June 6, 2009 - The Political Cesspool - James Edwards
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Welcome to the Political Cesspool, known worldwide as the South's foremost populous radio program.
And here to guide you through the murky waters of the Political Cesspool is your host, James Edwards.
Welcome back to the third and final hour of tonight's live installment of the award-winning Political Cesspool radio program.
Yes, you know, people forget that we have won awards for our work here.
And from the Memphis City government, no less.
I've been named an honorary Memphis City Councilman in the past.
Can you believe it?
This show itself was extended a certificate of appreciation from the Memphis City Council for outstanding contributions to the community.
It's all in our resume.
And we continue in the meantime to interview people like Pat Buchanan and Ted Nugent.
And we make the news here in the Political Cesspool.
And it's all thanks to our listening audience.
And of course, the great co-hosts, Bill Rowland and Eddie the Bombardier Miller and the man joining me right now in studio Winston Smith for tonight's third hour.
Winston, we got a lot of ground to cover still though.
We've covered a lot of ground.
Still a lot of ground left to be covered.
It's been a great show for me.
I guess it's just a combination for me tonight.
It's a combination of feeling good and having good guests and being able to interact with our audience and our fan base.
It's been a good cesspool evening for me.
Well, it always is.
But some nights better than others.
I mean, we're only human.
You can only get, you can't be, we're not fake, okay?
We're not fake.
Nothing on this show is scripted or staged, and we don't come on here like a used car salesman and fake excitement or dejection.
I mean, we are what we are, and tonight we're excited.
We're always happy to be here, but some nights are a little more enthused than others.
And I guess tonight's one of those nights.
A lot of good things happening in Europe, as we covered with the election results from Carlton Huffman of Pat Buchanan's American Cause Organization.
He gave us some results.
Gordon Baum, we got this big conference we're all going to be at in a couple of weeks and coming up a little later.
Well, Winston, I don't want you to spoil it.
So as succinctly and efficiently as possible, let people know what we'll be covering during the last few minutes of tonight's show, and then we'll go into what we're going to be talking about until then.
I'm going to give a brief synopsis of the goings-ons at the very comical Shelby County Commissioners meeting several days ago.
And then when, after that, I hope to have on the show Mr. Craig Langley, an aspiring poet and a young man who has written a soul-stirring epic poem in the traditions of Edmund Spencer and the old English poets.
The title of the poem is called The Ballad of the Last Night.
And if you folks want to take a look at it before Craig comes on, you can do so by logging on to the Caucasian Literary Review.
Just do a search for the Caucasian Literary Review and scroll down for a posting titled Fresh Talent.
And you'll see this very long, epic poem by Craig Langley called The Ballad of the Last Night.
I'm going to discuss that poem with Craig.
And we're going to talk about the place of poetry in European American culture.
See, I mean, folks, we're not lying when we say we cover all of the ground, all of the issues on the political spectrum without retreat, surrender, or apology.
Where else will you learn about the role of epic poetry in the cultivation of our cultural heritage, except on the political system?
You never know what you're going to get.
That's why you got to tune in every week.
But until then, that's forthcoming this hour.
Winston, one quick thing here I want to say, and then we're going to move on to what you saw, what you noticed this week at that meeting downtown in Memphis.
I get really upset when people say that African-American men don't take an interest in their children's lives.
Now, yes, there's a 71% illegitimacy rate among blacks, but it's wrong to stereotape, stereotype, I should say, all black men that way.
Now, I'm going to bring forth to your attention tonight one black man in Dallas who doesn't fit the stereotype.
This is a man who's actively involved in his children's lives, and we applaud him for that.
He actually even made the news.
He actually even made the news.
He was so keeping his children so close to him.
Here's the headline.
Man arrested and accused of raping woman while his children waited in the car.
I mean, that's a wholesome activity.
A 24-year-old man in Dallas County, the story reads, was accused of raping a woman and forcing her into his car at gunpoint with his two young sons in the back seat.
Police say he tried to rape a second woman who was pregnant, but she got away.
Quentin Young was arrested Thursday afternoon and is being held on a $225,000 bail bond.
Police say he pulled up beside a woman at about 10 a.m. on Thursday morning who was waiting at a bus stop in the 2400 block of South Buckner Boulevard.
In the back of his Buick Riviera were his two sons, who appeared to be younger than five, according to the police report.
