and in Fischer’s as well.

The Broederbond, an Afrikaner-only, Calvinist-only group of elites which functioned as a series of hundreds of independent “cells” across the country, offers an eerie reflection of SACR’s structure.

Williams told TPM that the Afrikaner Broederbond came up in conversations over what SACR would be, but denied that it served as a model for the group.

The grievance, perceived loss of status, and lack of metaphysical meaning that these men feel are very real, to them.

But there’s enough in America’s own history to understand the aims and tradition in which SACR is operating.

#Statement #Marriage #Aaron #Renn #secrecy #confidentiality #faithfulness #virtue #alignment #influence #capability #entrepreneurship #lawfare #cybersecurity #wealth #Trinitarian #Christianity #Women #cold #civil #war #Charles #Haywood #feudalism #armed #patronage #Williams #Beck #Americanized #assimilated #mission #statement #prayers #Scott #Yenor #mini #state #Christian #men #patriarchal #force #authority #democracy #sacker #SACR #Christian #traditionalist #white #financial #politics #Claremont #Institute #Harvard #Law #theocracy #alignment #deference #patriarchal #leadership #Natural #Law

SACR and its members harp on the idea that America is in a fatal stage of rot, and that they are an oppressed people waiting to rise up on behalf of a silent majority.

The SACR website speaks to the deeply held grievance and sense of a lack of masculine purpose which animates the group.

SACR exists, the website says, because “a man is no longer encouraged to fly to the stars,”
because “those who rule today spit on such ambitions;
they corrupt the sinews of America.”

“They have alienated men from family, community, and God.

We counter and conquer this poison, rebuilding a society where a man can find genuine fulfilment,
true to his nature and calling,
rejoicing in virtue and vitality,” the website says,
before offering a Google docs link where men can apply.

At the end of the day, SACR’s members are not oppressed.

Claremont is free to publish whatever it likes
— it’s widely seen as tremendously influential on the right generally and in MAGA circles specifically.

SACR chapters can meet; Haywood can blog
— in fact, on Tuesday he wrote an encomium to The Camp of the Saints, a 1970s French novel in which a horde of Indian immigrants overwhelms, degrades, and exterminates the white West.

“The goal of the Left was always total expropriation of white people and then, if at all possible, their extermination,
a goal made explicit by many powerful people in 2020,” Haywood wrote.

“How, given this history, should white Americans respond?”

SACR may be his answer.

In emails from November 2020, Yenor wrote to Skyler Kressin, the head of the SACR chapter in Coeur d’Alene, Idaho, and on the group’s national board.

Yenor sent a screenshot of an Amazon link to
“The Super Afrikaners,”
a 1979 nonfiction account of the #Afrikaner #Broederbond,
a semi-secret society which ruled South Africa under apartheid.

“That good?” Yenor titled the subject line, highlighting the book — long out of print — and its $95.62 price.

“That’s the one,” Kressin replied.

South Africa, with its visions of white settlers driven away from status and wealth, appear consistently in Haywood’s writings, and in Fischer’s as well.

The Broederbond, an Afrikaner-only, Calvinist-only group of elites which functioned as a series of hundreds of independent “cells” across the country, offers an eerie reflection of SACR’s structure.

Williams told TPM that the Afrikaner Broederbond came up in conversations over what SACR would be, but denied that it served as a model for the group.

The grievance, perceived loss of status, and lack of metaphysical meaning that these men feel are very real, to them.

But there’s enough in America’s own history to understand the aims and tradition in which SACR is operating.

#Statement #Marriage #Aaron #Renn #secrecy #confidentiality #faithfulness #virtue #alignment #influence #capability #entrepreneurship #lawfare #cybersecurity #wealth #Trinitarian #Christianity #Women #cold #civil #war #Charles #Haywood #feudalism #armed #patronage #Williams #Beck #Americanized #assimilated #mission #statement #prayers #Scott #Yenor #mini #state #Christian #men #patriarchal #force #authority #democracy #sacker #SACR #Christian #traditionalist #white #financial #politics #Claremont #Institute #Harvard #Law #theocracy #alignment #deference #patriarchal #leadership #Natural #Law

SACR and its members harp on the idea that America is in a fatal stage of rot, and that they are an oppressed people waiting to rise up on behalf of a silent majority.

The SACR website speaks to the deeply held grievance and sense of a lack of masculine purpose which animates the group.

SACR exists, the website says, because “a man is no longer encouraged to fly to the stars,”
because “those who rule today spit on such ambitions;
they corrupt the sinews of America.”

“They have alienated men from family, community, and God.

We counter and conquer this poison, rebuilding a society where a man can find genuine fulfilment,
true to his nature and calling,
rejoicing in virtue and vitality,” the website says,
before offering a Google docs link where men can apply.

