Vampire

Why hide, Jeckill?
Said the interrogator?

Why hide?

The girls are beautiful

He flew in wings flapping into the vast inner reaches of the cave.

The darkness, the stench, the ages burrowing into the rock formations.

Gold and silk, and silver braided together, finely thrashed here and there, as if by careless design.

Hide. The girls are not beautiful. They are unseen within the folds of the embedded roots, of primal forests overhead.

And the they clasped into the usual, he strong armed her into submission.

The wings , delicately veined, turned into stupor, and everything was deathly silence.

Jeckill protested no more, the bite deeply planted and the spurt, ejaculated seven like with a scarlet passion.

And Jeckyll, ever so slightly , with a whip of tantalizing , instead of protesting remittance: but oh,

It was not merely that, times three, it was the coup d’grace, the ultimate disgrace of the catholic travesty

The sadness :

Sure he says , who needs enemies to placate the NEED, with blood curling snorts turned to whimper, she goes:

"So glad u out of life. Child, cause thats all you really are, and let’so really show through the vivid depravity of tje soulless beast, admonish beauty, so no go on, hush into the eternal ice blue fire of hell’s charity.

youtu.be/YgqgSaDCgC4

Class privilege is the key issue in Mark Fisher’s essay “Exiting the vampire castle” (crossposted at OurKingdom here). He wants his argument to act as a clarion call for recentralising class in authentic leftist politics. Class analysis, he feels, is wrongly lacking in a movement that – now entirely relocated to Twitter – has been taken over by liberal, university-educated, po-faced feminists, anti-racists and queers whose only real political commitment is to their own advancement. It’s a “Vampire’s castle” in which nice leftist men like him are unfairly torn down by a hegemony of capitalist liberals masquerading as revolutionaries.

But in arguing this he replicates exactly the mistakes he says he’s against. Here’s what he got wrong:

  1. People using intersectional approaches have already, repeatedly, refuted the “class is the most important oppression” argument. Exactly the same goes for any “x is the most important oppression” argument.

As Fisher has clearly followed Twitterstorms of the past year (I wish I hadn’t) he must have heard the term “intersectionality” somewhere. Nobody has stopped talking about class, they’ve just continued to insist, as they have been for decades, that class analyses take into account intersecting forms of oppression from which it is indivisible, like sexism, like racism, like homophobia, like transphobia.

But Fisher takes it further. He doesn’t just think that the Twitter-critics are essentialists, or bullies. He also equates feminism (particularly, by implication, black feminism) and queer politics, trans* politics, disability politics - all of which are broad, multifarious fields of thought and action - with liberalism. This isn’t just insulting, it’s factually incorrect. Intersectional feminists are explicitly not liberal feminists: that is the whole point of intersectionality.

  1. Russell Brand is still sexist even if he is also working class and funny. These things can co-exist.

However hilarious and inspiring you might think Russell Brand is, he has so far failed to extend his new-found revolutionary standpoint to women. Read Laurie Penny’s excellent discussion of this here.

It comes down to this: being working class, or funny, or clever doesn’t make it ok to be sexist. Fisher describes Brand’s reaction to being accused of sexism, “I don’t think I’m sexist”, as displaying “exactly the kind of good-humoured humility that was entirely lacking in the stony faces of those who had judged him”. Well, sorry for not finding Brand’s unapologetic sexism the massive jape Fisher seems to think it is. Somehow the everyday experience of misogyny makes another experience of misogyny a bit less hilarious. Fisher’s apologism on this front isn’t exactly shocking, but it is tiresome and ill-informed. Let’s stop idolising Brand now; it’s getting embarrassing.

But is this what Fisher means when he blasts “moralisers”? Am I, with po-face and angrily pointing finger, “making people feed bad”? On to the next point.

