Emily Carr: A Freudian Analysis by Joe Canuck

“Emily Carr” oil on canvas painting by Joe Canuck

Surrey, British Columbia, August 29, 2013 — 8:16 pm

I’’m 53-years-old, single, and ready to marry for life — “for keeps” — any sane female who owns a heavy-duty sniper rifle. (Smiley face here.) I’’d really rather make love than war. Is this my last post/message to the world?

Who was Emily Carr and why am I writing about her on the eve of Apocalypse Now, on the eve of the U.S. bombing Syria back to the Stone Age? Folks, this is the Cuban Missile Crisis on Steroids! If Russia doesn’t back down, (and there isn’t any indication that she will) you can bet your bottom dollar that a nuclear holocaust will ensue in the next week or two. So who cares about art or Emily Carr in these final days before we all meet the devil? Well, I care, and I want to quickly get these words down before we all become crispy critters. I had wanted to write an essay on Carr ever since the spring of 2011, when I had created a series of 10 artworks dedicated to her. It’s now or never.

Emily Carr, the artist, as opposed to Emily Carr, the University named after her, was born on December 13, 1871 in Victoria, British Columbia. She lived to the age of 74 and died on March 2, 1945, at the James Bay Inn in her hometown of Victoria. The following is from Wikipedia: “Emily Carr was a Canadian artist and writer heavily inspired by the indigenous peoples of the Pacific Northwest Coast. One of the first painters in Canada to adopt a modernist and post-impressionist painting style,[1] Carr did not receive widespread recognition for her work until later in her life. As she matured, the subject matter of her painting shifted from aboriginal themes to landscapes, and in particular, forest scenes. As a writer, Carr was one of the earliest chroniclers of life in British Columbia. The Canadian Encyclopedia describes her as a ‘Canadian icon’.[2]”

In her essay that accompanied a recent and unlikely exhibition at the Burnaby Art Gallery of Emily Carr’s paintings alongside those of the obscure Irene Hoffar Reid, Sofia Stalner writes:

“The artists in this exhibition, Emily Carr and Irene Hoffar Reid, might seem to be opposite sides of this memory divide: Carr is B.C.’s most well known artist and viewed as a regional treasure while Hoffar Reid has been largely forgotten, or ignored, in the art historical account of the region. However, history, and what is considered worthy of inclusion in a history, is neither singular nor static; instead it is an ongoing process of which we are all a part. The official art history of British Columbia is only one, stylized, story in a multitude of memories and stories connected to this particular place.”

Basically, Ms. Stalner believes that Hoffar Reid was just as good an artist as Carr. But whereas Hoffar Reid led the conventional life of a married woman and mother, Carr never got married and remained an eccentric all her life and her best friend was arguably, and pathetically, her pet monkey named Woo. This, as insipid and vapid as it appears at face value, is probably why Carr became the icon that she is today and why the first art college-cum-university in this province was named after her and not after Hoffar Reid. Less blunt than me, or rather more expository than me, Ms. Stalner expands on this point in her essay, “Shifting Margins: Emily Carr and Irene Hoffar Reid,” published for the exhibition:

“However, it is also important to note the ‘categories’ of femininity being constructed by the art historical canons and which ‘categories’ are favoured. The perceived eccentricity and rebellious nature of Carr is now seen as something positive; she is constructed as someone who did not conform and as a proto-feminist. From a present day perspective Carr is viewed as a cool and independent woman and therefore she is worth remembering. Her paintings are often used as ‘evidence’ of Carr’s independence and non-conformist personality. They are thought to show her break both with Victorian artistic conventions of her youth as well as gender norms of the 1930s.

“Irene Hoffar Reid, on the other hand, seems to have led a more conventional life with a promising artistic career in her younger years, which was then put on hold during the time when she had young children and then continued until her death in 1994. In contrast to Carr, the motifs of Hoffar Reid’s work have led, I believe, to her being sometimes regarded as conventional and domestic. That domestic or personal subjects are thought of as less important than other subjects are of course also a gender normative notion that describes these themes as female and subjective. Unlike her peer Vera Weatherbie, who in several texts is referred to as ‘Varley’s girl’ and then later as ‘Harold Mortimer-Lamb’s wife,’ Hoffar Reid does not seem to have had romantic ties to any of the male artists, which is otherwise a sure way to get remembered.”