After being forced into the car, the woman told police she noticed the children were referring to her attacker as daddy.
The woman said she asked the man if he was going to do this with his kids in the car, and he ordered her to shut up and do as she was told.
He then took her to a vacant house and raped her, police say.
In the second attack, police say, and this both happened in the same day, so this guy was busy.
The second attack, police say Young pulled alongside a 22-year-old pregnant woman and threatened her with a knife.
He tried to rape her in a different vacant house, but she got away.
So, you know, Winston, there you go.
I mean, you know, we got to try to bring the truth out.
You know, I've never heard of a dad taking his kids along for that sort of enriching experience.
Have you?
That's who has loot parenting techniques.
I didn't read this book.
I didn't read this.
I missed this one.
But anyway, this is the cesspool, and this is the kind of news, you know, we got to give you every now and then.
But sad but true, I guess you would file that all joking aside in the sad but true category.
And you could also file it in the diversity is our greatest strength category.
But there you have it.
News report from Dallas.
It was in the newspaper.
It must be true.
Yeah.
Well, I actually do believe this one, but I just don't believe the stuff they write about us in the newspaper.
But anyway, Winston, let's see.
We only got a couple of minutes.
I'll read one more quick story.
Then when we come back, we're going to talk about what you noticed at the Shelby County, the Shelby County building downtown.
And then we're going to go into the coverage of poetry with published poet Craig Langley.
Quick story out of Brazil.
Racial quotas have been imposed on the fashion industry in Brazil.
And of course, another thing that equality means, as we all know, is that ugly women have just as much right to modeling jobs as beautiful women.
Brazil is about half black.
That's just a demographical fact.
But the models there that are hired to show off new fashions aren't anywhere close to that ratio.
In fact, only about 2% of the top modeling jobs in Brazil go to black or brown women.
So, the government there is forcing fashion shows to make sure that at least 10% of their models are black or brown, or else they'll face some massive fines.
Here's the story from Brazil: Brazilian prosecutors and organizers of the San Paulo Fashion Week have reached a deal over claims that too few black and mixed-race women are taking part in these modeling competitions.
Under its new terms, fashion brands must ensure that 10% of the models are African or indigenous in descent.
Last year, an investigation concluded that eight of 344 of the models taking part in the event were black.
That's just 2.3%.
Now, under the new sanctions, companies failing to meet the new target could face the prospect of being fined more than $120,000.
So, there you have it, Winston.
Equality means, I say again, that potentially ugly women have just as much right to be models as beautiful women.
So, says the government of Brazil.
Well, that's why Brazil is still practically a third world country.
It's just one more proof that white women are the standard of beauty in this world.
That's just the way it is.
Learn it, live it, love it.
You can't really say much more than that, can you, Winston?
You just put it out there as hardcore as you could.
White women are the standard of beauty.
Always have them.
I don't want to get off on a tangent here, not a tangent, but I don't want to get off the beaten path because we're about to have to go to break.
Did you see the Latvian blonde parade?
They're all those Latvians.
In Latvia, they're faced with a bad economy, too.
And in order to stimulate it, so to speak, they had like all the blonde women in Latvia march around in pink tights.
You've got to see the pictures of this.
You know, we saw it.
And so I think Jared Taylor, in fact, sent me a picture of it or a story about it.
We need something like that here.
I think that would stimulate the economy or something, right, Winston?
Maybe not enough.
May not venture into this one.
Okay, okay.
We're just going to leave it at that before we get ourselves in trouble for lewd talk.
And we're going to come back and talk to the Latvians.
We're going to collect ourselves.
Google the Latvian blonde parade, ladies and gentlemen, or just go to cfcc.org.
They wrote about it.
All right.
Set tight, everybody.
We'll be back with more in the political cesspool.
James Edwards and Winston Smith with you in the hosting seats.
We'll be back right after this.
There's more political cesspool coming your way right after these messages.
Welcome back.
To get on the political cesspool, call us on James's Dime, toll-free, at 1-866-986-6397.
And here's the host of the Political Cess Pool, James Edwards.
One more thing I want to talk about, Winston, before we go over to the item that you've been planning to deliver to our audience for their edification this evening.
George Tiller got murdered.
And if anyone doesn't know who George Tiller was, why don't you tell them, Winston, and how we feel about that?
We can sum up George Tiller in three words.
He's known as Tiller the Killer.
He was an abortionist, a very prolific abortionist, and he specialized in late-term abortions.