  1. Any social critique Mark Fisher finds difficult is rejected as “moralising”.

Fisher is really keen on the term “moralising” as a way to discredit stances he doesn’t like, without having to engage with them. In just one article, he repeats [my bolds]:

“…the way in which they were personally vilified and hounded left a horrible residue: the stench of bad conscience and witch-hunting moralism”

“…i.e. nothing to do with the sour-faced identitarian piety foisted upon us by moralisers on the post-structuralist ‘left’”

“The moralising left quickly ensured that the story was not about Brand’s extraordinary breach of the bland conventions of mainstream media ‘debate’”

“For the moralisers, the dominant story was to be about Brand’s personal conduct – specifically his sexism. In the febrile McCarthyite atmosphere fermented by the moralising left, remarks that could be construed as sexist mean that Brand is a sexist, which also meant that he is a misogynist.”

“Where a few months before, I would have stayed silent as the PoshLeft moralisers subjected Brand to their kangaroo courts and character assassinations…”

“…class has disappeared, but moralism is everywhere”

All in all, Fisher uses the term “moralising”, or a variant of it, nine times in his article. But who are the moralisers Fisher so decries? Who are the awful people subjecting the left to “bourgeois modes of subjectivity”? Who are the people creating the omnipresent sense of fear and guilt he describes?

Oh, it’s the anti-racists. The feminists. The queers. The people who are working class but don’t happen to be white men. It’s the oppressed groups who fail to find much to laugh about when faced with repeated leftist male complicity in their oppression (see: the Socialist Worker’s Party). By painting people who experience other forms of disadvantage than Fisher does as unfun moralisers, he can handily refuse to think about these interlocking, sophisticated forms of critique.

Where I agree with Fisher, to some extent, is that Twitter means an overwhelming heap of criticism can land in the @-column of an unsuspecting columnist who thought they were writing progressive stuff. I’m sure that’s a tough experience. It does sometimes amount to bullying. But the problem for the commentariat (who appear to be the only people in Fisher’s vision of the left) is that bullying is generally something the more powerful do to the less powerful, not the other way round. I think there’s a useful discussion we still need to have about this, along the lines of it being ok both to make mistakes and to call out mistakes. I agree that we shouldn’t “condemn” people for one misguided phrase in an article. But I can’t engage with this worthwhile discussion via Fisher’s piece, saturated as it is with exactly the kind of identitarian name-calling that he says he’s against.

  1. Fisher can’t decide whether he likes queer approaches to identities or not

He says: “Instead of freezing people into chains of already-existing equivalences, the point was to treat any articulation as provisional and plastic. New articulations can always be created. No-one is essentially anything.”

This is a queer insight of the kind that the Fisher condemns earlier in the article as “sour-faced identitarian piety foisted upon us by moralisers on the post-structuralist ‘left’” - but he misunderstands or omits the crucial point that the plasticity of identity (or identifications, if he prefers) doesn’t stop people from experiencing oppression as if identities were essential.

I may or may not identify as a woman but I certainly experience misogyny as one. Men may not be misogynist by essence, but we all – of all classes and genders and races - live in a patriarchy and our attitudes are shaped by it. This means a constant process of re-evaluating and challenging our behaviour. It means that while a queer aim might be “not to be defined by identitarian categories”, for as long as societies assign sets of identifications to us denoting social privilege, we aren’t post-race, post-gender, post-sexuality, or post-any other identity-set. While identities are still used to oppress, we can’t pretend we aren’t defined by them.

This is also what the much-derided process of privilege checking is about. It isn’t just a phrase to beat other Twitterers over the head with, as Fisher thinks, its a way of calling attention to the complex interplay between someone’s socially constructed but often non-consensually assigned identifications and their opinions. It’s a way of questioning claims to objectivity or neutrality – which historically, for a change, have been the preserve of men.