Was Emily Carr a feminist without knowing it? And if she was, was this a good thing or not? Does being a feminist make Carr more memorable or more worthy than Hoffar Reid for canonization? Obviously it does. Wikipedia doesn’t even have an entry for Irene Hoffar Reid, but it does have extensive information and a respectful page for Emily Carr. This page in question also lists two rather interesting biographies for Carr. The first one is called “Canadian Artist Emily Carr: A Psychoanalytic Portrait,” which is a 2011 unpublished thesis for the International School of Analytic Psychology in Zurich written by Phyllis Marie Jensen, Ph.D. The other biography is a creative writing piece by novelist Susan Vreeland in 2004, The Forest Lover, which “is based on events from Carr’s life, using Emily Carr as the main character/protagonist and altering some characters and chronology for the purpose of pacing. Each part of the novel is introduced by a reproduction of an actual Carr painting.[33]” (Wikipedia). Besides having a university named after her, Carr has spawned several cottage industries along the way, it appears, and the exhibition and analysis of the works of the obscure and forgotten Hoffar Reid in comparison to Carr by Ms. Stalner is all the more remarkable and brave, and original in light of this fact.

Original Oil Painting on Canvas
Original Oil Painting on Canvas

The biography by Phyllis Marie Jensen “Canadian Artist Emily Carr: A Psychoanalytic Portrait” is quite provocative, though I haven’t actually read it. I’ve fired off an email to her requesting a copy but I’m not holding my breath. Or rather, the title of her biography is provocative, just as the title of my series of artworks was also meant to be provocative. However, I wasn’t serious; my artworks are not meant to be a Freudian analysis or Freudian interpretation of Carr, not exactly. I am not referring to Sigmund Freud but rather to Lucian Freud, the English painter who just happened to be the grandson of the famous psychoanalyst. Lucian Freud passed away a couple of years ago at the ripe-old-age of 89 and was best known for his figurative paintings of naked fat people, or is this not politically-correct to say anymore? Probably not, just as it is probably not kosher to depict the Canadian icon of painting as a naked fat pig a la mode Lucian Freud. This was the extent of the conceit, no more and no less, when I chose the title “Emily Carr: A Freudian Analysis” for my series of artworks dedicated to Carr back in the spring of 2011.

Back to the future or rather the present and a reality check: As the U.S. prepares to start yet another war — the third one in less than 10 years; excluding the extra-judicial sorties and the 20 thousand-plus people killed by Obama’s drones in Yemen, Pakistan, and Bahrain in only the last 4 years — the news of the day that has Americans mesmerized is not the impending World War 3 with Russia and China, but Miley Cyrus. According to Google, Miley Cyrus has over 8 million clicks as of today, as opposed to a few thousand clicks for Syria. And the reason for all the YouTube traffic going to Miss Miley is……? Apparently, a young girl sticking out her tongue and bending over like a bitch at the MTV Video Music awards and simulating being humped from behind, “doggie-style” by Robin Thicke (our dubious Canadian footnote to The End of Times) is decidedly more deserving of our attention.

But of course it is. It has been honed over a hundred years by the people at Madison Avenue and now the ability to distract and control and lead the dumb masses into war has become an exact science. Even if we are lucky and stave off Armageddon in the next few weeks, the radioactive plume from the Fukushima Daiichi nuclear disaster of March 11, 2011 is finally expected to arrive in about 4 months’ time, after almost 3 years of drifting across the Pacific Ocean. Once here on the Westcoast, it’s expected to linger indefinitely over us, over the beloved rain forests immortalized by Carr’s paintings, needless to say. But Emily Carr and her art are undoubtedly the last and least of our concerns as people die off like flies from cancer and leukemia in the coming years. In fact, recent tests of radioactive particles in our air have reached life-threatening levels in cities as far south as San Francisco. If you don’t believe me, read the articles about Fukushima at rense.com because you’re not going to get the truth from either our politicians or the mainstream or rather lamestream Media.