That means he was one of these men who would deliver a baby so that just part of the child's head was coming out of the out of the womb, and he would jam a pair of scissors in the back of the child's head, and then he would stick a stainless steel suction pipe into that open womb and suck out that child's brain until it died.
George Tiller was shot while he was serving as an usher in a Lutheran church several days ago.
Is that kind of contradictory that a guy like that would be allowed to join a church?
I mean, what kind of church is this?
Yeah, it's an evangelical Lutheran church, I believe.
Okay.
But anyway, so he got killed.
Now, we don't advocate violence.
We're not about that.
But at the same time, what?
We're not going to cry, right?
No, I'm not going to cry.
To me, as you said, James, the only question I have is what was he doing on the church?
That is the only question that I would like to know.
What kind of church would allow a man with such bloody hands in their doors?
That's not a church.
Yeah, because this wasn't some obscure guy that became known after his murder.
I mean, this has been a national figure in the abortion debate, what debate there is, for years.
You're right.
And like you said, James, we do not advocate violence at all.
We don't condone what the perpetrator did.
But I will not shed a tear for him.
Nobody should, really.
He got what every murdering bastard deserves.
Well, that being said, that was just another headline.
I don't know how to language there, but I said the truth.
Just another headline from the last week's news.
So that being said, Winston, what was going on in Memphis this week?
Well, first, let me ask, is there anyone finding out if Craig Langley is on the line?
He is on the line.
holding okay let's let's go into that instead of uh the uh would you would you mind if we did that james No, I'm just a clown in the circus.
If you want to go ahead and bring Craig on, let's make it happen.
Okay, Craig, are you there?
I'm here.
Okay, folks.
About a week and a half ago, I went to one of my favorite blogs called the Caucasian Literary Review.
And by the way, you, my friends, should also make a habit of visiting the Caucasian Literary Review.
Just do a search of that title, and you'll have no difficulty finding it.
Anyhow, when I went to the review on that day, Brother Wheeler McPherson had posted a poem titled The Ballad of the Last Night, composed by Mr. Craig Langley.
Mr. Langley is a rock-ribbed and long-time political South Pool loyalist, and he's a gentleman with whom I've enjoyed a vigorous and inspiring email correspondence.
So I knew Craig was a young man of singular and formidable intellect.
But when I started reading the ballot of the last night, I knew very quickly that I was Reading something that was, well, it was extraordinary.
It was a new epic poem.
And let me share a few opening lines with you.
In the epochs of the past, there were always tales of knights off to battle in ships with sails full of wind that guided them to the fields where swords and axes splittered the shields, of heroes fighting for kith and kin and homesteads where families had always been.
Men to idolize and adore while lamenting not being born in the years before, to join them at their side as they rode to battles with their convictions to uphold, over distant mountaintops and through deep lakes where the tiny frog hops, arriving at unknown towns where a traveler might find a meal or place to spend the night.
Then when the fighting was done, after enemies had retreated at a run, with swords washed in blood and boots caked in mud, to begin the journey towards home where loved ones now safely roam.
No such tales can now be told, for there are no more heroes daring and bold, nor even men with hearts full of the passions needed to defeat today's wicked fashions.
Solomon is now rebuilt and flourishing year-round as every sin dances unbound to the applause of vices newly discovered and the weapers of virtues gagged and smothered.
Please listen to my words here and now as I tell the story of the last knight who wouldn't bow before a world descended into sin and who died defending his kit and kin.
And from there, this epic poem recounts the tale of a heroic man who stood against the evil of his day to defend his people.
I couldn't stop reading it.
And why was that?
I know precisely why that was.
I'm going to discuss it now with the composer, Mr. Craig Langley.
Craig Langley was born in Albany, New York in 1983.
That makes him 25 or 26 years old.
He was raised in the suburbs just over the Hudson River, and he quickly developed a lifelong love of writing and storytelling in the first grade after being read The Lion, the Witch, and the Wardrobe.
Craig later earned a BA, a Bachelor of Arts in Cinema Studies from the State University of New York at Purchase.
However, the most important part of his time in college were the two summers abroad studying in southern Europe, which solidified his love of his people and their civilization and his passion to use his love of storytelling to celebrate and defend his heritage.
So with that, Craig, I now welcome you to the political cessville, my friend.
Well, thank you very much, Winston, for that wonderful and rousing introduction.