Angela Mitropoulos sums up the point excellently: “I do not see how Mark can, on the one hand, rail against “identitarianism” and “essentialism” while, on the other hand, offer a concept of class that is nothing more than identity politics—in this case, the identity politics of white men, and their rights to go about their enjoyment, their entitlement to treat others as they wish, unhindered by criticism. His entire definition of class is threatened if it includes gender or race, which is bizarre—though perhaps no more so than characterising critics of Brand and Owen as residents of “Vampire’s Castle.”

  1. The irony of a male writer using the term ‘witch-hunt’ to argue against feminist criticism

Let’s not forget that the witch-hunts were predominantly a genocide against women. Ditto for “McCarthyite” used against queers. It’s almost a parody of itself.

  1. Vampire castles seem like a better place to be

Fisher conjures visions of a world full of angry feminist vampires shouting “CHECK YOUR PRIVILEGE!” at poor, unsuspecting, powerless, innocent, white leftist men who are hesitantly tip-toeing through the castle on their way out. A vampire-archy, if you will. He means it as a powerful warning against the present state of things. The image works because it’s sexy-scary (remember Twilight?) and is also an allusion to Marx, as white leftist men love referencing Marx.

But with a cape-tip to a social media discussion (uh-oh) between some of my favourite moralising feminist activists, I know that I’d rather be inside a castle built large enough to accommodate a potential solidarity between every oppressed group, with enough space to acknowledge common and differentiating identities, experiences and actions for change. Bring on the vampire revolution.

(For further reading, here are links to some more eloquent, considered responses than mine: here, here and here)

What About Teh Menz? Depression, alienation, toxic masculinity and the far Right

Does Jordan Peterson or the Fab Five of ‘Queer Eye’ have the best lines? Have ideas of manhood and capitalist competition taught men life lessons which make them miserable? What do the far Right and progressive activism offer to unhappy men?

This is an example of reverse politics, of the kind emphasized the politics of neo-kantian narratives , with a kind of signification as a foreseeable prophecy…

This kind of politics signifies more experience as politically manufactured , then it’s reverse : . the experience of politics of a shared process, …

The former tends to shut focus on the interior, the consumption of the one from the psychic vampire.

The insolubility of the vampire is unfortunately based on a systemic insecurity of it’s host

That may not even turn on moral of ethical distinction, but on the perception of power motives, as such can gain foothold on political equilibrium

youtu.be/vTqYmYzKnk0

A vampire’s worst nightmare… Halloween being cancelled this year. Quelle horreur :astonished:

The ensuing shorter days, are a welcome reprieve, from the now-post short Summer nights, of which I appreciate more than ever.

Indeed.

Are You planning something special later on?

The winter solstice is a vampire’s delight. No other night is longer and no day shorter. But it also means the subsequent days get longer.

This year’s winter solstice will occur at 11:48 p.m. ET Monday (04:49 GMT Tuesday). At that moment, the sun will be directly overhead at 23.5 degrees south latitude, and the Earth’s axial tilt will be as far from the sun as possible.

When the celestial fireball finally makes its appearance in the northern hemisphere it keeps a low profile. On the winter solstice the sun follows the lowest path of the year in the sky of the northern hemisphere.

I would like to do something at Winter’s. Solstice, but miss Holloween most, as You do, this year, for that night I could finally be myself.

And masks would liberate !

MagsJ, all fakery discounted by now, being absolutely on the level to connect the largess of the gap between the Vampire, and his often associated psychic element, tends to portray him negatively. In terms of covering some diffuse self parody or other.

But au-contraire, the immortality to be gained transcendentally far outweighs the moral , blood letting implications of temporal, cave like existence of archaic times.

The cover has risen from that grave like stupor unto the more specious realms of the spirit, and the masks of those times out function the covid19 masks of today.

The vampire strikes back would be a better eulogy for outwirn, depleted bodies…

MagsJ, would have loved to see the erased parts, following, course I do that often, …
Maybe a change of course, or getting up for the night?