One way or another, the NWO (New World Order) banksters will kill us. Sooner or later, but better later. If the NWO wants to de-populate us, the NWO will de-populate us. It’s that simple. This is why the most dangerous extinction event in modern times has been virtually buried and blacked-out by their Controlled Corporate Media. I never thought much of David Suzuki and his doomsday shtick about global warming, but I’m now convinced he’s a fraud for not sounding the alarm bell about eating glow-in-the-dark sushi. Incidentally, where the freak is Paul Watson and Greenpeace? Our beautiful and life-sustaining sea creatures are being ‘genocide-ed.’ Two weeks ago, (August 12, 2013) a front-page picture and story of herring fish bleeding out of their bodies and eyes was published by the “24hrs” free newspaper. (I refuse to patronize and pay for any newspaper these days.) But none of the so-called experts had enough brains or courage to point the finger at Fukushima and the 300 tonnes or more of radioactive poison hemorrhaging out of that idiotically-situated nuclear plant on a daily basis for the past 2.5 years. WTF?!

At the end of the day, literally, under the present circumstances, everybody we trusted or wanted to trust have turned out to be major disappointments and frauds of the highest order. Betty Davis, the Hollywood movie star of the 1930s and consummate professional, once memorably said that all her relationships and marriages were disappointments and that the only thing that gave her any real satisfaction was her work. Likewise, nothing satisfies me or sustains me more than my own work and my own art and this is why after two years of procrastination I am finally writing my essay on Emily Carr as I tick off all my unfinished tasks on my bucket list before I meet the devil.

Digital or Computer Generated Image (C.G.I.), Photo-conceptual art, Size and medium variable
Digital or Computer Generated Image (C.G.I.), Photo-conceptual art, Size and medium variable

I end with how I started: I’m 53-years-old, single, and ready to marry for life — “for keeps” — any sane female who owns a heavy-duty sniper rifle (Smiley face here.) I’d really rather make love than war. Is this my last post/message to the world?

Surrey, British Columbia, August 30, 2013 — 5:05 pm

Update: August 8, 2014

Two days ago I came upon the following comments made by Rerevisionist at the Radical Press website in response to an article by Trevor LaBonte entitled, “Politically Incorrect Truths About History, Current Events Surface in Sea of Information”:

The picture of the Jewish 20th century is coming into focus. May I just enter a plea for consideration of another piece of this jigsaw. The evidence points to nuclear weapons being yet another jewish money-making and behavior-controlling fraud. If this is true Israel has an Achilles heel…!

Here is my response to the above quotation by Rerevisionist:


Yours is a highly provocative and thought-provoking site… I spent about 4 hours reading the articles and listening to the videos.

The good news is that the Pacific Ocean is not dead and I can eat sushi again after I stopped eating it 9 months ago thinking that it was irradiated by Fukushima.

The bad news is that we can’t nuke Israel anymore… but then again… nor can the Jews nuke the world with their Sampson Option. All of this isn’t really bad news but great news!

I remain cautiously optimistic about the world, more optimistic and less cautious than yesterday, when I had not yet encountered your site. After all, if the genocidal Jews really had nuclear bombs, they would have used them years ago, like the minute (split second) that they were ready for use.

Rerevisionist’s thesis is thus:

[1] Nuclear bombs are a hoax.

Hiroshima and Nagasaki were destroyed by incendiary bombs; not by the Atomic-bomb, which does not exist. Moreover, the films of the subsequent Hydrogen-bomb tests from the 1950s and 60s look incredibly amateurish and fake and simply unbelievable today.

[2] Nuclear power is almost certainly a hoax too.

There is nowhere in the world powered exclusively by nuclear power. Nuclear plants are probably used as electric dump-loads (i.e., a place where excess electricity is ‘dumped’ to keep the grid at optimal performance). In other words, so-called Nuclear Power Plants don’t generate any electricity but waste it!

