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Tamara's avatar

Your poem is a brutal and meticulously sourced indictment but what gives it its real weight isn’t the catalog of interventions but the theological framing. The Cold War wasn’t simply a geopolitical contest. We can state today that it was a morality play conducted by people who had outsourced their conscience to an abstraction. “They just hate our freedom” is genuine belief, and that’s precisely what makes it so dangerous. Sincere conviction is the most reliable anesthetic for moral reckoning.

You also expose the structural function of the enemy. The communist threat didn’t need to be real in each instance, it needed to be available. Available as a category, as a paintbrush, as a procedural override for democracy. Arbenz wasn’t a communist. Mossadegh wasn’t a communist. Lumumba, Sihanouk, Sukarno… men whose primary offence was the audacity of neutrality. The label was a verdict issued in advance, with the evidence arranged afterward. This is what distinguishes imperial logic from mere hypocrisy. Hypocrisy still acknowledges the standard it violates. Imperial logic abolishes the standard while preserving its language.

The free will stanzas are the sharpest philosophical cut here, and my favourite (if I were to choose). You have identified what political theorists rarely state so plainly…. binary systems don’t constrain choice, they do simulate it. Allegiance or rebellion. Blue or red. The theatre of decision-making maintained while the outcome is structurally predetermined. What was offered to Guatemala, to Iran, to Vietnam was a menu with one item disguised as sovereignty.

I admire what you have accomplished here and deserves recognition: the formal daring, embedding a philosophy of moral epistemology inside a historical indictment, and making neither subordinate to the other. Most protest poetry sacrifices precision for passion. You have refused the trade, and we have got a 10,000-word essay under the form of a 1,000-word poem. This is original and much more fascinating for me, Andrew!

Andrew Leonine's avatar

Staggering writing, Andrew. A catalogue of sins compressed into searing poetic code. Brilliantly executed. Each line cascades into revealed history, not taught in schools, but lived in global lives. The history is long and brutal and, ultimately, shameful.

Poetry at its best opens itself to the reader, offers interpretive arrays, all valid, all contributing to meaning. Poetry at its best does this also: unveils content that is hard to read in easy to read lines. There is something anthem-like in its rhythm. It's a reckoning without redemption, or even remorse, so the weight of it lands heavy on the body, just by association; I am American, America did these things, I hold part of that guilt. That does not digest softly. It sits hard.

I love your subtitle images: a black book -- the bible? (the ones in the tradition I grew up in were all black), a black list? (reminiscent of Dulles's targeted heads of state, and McCarthy's book of names, academics and cultural writers in Hollywood and publishing), or metaphorically, the whole history sealed in black files redacted from view? And all painted red -- in blood? murder and cruelty across the globe, or labeled as communist horde, the Reds?

What you have accomplished here is laudable for its courage, its craft, its crushing revelations. I offer my full applause and standing ovation.

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