At any rate there is still some privacy between vamps.

youtu.be/rIaN1p2_oo8

youtu.be/WVz8rvIl_vY

Erased duplicate

…a bottleneck of thoughts, from the last few days… buffered, but now released, into the akashic record of time and out into the mental plane of pure thought. Does the mind seek it, or it seek the mind, though?

Meno said: “MagsJ, all fakery discounted by now, being absolutely on the level to connect the largess of the gap between the Vampire, and his often associated psychic element, tends to portray him negatively. In terms of covering some diffuse self parody or other.”

-it wasn’t the audio, but the visual aesthetic, that I posted the video for… reminiscent of a church graveyard I used to find myself in, on occasion, when young… where the priest did John Wayne impressions, and the graves, used for hide-and-seek, with kin.

MagsJ said,

“wasn’t the audio, but the visual aesthetic, that I posted the video for… reminiscent of a church graveyard I used to find myself in, on occasion,”

Its like a comedy of errors, for the playing field is supplicant to my own corrected viduals, as a metafor, leading to the hopefully more complete metamorphosis, for of course literally non obliging, but me, analogous to the bat’s blindness, find myself needing to cover the interchange, so sorrily decided by the continental oceanic gap.

Cover that, kindness, of which in case of vampires and bats, could instill some measure of impression between the literal and the imaginary.

Leave at that, but so that sorrily miss especially the dark room with what appears as a faint small figure sitting by. a table, faded into the background , a contextual mix.

Why is Dracula the strongest vampire?
Like all vampires, Dracula’s powers grow stronger with time, age, experience, and the consumption of human blood. He is even shown to be more powerful than Hybrids, Enhanced Originals, and even Advanced Originals, or the Beast. … However, he needs to feed on human blood to sustain that life.
unnaturalworld.fandom.com › wiki

FOUNDED

5th or 6th century

SPECIES

Vampires

LOCATION

Europe, headquartered in Hungary

The Old World Coven is the oldest coven of Vampires that is located in Europe. The Coven likely had a different title before 1873, when the cities of Buda, Pest and Óbuda were united to form the city of Budapest.

History

The Old World Coven was formed in the 6th century, as the Vampires began to take action against a powerful enemy, the bestial Werewolves who sought to destroy all in their path. When Hungarian warlord Viktor agreed to wage war on the Werewolves on behalf of Marcus Corvinus in return for immortality and turned his army into the first Death Dealers, the foundation for a society was laid. Under the leadership of the three Vampire Elders, this society grew and rules were established. Thus, the Covenant and the Coven with it were conceived.

Viktor and Amelia, two of the three Vampire Elders, sought to undermine Marcus’s authority, which implies this may have been the primary reason a Vampire Council was formed and The Chain was conceived.

In the third film, taking place in medieval times, a large number of Coven members are seen in a secluded mountain fortress of Castle Corvinus, however, it is unlikely that that was the Vampires’ only settlement at the time as Semira is known to have been Regent of the Budapest Coven for an unspecified period of time prior to being sent to the Nordic Coven in 1402 or 1403.

At some unknown point, the growing Vampire Coven would also spread out in branches over the continent, establishing powerbases and extending its reach to countries like the Paris Coven in France and the Nordic Coven in Scandinavia. Later, the Vampires colonized America and established the New World Coven most likely with a base in New York.

By the 21st Century, as seen in the first film, a number of members had gathered at a secluded mansion, but it remains unknown how large a part of the Coven’s population they represented. The Vampires in the Coven owned Ziodex Industries and had begun manufacturing synthetic blood.

youtu.be/IYhqlOQ1vHY

youtu.be/eEINzEh_qYg

You’re sailing softly through the sun
In a broken stone age dawn
You fly so high

I get a strange magic
Oh, what a strange magic
Oh, it’s a strange magic
Got a strange magic
Got a strange magic

You’re walking meadows in my mind
Making waves across my time
Oh no, oh no

I get a strange magic
Oh, what a strange magic
Oh, it’s a strange magic
Got a strange magic
Got a strange magic