Why have we been so monstrously lied to by our leaders and kept in a perpetual state of fear and anxiety? Have you ever noticed that “nuclear weapons” have never deterred us from starting wars, but are perversely used as a reason to start wars instead? We invaded Iraq because of Weapons of Mass Destruction, which we later found out did not exist. Now the Jews want us to invade Iran because of its supposed Nuclear Arms Threat. Whom exactly is threatened, we in the West or the Jews in Israel? Folks, this is nothing but another wicked Jew Lie and Scam and potentially just another Ritual Slaughter of the Goyim for the Jews.

As I write, August 8, 2014, the Jews have just recently slaughtered about 2,000 men, women, and children in Gaza, wounded about 10,000, and made about 600,000 Palestinians homeless. Canada’s Prime Minister, Stephen Harper, and all the Jew-bought-and-paid-for politicians, including B.C. Premier, Christy Clark, have publicly declared that “they stand with Israel” and endorse this latest Genocide in Gaza. It is painfully clear to me that we no longer have a representative but occupied and hostile government here in Canada. Welcome to Zion North!


Will We Start World War 3 because of Political Correctness? Joe Canuck says ‘Yes,’ if the useful idiots get their way.

Don't worry, Syria, Democracy is on its way

Surrey, September 22, 2013

The essay below was written for an American Poetry Anthology course I took at U.B.C. (University of British Columbia) in 1984. I can’t remember the professor’s name, (no luck with an Internet search) though I can still visualize what he looked like at the time: he looked like George Peppard, the American actor who is best remembered for playing the role of Colonel “Hannibal” Smith in the 1980s television action adventure series “The A-Team.” If I remember correctly, I had put off writing the term paper until the last few days before it was due. I think I wrote it over the weekend and submitted it on the following Monday. My marks suffered (I was given 32 out of 50 points) and should have better applied myself.

My essay compares two poems by two Black poets, namely Imamu Amiri Baraka, born 1934, and Don L. Lee (now known as Haki R. Madhubuti), born 1942. Both are still alive; in their late and early 70s, respectively. Both are now regarded with great veneration and recognized as two major Black revolutionary poets of the 1960’s and central figures in what was later to be called the Black Arts Movement — an informal term for the 2nd Black Renaissance and flowering of black music and culture and politics that would surpass and have an even more profound effect than the so-called Harlem Renaissance of the 1920’s, which was, at the time, the greatest Negro migration from the American south to the northern cities, particularly to Harlem in New York City. The Harlem Renaissance, to give you an idea of its influence on the wider American popular culture, gave us the likes of Fats Waller, Duke Ellington, Langston Hughes, Jacob Lawrence, Bill “Bojangles” Robinson, W.E. B. Dubois, Marcus Garvey, and Paul Robeson, to name only a handful of the more illustrious ones.

In Dynamite Voices, a collection of critical essays published in 1973, Lee says that he must do more than protest, since “mere ‘protest’ writing is generally a weak reaction to persons or events and often lacks the substance necessary to motivate and move people.” Black poetry will be powerful, he says, if it is “a genuine reflection of the poet and his people, presenting the beauty and joy of the Black experience as well as outrage against social and economic oppression.” Both Lee and Baraka have said at various times that Black art is fundamentally political. Indeed, to be Black in America is to be a political animal. And when I say “animal” I mean no offense, of course: I am not being a racist. I dare say the pendulum has swung far too much the other way, to the point of absurdity. Reductio ad absurdum.

In 1984, the year I wrote my essay, “Political Correctness” had not yet entered the lexicon and “Blacks” was the least pejorative or most progressive term for what we now call African-Americans. Is Political Correctness not ostensibly an insidious form of censorship and thought-control? Presently, and basically, we have been sanitized, if not sterilized. Even those of us who abhor censorship find ourselves in the awkward position of self-censoring our speech and thought, for fear of being ostracized or even perhaps being fired from our jobs. For those in the public eye, words must be carefully expressed and or qualified, lest we offend someone and are perceived as being racists in the age of Obama, our first African-American President, though Louis Farrakhan, the Head of the Nation of Islam, would argue that Obama is the first Jewish President of these here United States of “Jewmerica” — just another war for the Jews in Syria, as Nathanael Kapner, my unorthodox rabbi, would say.