You want to hear your love of storytelling to celebrate and defend your heritage.
What heritage is that, and from whom or what do you wish to defend it?
Oh, it's white Christian European.
I'm a white man from Anglo-Saxon, English, Irish, Dutch, Polish descent, and Catholic, obviously.
And I wish to defend it from the enemies and celebrate it from the enemies of today, you know, liberalism, Zionists, just the forces of contemporary word that want to basically erase our heritage from us.
You know, they don't want to sing our songs, reading our books, the stuff that made us, what made us white men and women who loved our heritage and want to be rid of us for their multi-racial utopia.
As I read the ballad of last night, I was struck by it in so many ways and on so many levels, not the least of which is the maturity and the perfection of it.
As I read it, I thought that this poem could be dropped somewhere around the first part of the Norton Anthology of British Literature, Volume 1, and it would fit right in.
I kept getting echoes in my mind of the Drain of the Rood and Beowulf and The Battle of Malden, Sir Galway and the Green Knight, William Blangland and Piers Plowman.
This is not the kind of poetry that you really see anymore, and yet it stirred my soul.
I have to ask you, what possessed you to take on such a sprawling project?
Well, I've always loved the kind of stuff you mentioned, the King Arthur legends, all that.
And when I was a little kid, I first came across the Odyssey, which is a big influence.
We need the love of the journey and the cunning hero and Odysseus to go home and save his wife and his son from the suitors.
And just growing up, and you read more stuff such as Tolkien, his great Lord of the Rings trilogy, and C.S. Lewis's Chronicles of Narnia.
And I've always wanted to write that kind of thing.
I love poetry.
I love Lord Byron and Keats and Spencer.
But it was weird.
This one poem.
Hey, Craig, hold that thought.
Sorry to interrupt you, my friend.
We've got to take a break when we come back more with Winston Smith and Craig Langley about the role this classic art of poetry has played in the development of our cultural heritage.
We'll be back with more right after this in the Political Cesspool.
Don't go away, the Political Cesspool, guys.
We'll be back right after these messages.
On the show and express your opinion in the Political Says pool, call us toll-free at 1-866-986-6397.
All right, James Edwards, Winston Smith, the Political Cesspool.
Our third and final featured guest of the evening, Craig Langley, the published poet.
His first epic can be read by everyone at the Caucasian Literary Review.
And turn it back over to Winston Smith and he, as they continue to discuss the role the classic art of poetry has played in the development of our unique cultural heritage.
Winston, I know this was something that you were very adamant about infusing into the program tonight when we met for our weekly staff meeting at the local restaurant.
You, me, Bill, our promotional guy.
You said this is something that we've got to put on the show.
Why was it so important to you that this be discussed?
Well, frankly, James, I think poets are more important than historians in the preservation of a culture.
Historians simply tell you what happened and what was, whereas the poets, they help make what was.
The poets, they delve into the why and they delve into the genetics.
They get into the culture.
They get at the essence, whereas historians just are basically glorified reporters.
It's the poets who tell you what a culture is and what is important to a culture.
And I want to pass that off to Craig and ask him if he agrees with that and how he went about trying to capture that in the ballad of The Last Night.
I absolutely agree, Winston.
One of the things is you look at, we've discussed earlier, I mean even private, you look at the Odyssey and the Iliad, the Homeric poems.
Exemplify what ancient Greece is about.
The heroics, the standing up for what you believe in, getting home to your family.
The epic poetry of the time really shows the values and the morals and the turbulence of the time.
Take, for example, Paradise Lost, John Milton's famous poem from the 16th century.
It really couldn't only have been written at the time of the Reformation.
It shows the turmoil of the time within Christianity, especially in England, where you had Milton worked for Oliver Cromwell, and some say it's Paradise Lost is a comparison to the fall of Cromwell.
You know, the guy, Cromwell went against the king, tried to set up the Republic.
Satan tried to dethrone God in heaven.
He was thrown down into hell.
And I think this is important for our time, because with the death of epic poetry, really, you can see in our civilization right now, it's stecked in, it's wicked, it's openly anti-white.
We don't express anything in our, we don't express the morals of the time of what should be good.
Take, for example, the poetry that was right at Obama's inauguration, all the other stuff today.
In my opinion, the last great epic poem in the English language was G.K. Chesterton's The Battle of the White Horse, because I exemplified that there was ancient moral imagination where it showed the spirit of the Anglo-Saxon in that poem.