Oh, I’m never gonna be the same again
Now I’ve seen the way it’s got to end
Sweet dream, sweet dream

Strange magic
Oh, what a strange magic
Oh, it’s a strange magic
Got a strange magic
Got a strange magic

It’s magic, it’s magic, it’s magic
Strange magic
Oh, what a strange magic
Oh, it’s a strange magic
Got a strange magic
Strange magic
Oh, it’s a strange magic
Oh, it’s a strange magic

Got a strange magic
Strange magic
Oh, what a strange magic
Oh, it’s a strange magic

Got a strange magic
Strange magic
You know I got a strange magic
Yeah I got a strange magic
Strange magic

Written by Jeff Lynne
Lyrics © Sony/ATV Music Publishing LLC

"Communism and the Vampire: The most famous use of the vampire image in political rhetoric came in the nineteenth century in the writings of Karl Marx. Marx borrowed the image from his colleague Frederick Engels, who had made a passing reference to the “vampire property-holding” class in The Condition of the Working Class in England. Marx commandeered the image and turned it into an integral element of his condemnation of the bourgeoisie (middle class). The bourgeoisie supported the capitalist system—the very system that had it in its grip.

Thus Marx could speak of British industry as vampire-like, living by sucking blood, or the French middle class stealing the life of the peasant. In France the system had “become a vampire that sucks out its the peasant’s blood and brains and throws them to the alchemist’s cauldron of capital.” As Chris Baldick noted, for Marx, the essential vampiric relationship was between capital and labor. Capital sucks the life out of living labor and changed it into things of value, such as commodities. He contrasted living labor (the working class) with dead labor (raw products and machinery). Living labor was sentenced to be ruled by the “dead” products of its past work.

These products did not serve living labor, but living labor served the products it had created. Its service provided the means to obtain the products (which made up the wealth of the middle and upper class). Very early in Capital Marx stated, “Capital is dead labour which, vampirelike, lives only by sucking living labour, and lives the more, the more labour it sucks.”

Dracula and Xenophobia: Recent comment on the novel Dracula, especially that of Stephen D. Arata, emphasized the social comment Bram Stoker more or less consciously embedded in his novel. Dracula, like other British novels of the period, expressed the fear that had developed as the British Empire declined: as the civilized world declined, Great Britain, and by extension Western Europe and North America, were under the threat of reverse colonization from the earth’s “primitive” outposts. Stoker was well known for placing his gothic setting at a distant place, rather than pushing his storyline into the distant past. In the person of Dracula, he brought the wild unknown of the East, of Transylvania, to contemporary London.

Arata convincingly argued that Stoker held Transylvania as a fresh and appropriate symbol of the strife believed to be inherent in the interaction of the races of Eastern Europe and the Middle East. Dracula was not like Lord Ruthven or Carmilla—merely another decadent member of displaced royalty. He was a warrior in a land that pitted warriors against each other as a matter of course. His intentions were always domination and conquest. The coming of vampirism could bring the racial heterogeneity (and the racial strife inherent within it) to Great Britain. After figuring out what Dracula was and what he intended by his purchase of property in London, Jonathan Harker lamented his role in introducing Dracula to the city’s teeming millions. He would conquer the land and foul the blood of the British race; the threat to the body was also a threat to the body politic.

The central problem for Stoker was a form of Victorian racism and the threatened pollution that the savage races, represented by the figure of Dracula, brought. After Dracula bit Mina Murray, she became “unclean.” The boxes of foreign earth he brought to England had to be “sanitized.” The untouchable Dracula was also sexually virile, capable of making any number of offspring, while British men by contrast were unproductive. Unlike the mothers, the fathers of the major characters were not mentioned, the only exception being Arthur Holmwood‘s father, who died during the course of the novel. Only at the end, after Dracula was killed, did Harker symbolize the father of a new generation with a pure racial heritage.

