Tuesday, November 22, 2016

Contradictions of the Pseudo-Left


1.) Most of their leaders are superwealthy capitalists, such as George Soros, Katrina Vanden Heuvel, and Arianna Huffington.

2.) They don’t realize that the idea of the all-powerful administrative state stems not from Marx, but Bismarck.

3.) They’re ostensibly against caste and hierarchy, yet eager to put themselves at the top of that hierarchy via degrees from Ivy League universities.

4.) They don’t want industry in America, and so have rejected the industrial working class.

5.) Their only remaining connection to the working class is via union leaders, who are, fittingly, bureaucrats—apparatchiks—not workers.

6.) Their chief concern isn’t class, but gender and race. Which sometimes results in strange permutations. For instance, children of the 1% in China or India, now studying in America, are considered by the Pseudo-Left to be “oppressed.” Poor whites whose parents and grandparents worked in dungeon-like steel mills and coal mines are designated by the Pseudo-Left as “privileged.”

7.) The Pseudo-Left aren’t Marxists so much as pre-civilization Nietzscheans. Man—or Superman—as the center of the universe. And so they believe climate is created not by the sun, upon which all life is 100% dependent, but man. Which is 100% narcissism.

8.) The Pseudo-Left vision of America:

A.) Half the population not working, but dependent upon the state.

B.) A large army of administrative government bureaucrats processing that dependency.

C.) Most of the rest of the population working low value-added service jobs at McDonald’s or WalMart, albeit with a high minimum wage.

D.) A certain percentage of subservient non-English-speaking illegal immigrants needed as low-cost gardeners and nannies for the elites.

E.) The Elite—the Pseudo-Left—at the top of the hierarchy guiding things.


Wednesday, November 16, 2016

Shock Marketing


I like to think I spotted early on what Donald Trump was up to from a marketing standpoint. I’d followed a similar strategy—on a vastly smaller scale—when I was running the Underground Literary Alliance ten-to-fifteen years ago. The idea was to use shock tactics—outrageous stunts and statements—designed to create instant buzz. To have everyone in a targeted area (for us, New York City) talking about us, generating free media coverage in the process.

What’s indisputable is that Donald J. Trump has confounded the experts, taking on first in the primaries Jeb Bush and the Bush family machine, which outspent him ten-to-one. Then the massively funded Clinton machine in the general election, along with 95% of establishment media, and much of the establishments of both major U.S. political parties. Trump won with a relatively small, cost-effective organization.

What’s indisputable is that Donald J. Trump has studied marketing, messaging, PR, branding et.al. his entire life. Is it possible he was five steps ahead of the crowd all the time? That, contrary to the media image of Trump as a buffoon, he knows exactly what he’s doing?

I’ve engaged in old-fashioned P.T. Barnum American ballyhoo myself, and saw Trump from the beginning as THE master of hype and promotion. I put those thoughts into an ebook I wrote this past May:

Trump and the Populist Revolt 


Those who dismiss Donald J. Trump, a cosmopolitan New Yorker, as insane, Hitler, racist, boob etc. aren’t even trying to understand what happened in the election. They’re emotion run amok. Much of their reaction was caused by Trump’s deliberately polarizing tactics, as I explained six months ago in my ebook. The overreactors will be the last ones of course to figure it out.

The Underground Literary Alliance faced overreactors to our street theater and promises to clean up rampant corruption in the literary world. Whatever we said or did was magnified 100 times over, until we were depicted, even in major articles in credible publications like The Believer, as raving revolutionary lunatics, or even “terrorists.” Our provocative actions were a bit too successful. When opponents actually met us, they were stunned at how normal, even civil, we were in person. They remarked on the discrepancy, but never figured out what we were doing.


Which leads us to the conclusion that this nation’s best and brightest are in fact not very sharp. The inevitable question: Why not?

I attribute it to what I call Flat Screen Thinking. Millennials in particular are raised looking at flat surfaces—on their televisions, computers, and smartphones. The world become two-dimensional. Never do they question what’s behind the surface. As they read chiefly only those sources they already agree with, which follow the acceptable politically correct line, they never question the truth of their own beliefs and premises.

The media creates distorted narratives at will—then believes rigidly in their own narratives as if they were religious doctrine. They’re true believers in their cause—not intellectuals.

The educational system hasn’t trained them to study other sides of a question—to look at ideas three-dimensionally. Our schools today, including elite universities (especially elite universities!) are little more than indoctrination factories.

