Dec. 6, 2014 - The Political Cesspool - James Edwards
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You're listening to the Liberty News Radio Network, and this is the Political Cesspool.
The Political Cesspool, known across the South and worldwide as the South's foremost populist conservative radio program.
And here to guide you through the murky waters of the Political Cesspool is your host, James Edwards.
Welcome, everybody, to the Political Cesspool Radio Program.
I am your host, James Edwards.
It's Saturday evening, December the 6th, and I call you this evening, not live in the studio from Memphis, Tennessee, but calling into our network in Utah via telephone from the belly of the beast itself.
I am in Washington, D.C. tonight and having a great time with a great group of people, a lot of fans and supporters of the Political Festival here.
I'm essentially serving as a master of ceremonies for a small but dedicated group of leaders.
And it's been a great event.
It's great to be back in Washington.
I'm here about once a year.
But we have a very special and unusual patchwork type of program for you this evening.
We never want to mail it in and play an entire tape show if we can avoid it.
So I will be back with you at the top of the second hour.
And I've got some issues and some stories that I want to bring to you during the second hour.
So we will do that.
And then in the third hour, we are going to replay a previously aired segment of the Political Festival from our 10-year anniversary event in Memphis, which was held, of course, in October.
We're going to play the third hour of that live remote broadcast that we all enjoyed in Memphis, which I thought was the greatest of the three because we had the group singing up Dixie and it was just the crescendo.
So that's all forthcoming.
But before we get to any of that, Winston Smith is going to take the stage and take the mic away from me.
And he will be doing a one-on-one interview with William Rome, who is the author of a book on Amazon that everyone needs to check out.
Winston, with that being said, I will turn it over to you and talk to everyone else an hour from now.
Winston, take it away, my friend.
Excellent.
Excellent.
Thank you, James.
Good evening.
Good evening, my friends.
Welcome to tonight's broadcast of the Political Festival.
Of course, I am Winston Smith.
And as James said, I'll be at the helm for the first hour of the show as our kingpin, James Edwards, is attending to other valuable duties.
And I know you'll look forward to having James back.
What a week it's been, eh?
In fact, what the past couple of weeks it's been.
The left in this country has been gushing more hate and venom and toxicity than I've seen in a very long time.
So-called protesters are living up to every ghetto stereotype there is, and it gets more absurd every day.
The black pastor of a church in Ferguson, Missouri said white people are to blame for black people burning down his church.
Comedian Chris Rock says he hopes the Michael Brown Memorial smash and grab will make America produce nicer white people.
And one black college professor hopes that white people will start committing racial suicide.
It seems to me like he's been reading Joel Ignatiev's website, Race Traitor.
We've talked about that on the show.
But never before have I seen the phrases white privilege and white guilt deployed more in print than in the past two weeks.
And folks, let me say this.
Notions like white privilege and white guilt and microaggressions are nothing more than psychological coping devices used by racists of color when they deal with white envy, which is the acute and painful feeling of failure and inferiority felt by racists of color when they compare themselves individually and collectively to white people.
The purpose of these notions, like white privilege and white guilt, is to distract attention away from the behavior of real criminals, real miscreants, and direct attention toward white people.
Well, I think we should pay some attention to ourselves, and tonight, in the first hour, we're going to do just that.
I have a work of literature, and I'm going to read the opening lines therefrom.
On the sea's edge and darkest night, slept a tiny town abandoned in fright of marauding hordes coming to feast on imperial riches not found east.
Streets no longer flourished with children about, followed by mothers, stocky and stout, nor soldiers parading imperial might that created in young a heroic sight.
In this abandoned town, pounded by rains, flooding all the streets without any drains, awaited a crew anxious for the flame, signaling if their end surely came.
Now, that, my friends, is a thrilling opening from a story in the epic poem traditions of Ovid and Milton and Dante.
However, it wasn't written in the Middle Ages in a faraway land.
It was penned by my good friend, William Rome, and the poem in its entirety, along with several other great poems, is about to be published in a book titled The Legend of the Great Trek and Other Poems.
And tonight, it's my pleasure to welcome the political festival, the author himself, William Rom.
William, are you there?
I'm here.
Can you hear me, Lincoln?
Well, as a matter of fact, no, I can't.
That's why I have my transcription of Stephanie listening to you and typing away.
I thought you knew I couldn't hear.
Well, can she hear me?
And then you read it.
Well, I assume she's typing what you say.
And she says, yes, she can hear you just fine.
Excellent.
Excellent.
All right.
I love this book.
I really do.
Is it available now?
Yes, it is.
It's on Amazon right now.
And he will just go there and type in The Legend of the Great Trek and other stories, other poems?
Yep, The Legend of the Great Trek.
And how much does it cost?