So I agree completely, and I hope to carry it on, if I may say so.
Yeah, where do you go from here, Craig?
I share Winston.
I don't have the, I guess, fervent inclination towards poetry.
I mean, I respect it for what it is, as I keep saying, the role it's played in the development of our people, the art that it is.
But obviously, Winston's much more inclined to that sort of artistic expression than I, but I certainly share his enthusiasm over what you've done and the importance of poetry overall.
Where do you go from here?
Where I go from here, I'm still working on my craft, hoping to make it bigger.
I'm working on a piece now, 85 lines in, called The, what's it called?
It's called The Legend of the Great Trek.
And what it's about is a young prince who leads the last remnants of his people, the founding people, out of their crumbling and dying and over on invaded empire toward his new homeland.
And if you really look at the situation for whites today, that's what a lot of people are talking about.
And so I'm trying to express that.
And I hope to, obviously there's a business that I hope to get published and carried on.
But I really want to, you know, our people really don't have storytellers anymore.
They don't have people who express their emotions.
We've allowed our enemies to completely take over the arts and we allow our enemies to tell our stories for us and we should be telling our own stories.
So what I hope is to reignite that love of telling our own stories of valor and courage.
Winston, I've got two questions for you.
Answer the first one and then the second one.
Do you think it's possible that Craig could improve upon his craft?
And secondly, would storytelling of this artistic nature, could it have ever come from anything other than the minds of European mankind?
To answer the first question, of course he can.
He can always be about perfecting and honing and sharpening what he does.
No poet is ever going to say that he has arrived at the perfection of his craft.
And I hope that Craig continues to work at this.
But more than that, I hope that other European American men will take up the pen again and start writing this type of poetry.
Could any other race have produced this?
No.
No.
This type of epic poetry is the sole domain of the white race.
This is what we do.
Now, other races have produced great poetry.
When Craig and I were talking earlier, we mentioned the samurai.
The samurai and the Vikings, they were very different cultures, but the men of war, the men of the sword, they had to be equally proficient with both sword and verse if they were going to be considered worth anything.
Being a poet was as much a part of the lives of our Viking forebears as being a swordsman.
There was no difference.
And the reason for that was because both the sword and the epic poem served the same purpose.
And that purpose was to defend their people.
Was it not, Craig?
Oh, absolutely.
I'm sorry, I'm getting up from the chair.
Absolutely.
Let's look at the fact that what is a warrior?
He's the defender of his culture and his heritage and his people.
So it only makes sense that a warrior would write the culture about the people he's protecting.
And it's absolutely right.
You know, sometimes there's times to fight and there's times not to fight.
And you have to be in the fence of both ways.
And epic poetry is a weapon in the sense that it rouses the people.
It shows them what they love and what they have to defend.
So it's absolutely a weapon just as much as a sword.
You're absolutely right.
So you agree with me that this type of epic poetry, far from the feminized hallmark greeting card and effeminate twaddle that you see coming from poetry these days, this is something that your average European American man should be doing.
I think it is.
I think every man should be able to create poetry.
It doesn't have to be great by the world standards.
He just has to be about defending his people.
And this is one way to do it.
This lasts.
This lasts.
Literature lasts.
Art lasts.
Life is short.
Art is long, the saying goes.
Absolutely.
The poetry I want to do.
I don't hate other people.
I let them have their cultures.
I admire other parts of cultures.
I love my own culture.
And that's what I want to express in my poetry, the love of my people.
And you brought that the average European American man should do it.
They totally should.
T.K. Chester, who I mentioned earlier, had a great line that anything that's worth doing is worth doing badly in the sense that you shouldn't let the professionals do this kind of thing.
Do you have imagination?
Do you have a pain in your hand?
Go to town with it.
Try your best.
You shouldn't allow your enemies to control it.
If you love your people, you love your heritage.
Write it down, defend it, and just express it.
So I hope I answered that correctly.
Craig, why do you think that more people of our generation, and I say our generation, I'll turn 29 on June 22nd.
You're a couple of years younger than me.
Why do you think it is that more people of our generation don't appreciate this sort of expression as we?
Well, they haven't been raised with it.
You know, we're not taught it in schools.
We're not taught it in churches.
We're not taught in the mainstream culture.
It's just been a race, taken away from us.
I give the example always home here.