The protestors and rioters in cities like Portland fear Donald Trump. I fear them—because I recognize them as evidence of a pre-totalitarian mindset created in our educational system, in the colleges and high schools. Young people intolerant of disagreement now raging wildly at evidence of that disagreement.


What’s indisputable about Campaign 2016 is that the designated experts in think tanks, the universities and the media were indisputably wrong—wrong every step of the way.

Which brings us to a final question: Why would anyone today listen to anything these people have to say?


Upcoming at this blog: Examining America’s Pseudo-Left.

Saturday, October 15, 2016

Poetry Now!

Poetic things are happening! More to follow. Read our report, "Poetry Yesterday, Today and Tomorrow" in which we comment on Sylvia Plath, Bob Dylan, Liverpool, and much more.

Included in the report is a link to our thoroughly scientific analysis of the National Book Award finalists in the poetry category.

All-in-all, a discussion not to be missed.

Monday, September 26, 2016

Pop Poetry Today

Check out the report at the New Pop Lit News page about happenings in the world of pop poetry:


While we give Tarzana Joe pride of place in our pop poet run-down, you might just find the poetry of some of his challengers more challenging. Is our goal to knock him from his top spot?

Stay tuned as the genre advances.

Friday, September 16, 2016

“Hip-Hop Pop”

Mo-fo poems blasting off the page

Kind of rhymin’ that is all the rage

Other kind of poems, put you to sleep

Tryin’ hard to be cute, tryin’ to be deep

Go for the good shit, go for the best

If it make you smile is the only test

New Pop Lit is the place to be

When you reading Fun Pop Poetry!


Hey, at least it’s better than the anti-poetry coming out of the academy Smile

Join the fun: Fun Pop Poetry

Technorati Tags:

Saturday, August 27, 2016

New Literary Modernism?

For literary modernism to work with the reader, the writing itself needs to be clear, objective, and “pop.”

Ernest Hemingway was a modernist, but the only work in which he played with structure, with montage, was In Our Time. Afterward he wrote everything in strict linear fashion: “straight.”

What’s artistic modernism? Think of Picasso’s “Guernica.” It’s a fragmented view of the world—an attempt to portray the chaos of the actual world.

The most modernistic art form is cinema, because it consists of fragments of reality artfully put together. It’s fitting that motion pictures would be a modernist art—it was created during, sprung from, and reached popularity during the era of modernist artistic ideas—roughly from 1900 to 1930. All its techniques were learned during that period—the most important of which was the theory and practice of montage.

I attempted to use literary montage in my ebook novella, Assassination of X. Not really successfully, because I made the fragments too short; the pace too quick. I overdid it. (As with current fast-paced big budget movies, which are so hyperedited they become meaningless blurs.)

Which simply means more experimentation needs to be done. The writer can’t lose sight of the importance of the continuous narrative line—hooking the reader and keeping the reader hooked.

Are the two elements—montage and narrative line—contradictory?

They aren’t when used together properly in the movies.

Friday, August 19, 2016

New Poetry Ideas


In looking into new trends in poetry, I encountered the so-called flarf poetry movement, much of it centered around the Philadelphia-based website www.jacket2.org. While I applaud the idea behind flarf poetry—attempting to shake up a dead poetry scene—the execution is flawed. If anything, flarf doubles down on the failings of academy-based poetry.

That is, poetry which is wordy, pretentious, a pose—and dull. Their supposedly new techniques are little more than William Burroughs’ “cut-up” methods applied to poetry.

Or: it’s not just that it’s awful poetry as poetry. It’s poetry that no one outside their insular flarf-poetry academy clique would enjoy reading. Their chief idea is: being a bad poet merely for the sake of being a bad poet.

We’re going in the opposite direction. We start with simplicity and entertainment. FIRST. To achieve this we’re willing to go back to past formulas (cadence; rhyme), tweaking them, reviving them, reinventing them. Structure works. Form is essential to art. Formulas are fine. Sonnets are a formula. 1960’s Motown music was a formula. The question isn’t using a formula, but what you do with it. There is no end to the amount of meaning and art which can be added to simple, memorable, easily recited verse.

As we intend to show.

Read our efforts at www.newpoplitinteractive.wordpress.com. We invite any and all poets including flarf poets to drop their serious facades and give Fun Pop Poetry a go. (Submissions to funpoppoetry@gmail.com.)

Technorati Tags: