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18h12 UTC; FRIDAY, 3 OCTOBER 2014: No wonder the forces of conservative Zealotry and True Belief, in their Luscious Glory of promoting a jingoistic National Exceptionalism as a Sanctii Sanctorum rivalled in crudity only by North Korea and its Juche Idea as part of the public-school syllabus, want the American History curriculum to be one tending to hagiography with elements of Soviet-model "political instruction" expected to emphasise True Patriot Love, National Unity and Identity, a hard-wired obedience to a Higher Will being the basis of Socio-Civic Responsibility and the Natural and Mutual Interconnexion of ons styl ekonomesie vryheid unto Our National and Sovereign Identity as a Peculiar Among the Nations Endowed Solely by the Goodness of His Grace and Favour.

This all the while ignoring George Santayana's famous maxim that "those who do not recall the past are condemned to repeat it" in the name of the Jucheist-model doctrine holding Man to be the Master of Everything and Deciding Everything, yet insisting that Man, by itself, is "incapable of making sound or wise decisions as will not lead to error," hence requiring a Great Leader (in the Christian Right's case, God and Jesus Christ Christian, represented in material form by a superdivine intermediary acting as Prophet, Seer and Revelator in the Presidential role) acting, and in the name and behalf of, the AmeriKKKan People and Nation.

Too, there's also the prospect of the "reinforcing" potential of an "organic" and "natural" "REAL AmeriKKKan" drama which turns out being modelled all the more on Afrikane nationalist ideals of drama from the mid-1930's down South Africa way, in particular Van Wyk Louw's choral drama Die Dieper Reg ("The Higher Will"; 1938), whose plot is explained thus by one Afrikaner literary critic in post-apartheid context:
This play, written for the Voortrekker Centenary of 1938, consists of choruses and individual voices allegorically representing the Voortrekkers in the Court of Eternal Right which must decide over their continued existence as a people. They are charged for rising up against, and breaking all ties with, the law, for appropriating land and enriching themselves, for being motivated by lawlessness and self-righteousness. In their defence they name their suffering, the fact they that paid the highest price by sacrificing their lives.

They are redeemed, not because of their suffering, but because of the power and simplicity, the deed, which motivated them and which made them an expression of God himself who is the “mysterious Source/ of restlessness, deed and life itself”. Because of the deed their existence is secured in the land South Africa. God is the unreasoning, motivating force of history transcending intellectuality and human law. This play is the most profound exploration of the “birth of a nation” in lawlessness.
Not to mention, in a way, such specimens of Afrikaand-language drama as addressed the "poor white" issue of (and during) the 1930's, especially in light of the Carnegie Commission's report on same and its unhealthy effect upon Afrikanerdom in particular, discussed thus at length:
By the 1930s the “poor white” already constituted an established literary category: poor whiteism as theme abounded in prose and drama. As in the many social studies on the topic, the poor whites in literature were seen as the direct descendants of the Voortrekkers: they represented the last of the people living according to the Voortrekker ethic as the character Jan in P.W.S. Schumann’s play Hantie Kom Huis-Toe (1933) makes clear when he points to the parallels between the Voortrekkers and Hantie’s parents:
Is it not true that he (Louis Trichardt, the Voortrekker leader) was possibly just as poor, if not poorer, than your father is today? Your mother and father still live like the real Voortrekkers of the olden days. And what right do we have to reproach them for still living in the same way? They are still Voortrekkers, just like their parents were.
The “Poor whites” are portrayed as the remnants and descendants of the people who lived according to the unthinking deed that Diederichs and Van Wyk Louw romanticised: “they did not gather material possessions, pursue wealth or luxury. Nature was their wealth and freedom, their luxury and pleasure” and “They roamed from here to there… from the diggings to the settlements, to wherever their instinct lead them”.

From this perspective the term “poor whites” seems to be a misnomer. Indeed the “poor white” character, Annie Oosthuizen, points out that the tag “poor white” is a discursive invention by the petit bourgeois rather than a reality as experienced by the “poor whites” themselves:
I am no “blinking street woman” and also not a “poor white” … It is the “charities” and the “Distress” and the “Mayor’s Fund" and all the people who want to make “poor whites” of us. My husband says they are just like doctors who discovered a new illness and now want everyone to have it.
The “poor white” in literature was more than just the depiction of social fact of the time. The theme introduced modernism, in the form of naturalism, to Afrikaans literature.

Naturalism – especially the petit bourgeois family drama formed part of the materialist tradition rejected by N.P. van Wyk Louw and Diederichs, especially in so far as it shows individual characters as victims of external forces such as the social environment and heredity.

[***]

Most of these texts are critical of the wealthy Afrikaner’s conceptions and exploitation of the “poor whites”. The class differentiation, implied by “poor whiteism”, was experienced as a threat to Afrikaner unity. Uninspired nationalist strategies towards poor white problem were even criticised in some plays:
HANTIE (With renewed passion): Yes, they have congresses, and make resolutions, and choose delegates and appoint commissions of inquiry and send deputations and do research and publish blueprints … That will not be my approach.
Other specimens of Afrikaner Nationalist "naturalist" drama likely to figure prominently in the AmeriKKKan conservative ideal as propaganda tools servicing their ideal would have to include A. J. Hanekom's Die Skiedsmuur ("The Barrier," 1938), E. A. Venter's Drankwet ("Liquor Act," 1933), F. W. Boonzaier's Die Stad Sodom ("The City of Sodom," 1931) and David J. Coetzee's Agterstevoor Boerdery ("Backwards Farming," 1932).

Back to Hantie Kom Huis-Toe for the nonce: Tell me in all honesty this doesn't sound like Christian Conservative ideals of "traditional values" such as would Reclaim Thy Dear and Lovely Land to His Will and Glory:
[T]he father is identified with God and the devil. Hantie – who never knew her father and was taken away from her “poor white” family at the age of five has mystical conversations with God. Gertjie, her poor white little brother also has moments of clairvoyancy. Hantie dates her mystical conversations back to her childhood from the time that she was taken from her real family:
It’s not so strange … at least I am used to it now, … He has been everywhere with me since my childhood… I see Him often… always … I don’t know how to explain it.
When her friend, Jan, asks her about her father she answers:
I do not know much about Father. Do not ask me about Father. because… aunt never talks about Father. Sometimes I feel so scared.
When Hantie meets her real father, without knowing that he is her real father, he stirs irrational revulsions in her. He is a most violent poor white. She tells her mother. “he has the most abhorrent face I have ever seen”. She becomes completely irrational in his presence:
if only I never have to see him again – the devil marked him … I feel like that day when I slipped on the mountain slope, when I had to clung onto some shrubs to prevent my fall.
At the end God and devil merge in the father when she discovers with shock that he is her real father:
He? – Then I’ve got his blood in my veins? My body is from him. and my nerves and my constitution and my spirit descended from him? There is not a part of my body. or of my soul, where his stamp is not! MY Creator, One-That-Formed-Me, that saw me before I existed, that knew me before my birth – was it really your aim with me?… Then the night is part of me, and I embrace the darkness like a bride.
After this she faints, recovers a few minutes later and declares the ground holy where she saw God. She finally feels relieved of material reality.
(As holy as Blood River, perhaps, in the mind of its Afrikaner audience?)

Meanwhile, should any of you ask about my mother: It turns out that, at last check yesterday evening with the nursing home where she resideth, my mother has gone into a fit of sleepiness and lethargy as is now extending into its third day on her bed. Blood samples have been drawn in the interest of analysis of her condition and with an eye towards developing apropos treatment under the circumstances.

How much longer she can hang on is anybody's guess.

So till next time, folks: "73"
(Which, incidentally, was railroad telegraphers' shorthand for "goodbye.")


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