I went through 12 years of the public school system, and only two or three classic texts I read throughout high school were Roman Juliet, the Great Catsby and Ethan Frome, Paradise Lost, the Iliad, Dante's Defined Comedy, which is amazing.
I had to discover them out.
So I think what you think of our generation go into it, we don't know about it.
We haven't been taught it.
We haven't taught that, oh, that was bad stuff in the past.
Evil White said that.
You're not going to do that.
You have to do rap music, which is the end thing, and that's what's cool.
And so it's totally what we've been denied our heritage, so they don't know to do it.
Winston, we've got just a couple of seconds before break.
How does epic poetry stack up against rap music?
They are diametrically opposite.
Epic poetry is about themes such as courage.
Winston, you're going to have to hold that thought.
I set you up.
Now I'm going to pull the rug out from under you.
We've got to go to break.
We're going to finish it up right after this.
Don't go away.
The political cesspool, guys.
We'll be back right after these messages.
Jump in the political says pool with James and the game.
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And here's the host of the Political Cesspool, James Edwards.
What another great show we've had tonight.
It goes by.
I was just talking with our engineer during the break.
It goes by far too quickly.
Three hours almost has passed us by.
We have just but a few waning moments remaining.
I want to encourage everyone one last time to visit our official internet headquarters, thepolitical cesspool.org.
So much stuff you can do there.
We encourage you to partake in all of the features we have.
Sign up for our email list, donate to the radio program, and help keep our work on the air.
And we appreciate everyone who has done just that in recent weeks.
A tremendous outpouring of support from our listening audience over the last couple of weeks.
And your sacrifices helped keep us on the front lines, and we do appreciate it.
I want to make one more quick programming note.
I will be out of town next week.
I will be out of town.
And Winston Smith and Bill Rowland will be hosting in my stead next week.
Of course, these are old pros.
They've been with me for as long as the show's been on the air.
So the show will be left in the more than capable hands of Bill and Winston next week.
I just wanted to let you know before next week rolls around if you think I'm dead or have been assassinated or something.
No such luck.
I'll be back the week after next, but next week will be left to Bill and Winston.
God knows who they're going to book for the show, but I trust them completely and it'll be good.
Now, that being said, back to Craig Langley.
Winston, I tell you, this has been a very fulfilling and satisfying segment.
It kind of harkens my mind back to those old days where this sort of poetic writing was in vogue, where perhaps you would have seen European mothers and fathers putting their children to bed while reading to them something like Craig Langley has just written.
So hopefully tonight we're putting people to bed on a good and positive note.
I think we are a couple of minutes remaining.
Winston, where do you want to take it?
I want to carry on what you asked me earlier and what you were talking with Craig about.
You asked him why this type of poetry is not being written today.
And I think the reason is because, as Craig said, it's been whipped out of us.
Most people, their attention spans have been conditioned by five-second sound bites and 15-second commercials.
They just no longer have the attention span to sustain this kind of thought, the kind of thought that's required to carry a line of narrative through from beginning to end, especially one this long.
But this is the kind of thing that people used to gather around and listen to a bard recite.
It would be a man or a group of men who committed this kind of thing to memory.
And they would start reciting this in the mead hall or around some campfire.
And this is the way that the people remembered who they were.
And I maintain that in direct proportion that this ability to produce this kind of poetry is extracted from our people or expunged from our people, we will descend further and further into the animalistic behavior of those around us.
What do you think of that, Craig?
I absolutely agree.
I don't know what else to say.
He said it succinctly.
You wanted to, what were some of the themes that you wanted to cover when you wrote this?
Did the setting immediately come to mind, or did you say, how am I going to express this theme of courage or the idea of a hero?
How did you go about doing this?
It kind of wrote itself.
I started writing the first rough draft last spring break.
I just started writing it, and I just, and I got, it was like in one of those Amadeus zones where aren't supposed to happen for artists.
And I wrote the whole rough draft in three days.
It just kind of came out, and I re-edited it, and the themes just kind of expressed themselves in the writing.
That sounds cheap, but that's how it happened.
It hasn't happened again since, unfortunately.
And I did want to express the courage and all that, because I look around the world today, and except for a few people, say you guys in the cesspool, Jared Taylor, Duke, others, there's not really a lot of people standing up for our sign.
We're almost written like a non-entity.
You know, you're not supposed to say the N-word.
You're not supposed to say the W-word.