Besides the outspoken and honorable Minister Farrakhan who will be 80-years-old this year, younger and equally prominent Black intellectuals such as Tavis Smiley and Dr. Cornel West have openly and consistently expressed their disappointment with Obama; and that’s an understatement. My favorite historian and indefatigable rabble-rouser, Dr. Webster Griffin Tarpley, Ph.D., wrote a masterful book exposing Obama as early as 2008, before he became the President and outing him as a Manchurian Candidate. Would Obama get away with bombing Syria if he were white like George W. Bush? Isn’t Obama really another “Dubya” in blackface; both literally and symbolically as in Uncle Tom? Isn’t this another war for the Jewish Neocons, our new White Massas? “I picked dah cotton massa! May I get mah cornbread now massa?”

Thanks to Political Correctness, no one dares criticize Obama’s plans to bomb Syria and start World War 3 for fear of being accused and labeled a racist, or anti-Semite, for that matter. Yet, perversely, the American Media is hell-bent on fomenting Black-on-White racial violence as evidenced by the recent Zimmerman case: a Black teenager, Trayvon Martin, was shot and killed by George Zimmerman, a Hispanic who was ridiculously packaged and sold in the Zionist Mainstream Media as a “White person of Hispanic descent.”

But as Alex Jones succinctly put it, Zimmerman looks like Kim Jong Un, and is no more white than the North Korean dictator. So why is the ZioMedia fomenting the 2nd American Civil War between Blacks and Whites? Or was this another “Bread and Circuses” to divert our attention away from the longest and deepest depression in American history that will soon implode the nation in lockstep with the implosion of the Petrodollar & American Empire? Delenda est Carthago! Syria must be destroyed! But why? To find out why, read Jim Willie’s spot-on geopolitical analysis: “Syria, Pipeline Politics, OPEC & The US Dollar.”

According to a Reuters poll, 91% of the American public is opposed to an air strike, or rather, an invasion of Syria. This would be great news for peace-loving people all over the world if the rulers of America actually cared about America and its citizens. In other words, the will and voice of the American people will fall on death ears in the Jewish bought-and-paid-for U.S. Congress and Senate: Obama will surely get his green-light to destroy Syria in order to save Syria. War is Peace in our Orwellian World. Is 1776 the answer to 1984, as Alex Jones claims? The answer to 1984 in 2013 is, ironically, the Russian President, Vladimir Putin, who has now been proclaimed by the Drudge Report as the Leader of the Free World.

For the moment, President Putin has temporarily staved off the attack on Syria and a regional war in the Middle East. Honestly, and justly, Obama should do the right thing and give his Nobel Peace Prize to Putin, who clearly has earned it.

Paradoxically, a once peaceful nation and peace-loving people have bought the godawful Zionist propaganda, hook, line, and sinker. Canadians are overwhelmingly pro-war and pro-bombing Syria, “with boots on the ground,” as my once lovely and favorite liberal commentator and blogger, Laila Yuile, has advocated. And she’s a mother with young children, no less.

Does Ms. Yuile not understand the obscenity of advocating and cheer-leading the bombing and killing of other people’s young children in Syria to avenge the deaths of 400 children allegedly poison-gassed by the Assad Regime? Even if that was true, and there is mounting evidence to debunk this Zionist lie, a preemptive strike is classified as a first-class war crime by the Nuremberg Trials, which was famously prosecuted against the Nazis in 1946 by the Americans, who, if there is any justice, will soon find themselves there once more as defendants. WTF is wrong with that woman?

However, I do not really blame her as much as I blame our Media, which has also been infiltrated by the Zionists, if they do not own and run it de facto. It gives me no pleasure to say that our current Prime Minister, Stephen Harper, is nothing more than a Zionist sock puppet — that should be obvious to anyone with half-a-brain. Punica fides! Impeach Harper!