The Contemporary Vampire: Throughout the twentieth century, the vampire has become a stock image utilized internationally by political cartoonists and commen tators to describe the objects of their hostile political commentary. In recent decades, war, fascism, and even the country of Ghana have been labeled as vampiric entities. One recent vivid example of such usage of the vampire metaphor appeared in the wake of the fall of Communism in Russia and Eastern Europe at the end of the 1980s and the proclamation by then U.S. President George Bush of a “New World Order.”

This term had previously entered the language through its use by a wide variety of political utopians from which it had acquired a number of controversial connotations. It sparked a variety of negative comment. The most virulent of the opposition, claiming that a New World Order amounts to the arrival of a world government, organized the Police Against the New World Order and launched Operation Vampire Killer 2000. Its program consists of a step-by-step plan to inform police, the military, and other law enforcement units about the New World Order and thus prevent their cooperation with it."

This is from a piece I found stashed, for which I cant find the siyrce, but will keep searching fof it.

Actually, in the swamp, if there is one, the only way to resist is through a thorough, vampiric existence.

It really is an inverted life, which gives new life , by aceeding to the eternal night of egolessness, for how can anyone perceive the nothingness of the intangible?

That covers the acid test of the nothingness around being and and existence, which really is something, - else besides that which glimmers with false hope.

The signs are everywhere, beware all who enter here, because there really is no exit. What can’t be seen, can hardly be understood, the break is enormous, it is a gaping hole no one could or should be expected to envision, not less figure out. It has a hidden objective, although such simplest things are hardest to understand.

Perhaps a mouse who used to roar in presence of cats in the jungle, got smart and took to flight in the darkness as dark princes once did.

"Dark Prince introduces the Carpathians, a powerful and ancient race. They have many gifts, including the ability to shape-shift, and extended life spans, living well over many years. Though they feed on human blood, they don’t kill their human prey, and for the most part live among them without detection. Despite their gifts, the Carpathians are on the edge of extinction. There have been few children born to them in the past few centuries, those that have been born are all male and often die in the first year. It has been more than 500 years since a female has been born. Without females, many of the males are turning, becoming vampires, the monsters of human legend. After 200 years, a male Carpathian loses the ability to feel emotions and see in color. These will only return to him when he finds his lifemate, the other half of his soul.

Mikhail Dubrinsky, Prince of the Carpathians, has worked tirelessly for centuries to discover why so many of their children die in the first years. However, his efforts have come to no avail. It is at this time, when he is on the brink of despair and self-destruction that he meets a beautiful human psychic, Raven Whitney. Raven is a strong telepath, and has worked with the police to capture four serial killers. But her gift has come with a price: a life of isolation, and pain whenever she uses her gift. When he meets her, he is shocked and amazed when he suddenly is able to see colors in her presence; he realizes that she is his lifemate. Despite his joy, there is doubt in his mind. No human woman has ever been a lifemate to a Carpathian. All human females who were converted had become deranged creatures, feeding on children and had to be destroyed.

But he knows she is the only woman for him, the other half of his soul. He is determined to live as a human with her and to die when she does. However, this is not to be. Raven is attacked by fanatics, and he is forced to convert her to save her life. Her survival brings new hope to him and his people, for if one psychic human female can be a lifemate, surely there are others."

Know Thyself

Subject: Re: Desperate Degenerates Yesterday at 10:53 am

Satyr wrote:
I visit, from time to time…only reading what I can see. Haven’t bothered to become a member.
I’ll only be banned when they sniff an old goat.

Last time a pseudo-intellectual bombastic buffoon attempted to teach me Greek.
A member of the van clan, moulded to be narcissistic and proud of it.
He reported me to the “authorities” just as I was expanding my views on tribal Vampire clans, mental parasites and whatnot… and I was thrown out with a final taunt that irreparably bruised my fragile ego.


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_
…and just as the discussion was starting to get really interesting too…