At the end of the day, SACR’s members are not oppressed.

Claremont is free to publish whatever it likes
— it’s widely seen as tremendously influential on the right generally and in MAGA circles specifically.

SACR chapters can meet; Haywood can blog
— in fact, on Tuesday he wrote an encomium to The Camp of the Saints, a 1970s French novel in which a horde of Indian immigrants overwhelms, degrades, and exterminates the white West.

“The goal of the Left was always total expropriation of white people and then, if at all possible, their extermination,
a goal made explicit by many powerful people in 2020,” Haywood wrote.

“How, given this history, should white Americans respond?”

SACR may be his answer.

In emails from November 2020, Yenor wrote to Skyler Kressin, the head of the SACR chapter in Coeur d’Alene, Idaho, and on the group’s national board.

Yenor sent a screenshot of an Amazon link to
“The Super Afrikaners,”
a 1979 nonfiction account of the #Afrikaner #Broederbond,
a semi-secret society which ruled South Africa under apartheid.

“That good?” Yenor titled the subject line, highlighting the book — long out of print — and its $95.62 price.

“That’s the one,” Kressin replied.

South Africa, with its visions of white settlers driven away from status and wealth, appear consistently in Haywood’s writings, and in Fischer’s as well.

The Broederbond, an Afrikaner-only, Calvinist-only group of elites which functioned as a series of hundreds of independent “cells” across the country, offers an eerie reflection of SACR’s structure.

Williams told TPM that the Afrikaner Broederbond came up in conversations over what SACR would be, but denied that it served as a model for the group.

The grievance, perceived loss of status, and lack of metaphysical meaning that these men feel are very real, to them.

But there’s enough in America’s own history to understand the aims and tradition in which SACR is operating.

#Statement #Marriage #Aaron #Renn #secrecy #confidentiality #faithfulness #virtue #alignment #influence #capability #entrepreneurship #lawfare #cybersecurity #wealth #Trinitarian #Christianity #Women #cold #civil #war #Charles #Haywood #feudalism #armed #patronage #Williams #Beck #Americanized #assimilated #mission #statement #prayers #Scott #Yenor #mini #state #Christian #men #patriarchal #force #authority #democracy #sacker #SACR #Christian #traditionalist #white #financial #politics #Claremont #Institute #Harvard #Law #theocracy #alignment #deference #patriarchal #leadership #Natural #Law

Perhaps the most startling element of SACR is one of its long-term objectives.

Per the mission statement obtained by TPM, SACR aims to have its members form the government of an “aligned future regime.”

“They would be next generation
—not founding participants, but those who joined as the project of civic renewal grows deep roots,” the document reads.

“That is, men who ‘grow up in the system.’”

Other goals include providing “preferential treatment for members, especially in business,”
and to both “coordinate allied fraternal networks”
and “defend fraternal networks … against attacks by those opposed to civic renewal, and strongly deter such attacks.”

In Yenor’s Boise chapter, SACR members attempted to craft a “#Statement on #Marriage” in which local church leaders would proclaim an “intentional effort to celebrate the benefits of family life” because the “culture is hostile to Christian marriage.”

To do that, the group would “promote marriage publicly through a pro-marriage sticker” to be spread around the Boise region.

The same group held events with speakers, including writer and policy researcher #Aaron #Renn.

At one point, emails show, Yenor pitched an Idaho news website to Claremont funders called Action Idaho, saying that SACR would take care of back-end work for the venture.

Other public remarks from members point towards the group’s activities.

After The Guardian published its initial story on the group over the summer, a small controversy erupted among evangelicals who regarded Haywood’s views as dangerous and the prospect of a certain strain of Christianity taking control of the government as troubling.

Fischer hit back in a podcast appearance, describing SACR as a “big-tent thing where men get together.”

“So the local chapters or lodges will have a meeting and maybe 15 guys get together and a speaker comes in and talks about something political, sometimes it’s a political candidate or whatever.
And then we learn and sometimes we just hang out,” he said.

“There’s no sort of great #secrecy associated with it. There’s a little degree of #confidentiality because there’s guys there who are at companies where even being associated with a group that is all men would be seen as suspicious.”

#faithfulness #virtue #alignment #influence #capability #entrepreneurship #lawfare #cybersecurity #wealth #Trinitarian #Christianity #Women #cold #civil #war #Charles #Haywood #feudalism #armed #patronage #Williams #Beck #Americanized #assimilated #mission #statement #prayers #Scott #Yenor #mini #state #Christian #men #patriarchal #force #authority #democracy #sacker #SACR #Christian #traditionalist #white #financial #politics #Claremont #Institute #Harvard #Law #theocracy #alignment #deference #patriarchal #leadership #Natural #Law

Perhaps the most startling element of SACR is one of its long-term objectives.