Wake the fuck up, people. Be careful of what you wish for: you just might get World War 3 and Armageddon, if those maddog Ziocons get their way and bomb Syria and the rest of the world back to the Stone Age.

Incidentally, and for the digital record, here are my Professor’s comments on my essay: “Skillful analysis. Not quite the 2500 word essay you were asked for. In this sense, your essay is undeveloped. Focusing on only two poems distorts our view of these two poets at times, especially Baraka. See note on page 3. The article I had in mind was: R. Roderick Palmer, “The Poetry of Three Revolutionists: Don L. Lee, Sonia Sanchez, and Nikki Giovanni” in Modern Black Poets, ed. Donald Gibson (Pentice-Hall, 1973).”

Upon rereading my essay, it appears to me that I was writing for fellow poets or for a “hip” audience. In essence, I was word-playing or “jamming” and responding to the two poets as a jazz musician would in a “jam session” (i.e., improvising within a tight structure or defined boundaries). Both poems simulate the jazz idiom, the idiom of the street. Black poetry, more than any other type of poetry, is often interlinked with the popular Black music of the day. Symbiotically, Hip-hop and Rap musicians would later find inspiration from these Black revolutionary poets of the 1960s.

I would posit that all the subsequent and significant Black music of the 1980s and right up to today can be traced back to these 2 poets. Rap music, once the inner-city protest music of African-Americans, has been adopted universally, due, in part, to its popular mass appeal, and due, more crucially, to the fact that it has been hijacked by the Music and Movie Entertainment Complex, formerly and generically known as The White Establishment. Insofar as White suburban kids today all over the world are as foul-mouthed and violence-prone as any American ghetto hipster nigger of the 1960s, the cultural influence of Baraka and Lee, for better or worse, cannot be overstated.

In light of my attempt at being a hipster jazz musician, adhering to the basic format of the academic paper was probably the last thing on my mind. To his credit, my Professor was hip and ‘got it’, and even said that I had an ‘original mind,’ an off-the-cuff remark he made when I went to his office to pick up my essay. I still remember being in his office and his remark all these many years later. I envied him. I envied his job and his room with the ocean view of the Straight of Georgia. It was both a breathtaking view and a breathtaking dream.


Amiri Baraka’s “Black People” vis-à-vis Don L. Lee’s “A Poem to Complement other Poems”

Vancouver, May 1984

Strip a man of his language, his dignity, his individuality, his potential, and you have reduced him to the thing called the American Negro. Close the shutters. Stay indoors. After two hundred years, the animal you have kept has broken your chains; and this is just the beginning: he will break anything that you have, even your faces, especially your “jellywhite” faces. Savages, madmen, street punks, revolutionaries, terrorists, anarchists, anything but slaves. We do not want your “stoves and refrigerators and record players,” because we oppose slavery of any kind. You cannot make us slaves to your affluence and materialism, and the money you “whiteys” print and possess cannot be used to “control us.” We do not need capitalism anymore than we need your modern equivalents of plantations: “Sears, Bambergers, Klein’s, Chase and the smaller joosh enterprises.”

Make no mistake, we are not dumb niggers who “smash windows” to loot those stove and refrigerators. If not Marxists, we are realists. We are fully aware that the foundation of the new society rests on the violent destruction of the status quo. In a savage land where guns outnumber men, women, and children, “smash the windows” and “Up against the wall mother/fucker this is a stick up” become the revolution’s only hope for success. Keep in mind that this is not violence for the sake of violence, but violence for the insurance of a new “World where black children grow and learn.” Nor is it random violence committed by the individual but organized violence committed by the collective. Hence, the importance of togetherness and mass mobilization as suggested by “Our brothers are moving all over,” and “Let’s get together and kill him my man, let’s get to gather the fruit of the sun.”