We're not supposed to exist even on the radar.
So I wanted to express a harken back to old times when there were heroes like that.
So maybe, you know, maybe those type of heroes can rise again.
I want to read the last few lines of the Ballad of the Last Night.
I want to read this.
It's hard to choose which passages I like most and which ones I would want to read.
But this will be the last one I'll read.
I just want to encourage people to go to the Caucasian Literary Review and download this thing, print it out, gather your families around and read this.
This is the literature of our people.
And Craig, I've been telling Wheeler McPherson that we need to start anthologizing the literature of our people, the white nationalist literature.
And of course, you know as well as I do what a superb writer Wheeler McPherson is.
Oh, he's excellent.
And I've told people that there needs to be, when we do set about anthologizing white nationalist literature, there needs to be a special section for his writings.
But there needs to be a special section for what you've done here as well.
I look forward to the Ballads of the Last Night being the spark that sets ablaze a revival of epic poetry among our people.
But I want to read these last few lines.
The knight has done battle with the beast, and he has paid the ultimate price.
And here's what you write, Craig.
Amid the shaking and shifting ground bed lay the knight, victorious but dead.
The deaths of the sailors had been redeemed and his homeland now safer than it ever seemed.
No longer would the southern winds torture his folk.
No longer on evil would the innocent choke.
That was the tale of the last gallant knight who fought for what he thought was right.
No one today lives up to his deed, afraid to challenge today's corrupting creed.
But secretly in the hearts of those that keep quiet, but who knows that the wicked liars have no right to justify their ungodly might.
In the hearts of those men, the knight has a place in the hearts of brave men of his race.
That is grand.
That makes that sends shivers down my spine.
I don't know what to say to you except congratulations and God bless you.
You've done us a great service, my friend.
Thank you.
I hope to continue and do it again many times.
Well, when you do, the Political Sex Pool microphone is open to you.
Thank you.
So you said you were working on another one.
You were 85 lines into it?
Yes.
Let me ask you this.
Did you style this after any particular author, Dante or Spencer?
Who are you thinking of?
I am influenced by them.
But one poet who's pretty much forgotten today, he wrote in the early 20th century, was the English South African barnport Roy Campbell.
Have you heard of him?
Say it again, Bruce?
Roy Campbell?
Yes, I have heard of him.
He wrote this.
I read it in college.
I found it in the basement of the library.
He wrote his first big poem was called The Flaming Carapin.
It was about, it's a long 1,500-word poem about how Noah's Ark is told by this giant tortoise-like creature.
And what really inspired me about that poem was the really descriptive detail, like the majestic and sublime images, combined with a really almost lightning rod taste to give it an intensity.
And so, and that was probably, I have to say, that's probably the closest inspiration for this poem, even though they're utterly different in styles, so to speak, and theme.
But there's other ones, such as Lord Byron's poems, especially The Siege of Corinth, The Corsair, Spencer, which you mentioned.
I love Rudyard Kipling's poetry.
So it really was a combination, but it was really a harking back to the older gallant poems, like you said, like Gwen and the Green Knight and that kind of thing.
Kind of a roundabout answer.
Well, we're coming to the end of a show, and I wanted to have a few moments with James before we went off the air.
But thank you for joining us, and thank you for your work.
I hope, as I said, this is the spark that sets ablaze a revival of epic poetry among white people.
This is the literature of our people, and it needs to be encouraged.
And you have done an incredible job.
I will value this poem for the rest of my life.
I look forward to reading it to my grandchildren.
Oh, thank you.
We've had a wonderful time.
Well, Craig, you keep in touch, and you know where I am, so don't be a stranger.
All right, and keep giving them help, guys.
Well, you know we will, Craig, and thank you again.
Winston, I would love to spend some time with you, too.
Unfortunately, we have less than a minute left, which is just barely enough time to remind everyone to tune into us again next Saturday evening, 6 p.m. to 9 p.m. here on the Liberty News Radio Network and our stations across the country, WLRM Radio AM 1380 here in Memphis.
And of course, our website, thepoliticalsucesspool.org.
We are out of time, but Winston, thank you so much for bringing in Craig Langley tonight.
And thanks to our other guests, Carlton Huffman and Gordon Baum.
All the ground we covered, of course, to you and Bill and Eddie, the entire production staff.
We'll see you next week, everybody.
God bless you.
Thanks for joining us tonight in the Political Cesspool.