Per the mission statement obtained by TPM, SACR aims to have its members form the government of an “aligned future regime.”

“They would be next generation
—not founding participants, but those who joined as the project of civic renewal grows deep roots,” the document reads.

“That is, men who ‘grow up in the system.’”

Other goals include providing “preferential treatment for members, especially in business,”
and to both “coordinate allied fraternal networks”
and “defend fraternal networks … against attacks by those opposed to civic renewal, and strongly deter such attacks.”

In Yenor’s Boise chapter, SACR members attempted to craft a “#Statement on #Marriage” in which local church leaders would proclaim an “intentional effort to celebrate the benefits of family life” because the “culture is hostile to Christian marriage.”

To do that, the group would “promote marriage publicly through a pro-marriage sticker” to be spread around the Boise region.

The same group held events with speakers, including writer and policy researcher #Aaron #Renn.

At one point, emails show, Yenor pitched an Idaho news website to Claremont funders called Action Idaho, saying that SACR would take care of back-end work for the venture.

Other public remarks from members point towards the group’s activities.

After The Guardian published its initial story on the group over the summer, a small controversy erupted among evangelicals who regarded Haywood’s views as dangerous and the prospect of a certain strain of Christianity taking control of the government as troubling.

Fischer hit back in a podcast appearance, describing SACR as a “big-tent thing where men get together.”

“So the local chapters or lodges will have a meeting and maybe 15 guys get together and a speaker comes in and talks about something political, sometimes it’s a political candidate or whatever.
And then we learn and sometimes we just hang out,” he said.

“There’s no sort of great #secrecy associated with it. There’s a little degree of #confidentiality because there’s guys there who are at companies where even being associated with a group that is all men would be seen as suspicious.”

#faithfulness #virtue #alignment #influence #capability #entrepreneurship #lawfare #cybersecurity #wealth #Trinitarian #Christianity #Women #cold #civil #war #Charles #Haywood #feudalism #armed #patronage #Williams #Beck #Americanized #assimilated #mission #statement #prayers #Scott #Yenor #mini #state #Christian #men #patriarchal #force #authority #democracy #sacker #SACR #Christian #traditionalist #white #financial #politics #Claremont #Institute #Harvard #Law #theocracy #alignment #deference #patriarchal #leadership #Natural #Law

Perhaps the most startling element of SACR is one of its long-term objectives.

Per the mission statement obtained by TPM, SACR aims to have its members form the government of an “aligned future regime.”

“They would be next generation
—not founding participants, but those who joined as the project of civic renewal grows deep roots,” the document reads.

“That is, men who ‘grow up in the system.’”

Other goals include providing “preferential treatment for members, especially in business,”
and to both “coordinate allied fraternal networks”
and “defend fraternal networks … against attacks by those opposed to civic renewal, and strongly deter such attacks.”

In Yenor’s Boise chapter, SACR members attempted to craft a “#Statement on #Marriage” in which local church leaders would proclaim an “intentional effort to celebrate the benefits of family life” because the “culture is hostile to Christian marriage.”

To do that, the group would “promote marriage publicly through a pro-marriage sticker” to be spread around the Boise region.

The same group held events with speakers, including writer and policy researcher #Aaron #Renn.

At one point, emails show, Yenor pitched an Idaho news website to Claremont funders called Action Idaho, saying that SACR would take care of back-end work for the venture.

Other public remarks from members point towards the group’s activities.

After The Guardian published its initial story on the group over the summer, a small controversy erupted among evangelicals who regarded Haywood’s views as dangerous and the prospect of a certain strain of Christianity taking control of the government as troubling.

Fischer hit back in a podcast appearance, describing SACR as a “big-tent thing where men get together.”

“So the local chapters or lodges will have a meeting and maybe 15 guys get together and a speaker comes in and talks about something political, sometimes it’s a political candidate or whatever.
And then we learn and sometimes we just hang out,” he said.

“There’s no sort of great #secrecy associated with it. There’s a little degree of #confidentiality because there’s guys there who are at companies where even being associated with a group that is all men would be seen as suspicious.”

#faithfulness #virtue #alignment #influence #capability #entrepreneurship #lawfare #cybersecurity #wealth #Trinitarian #Christianity #Women #cold #civil #war #Charles #Haywood #feudalism #armed #patronage #Williams #Beck #Americanized #assimilated #mission #statement #prayers #Scott #Yenor #mini #state #Christian #men #patriarchal #force #authority #democracy #sacker #SACR #Christian #traditionalist #white #financial #politics #Claremont #Institute #Harvard #Law #theocracy #alignment #deference #patriarchal #leadership #Natural #Law