Quite obviously, Baraka’s poem, “Black People” is a black revolutionary’s rallying cry to arms. The objective or goal is clear: to incite the violent overthrow of the establishment in the fastest way possible. Hence, there is no time to be wasted on eloquence, obscurity, and verbosity, if the poet is to propel the speed, movement, and direction of the revolution. And if the revolution turns at all, it will begin in the streets. Hence, street language or slang is not only appropriate, but necessary. Furthermore, battle zones are defined by streets. Enemy territory is “Washington Street” and “Springfield”; home territory is “Broad Street” and Market Street.” In essence, the straight-forwardness of the conventional paragraph (the shape of the poem itself); the urgency and informality of the contractions (i.e., “let’s,” which is repeated four times); and the idiom of the ghetto (i.e., “money don’t grow on trees no way, only whiteys got it”) do not contradict or impede the urgency, mobility and direction and goal of the Black Revolution.

Vandalism, looting, and revenge are really not solutions, but are merely pressure valves. How is one to achieve dignity, humanity, and beauty in acts of vandalism, looting and revenge? Violence does not ascend man, but rather, it descends man. No, violence is not the solution for Don L. Lee. He rejects it in his “A Poem to Complement Other Poems.” For Lee, it is not political violence which gives back the Black man his dignity, humanity and soul; but rather, it is the spiritual inner development offered by Black poetry and music which allows the Black man to regain his dignity, to repossess his soul, and to realize his potential.

Indeed, it is rather pathetic to hope for the total and violent destruction of the White Establishment at a time when more realistic integration is possible, plausible, and probable. Even something as basic and long overdue as “rest rooms on ‘greyhound’ buses” begin to apologize for the degradation and dehumanization of Blacks in the past. And just as the discrimination of “Southern outhouses for Negroes” moves toward the decency of “restrooms on buses,” so must the “make believe nothing on corn meal and water” of the Negro move toward the “better and realreal together” world of the “necessary black self.”

In short, this movement forward constitutes “positive change.” A shift in personal lifestyle (“a nigger hippy”); a shift in political persuasion (“a nigger conservative, a nigger liberal”) constitutes negative change, because “niggers don’t u know niggers are different.” In other words, preference for political parties and lifestyles are basic human differences that do not advance the Black Cause. Similarly, to absorb oneself in the idleness of “standing on the corner, thought him was cool” or to absorb oneself in the myth of the superior White man as epitomized by James Bond (“nigger wanted a double zero in front of his name; a license to kill”) is to delude oneself of the harsh realities of the ghetto and unemployment; is to delude oneself of the brutality of the White Establishment and the possibilities of enrichment through Black Culture (“like I don’t play saxophone but that doesn’t mean I don’t dig ‘trane’ [John Coltrane]”).

Whereas Baraka advocates the violent assault on capitalism, Lee’s assault on capitalism takes the form of criticism not against capitalism per se, but against Black men who have been co-opted by the White Establishment without realizing that they have been co-opted by their enemies and their propaganda:

Change: him wanted to be a T.V. star. Him is.
Ten o’clock news.
wanted, wanted. Nigger stole some
lemon & lime Popsicle
thought them were diamonds.
change nigger change.

Unlike Baraka who seeks the violent overthrow of American capitalist society, Lee seeks the cohesion of the Black man and woman as a means of building a new society. The release of anger, hostility, and frustration though Black music and poetry is a centripetal expenditure of energy. The release of anger and frustration through vandalism, looting, and the indiscriminate slaughter of Whites, on the other hand, is a centrifugal expenditure of energy. In other words, Black music and poetry rotate toward the center of the Black man — his soul. In contrast, violence rotates away from the center, leaving the soul empty and spilling over into the mindless mayhem and murder of the mob.

For Lee, violence is never completely satisfactory, no matter how just or necessary it may seem at the time. Violence only begets more violence. For this reason, Lee’s dream of the “realreal together” world rests not in his faith in revolution, which only perpetuates more death and destruction, but in his faith in Black culture, which has sustained, and will sustain the Black man in America.

In a skillful attempt to make Blacks aware of Black culture, Lee incorporates jazz in his poem. Not unlike the famous jazz saxophonist, John Coltrane’s “Ascension,” a forty-eight minute composition based on the repetition of one musical phase, the last thirteen lines of “A Poem to Complement other Poems” is based on the rhythmic repetition and slight variation of “change” and “know the real enemy.”

Moreover, the tendency of the stresses to fall on the second and fourth syllables gives the poem its jazz or staccato rhythm: “Know the real enemy. change. Know the real enemy.” Furthermore, onomatopoeia is employed in these thirteen lines also. For example, “change your change/your enemy change” strikes a very strong semblance to the rhythmic locomotion of the Freedom Train. Like a crescendo in music, the last thirteen lines build up expectation and excitement not unlike Maurice Ravel’s “Bolero,” to use a better-known musical reference. Hence, it seems possible to both visualize and to hear what Lee suggests: the ascension of man through the Arts.

To focus on just one poem by Baraka is perhaps unrepresentative of his overall philosophy. However, it seems to me that he was the most visibly militant of the Black poets of his generation, and his poem, “Black People” is a prime example of this militancy. In poems like “Evil Nigger Waits for Lightening” and even in “Speculative Hipster” Baraka has toned it down a notch or two. It is true that in these poems, he does seem to be on the same wavelength as Lee, when he advocates for the development of Black consciousness and Black culture.

Undoubtedly, both Baraka and Lee subscribe to Mao’s famous dictum that power comes out of the barrel of a gun. But as poets and the intellectual leaders of their Race, both Baraka and Lee also believe that Black poetry and music and Black culture, in general, will play a vital and critical role in shaping the Black Self and Black Collective. This must logically be their default position as poets and men of the arts. This may also be the only hope of advancement for the Black Race, from a cultural point of view, at least; and to hell with the White Establishment if it does not approve, Baraka might add. Lee will probably ditto that.

Post Scriptum

The Truth Seeker is a good site that combines overwhelming evidence and videos proving the Sarin Gas attack was launched by the anti-Assad Rebels, though they should more accurately be called mercenaries, paid for by the Saudis and trained by the C.I.A. and Mossad.

Political Correctness is Jewish! Most people think Political Correctness dates back to the late 1980s, but it actually has a long history that dates back to the Jew Bolsheviks just after the First World War (1914-1918). Here are some informative videos on Cultural Marxism and Political Correctness.

Related: Joe Canuck Regrets and Renounces his Revolutionary Maoist Past and the Massacre of Whites in South Africa

Update: November 30, 2015

Amiri Baraka passed away on January 9, 2014 and I only found out today when I came across this video of him reading his poem “Somebody Blew Up America” on a thread at Lasha Darkmoon‘s site. I am posting the video here as a pertinent update and summary of what the Black Arts movement of the 1960s was really all about, now that I am fully jew-wise. Here are excerpts of my own post/comment in response to the video.

Baraka doesn’t really name the ROTHSCHILD JEW in his poem; only a very jew-wise listener like you and me will get it, but someone who isn’t jew-wise will just infer the DEVIL is the “WHO?” in his poem. A great PITY.

I don’t want to speak ill of the dead, but I have heard that Baraka was funded by the CIA, as certainly E. Michael Jones has proven the Black Panthers were. Jones argues that the Black Civil Rights Movement was a massive social engineering PSYOP.

Was Amiri Baraka a useful idiot or paid asset in the so-called Black Civil Rights and Integration Movement? — which, in hindsight, has failed miserably, and which, 50 years later, can clearly be seen as nothing more than a JEWISH FANTASY-cum-PSYOP of using Blacks as a proxy army and shock troops to destroy Western Christian values and kill Whites in America.


Here is the video in which E. Michael Jones claims kikejews more or less created and financed the Black Panthers in the 1960s: https://youtu.be/Z-CRUbHQl5Q?t=1295 Jones also claims the same thing is happening with ISIS being another kikejew proxy army. But most regular Mooners already know that.

I am surprised that Jones, a devout Catholic and also in my opinion an intellectual heavyweight, is not featured regularly at DM. Jones certainly knows the jews inside and out and he is most certainly not afraid to name them, just like John Kaminski who is regularly featured here but isn’t a Catholic or even religious.

Of course, unlike Kaminski, Jones thinks jews only need tough love and can be converted and brought back to logos or order — NOT!

I think I just answered my own question about why Jones isn’t featured here regularly.