It is $14.99, but this past week, Amazon had one of those price specials where it was like $13.34.
I don't know what the price was today, but around between $13 and $15.
I have to ask you this: do I get an autographed copy?
Absolutely.
Well, I'm glad to hear that.
You know, every author that I've interviewed on this show has sent me an autographed copy of the book about which we talked when they were on the show.
And yet, I don't have an autographed copy of racism schmacism.
Now, how crummy is that?
Well, James is a penny-pitching conservative.
What do you expect?
Well, you know, I mean, I'm a co-host.
I helped him produce some of that stuff.
I should at least get, you know, a cover of the thing with James's mug on it.
Why would you want that?
Terrapfish.
Put at the bottom of a birdcage.
There you go.
All right, let's get down to business here.
Give the audience a Christmas version of The Legend of the Great Trek and other poems.
The Legend of the Great Trek is about, it takes place in a mythical time.
It's about a empire that has been invaded by outside forces from the east, unlike anything they've seen.
And the empire collapses under the weight of this invasion.
And the young prince, heir to the kingdom, named Andre, during an Easter celebration, has a vision from God about a new homeland that people have to find over the ocean on an unknown continent.
And the story follows his arduous journey to find this place for his people.
Did you initially intend to write a story in the epic genre?
I did, actually.
I wasn't expecting them this long.
When I started it, I had written some shorter narrative poems, which are in the collections called The Bowl of the Last Night and The Wine in Prisoner.
And so when I originally was going to say I have to write one, then there was 500 lines.
But it just kept growing and growing, growing until it's final size.
So I did intend to write a long narrative poem, but not one this thick.
William, I have to interrupt you.
Stephanie says there's music playing, which means we have to go to a break.
Okay.
Stay with us, folks.
I'll be right back on Political Seth Poole with Winston Smith and William Rome.
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All right.
Welcome back to tonight's episode or tonight's broadcast of the political cesspool.
I'm Winston Smith, and I'm talking with my friend William Rome, accomplished author, about his latest book called The Legend of the Great Trek and Other Poems.
And when we left, I had asked, William, I'd ask you to explain if you had initially intended to write the story in the epic poem genre.
So continue on with that if you would, please.
Yes, I had written shorter narrative poems, which are in the collection, and I wanted to try something bigger.
So I started like, I'm going to make a goal of 500 lines.
And this started after I had read Roy Campbell's The Great South Anglo-South African Public Supplaming Terrapin, which is very hard to find these days.
I found it in the basement of my college library.
So I was set out to make out 500 lines.
I reached 500 lines, but the story was just at the end of the first chapter.
So I kept going to 1,000 and then 1,500.
And finally, I just gave up.
And I was like, I'm just going to keep going till then, so it'll finish.
And so then it got the length of it now, over 4,000 lines.
So it started off as you wanted to be you wanted it to be much shorter.
And what kept it going?
What made it so much longer?
It was just the story itself.
I just, I had conceived the story of a young man leading his people to a new homeland, but you just, I just couldn't fit the story into that short amount.
So I kept going and going.
So I guess the story itself made it go that long.
Is there a particular passage that you like above the others?
One that is special to you?
There is one.
I'll read it right now.
Let me look it up.
It's actually in the third book.
And a little backstory for the listeners, it's part of a speech given by this character named Jeffrey, who's a minstrel, like an old-fashioned singer of songs.
And he's explaining why he supports Andreas when Andreas asks and why so many other artists don't support him and why they want to see their civilization fall.
And so Jeffrey says, excuse me, I'm a terrible public speaker, but my art and heart are always one with a heritage I'll never shun, a heritage I'll forever sing, a heritage that will forever bring, inspiration to all I create, and all I'll ever celebrate.
For what good will being an artist do?
Let a home for my art to live through.
So that passage moves lastly not just because it kind of personifies the poem, why I wrote it, but basically why I write and create everything I do.
It's an inspiration of my heritage and my ancestry and all this that we read about it and read the stories in the history, it just inspires you.
So that's the line I really love.
Excellent.
I'm going through, I thought I'd marked a passage that I like a lot.
I wanted to explain.
I'm having trouble finding it.
There it is.
This is at the beginning of the very first part, the Easter Vision, when Andres has had this vision and it has transformed him.
And he has taken on a disguise, a workman's cloak, and he has slogged through the sewers of this town, Orania.
And he finds himself in with the people that he rules.
And apparently he had never been out with the common people.
He's very young.
He inherited his kingdom and he had been cloistered or he'd been isolated all his life.
And at one part in this opening, he's surrounded by elites.
And it's Easter.
Well, anyhow, he has been blessed by a priest.
And the priest recognized him in the crowd.
And this is what has happened to him, his transformation.
He wrote, dark consumed all that night as a vision took his sight.
Unseen the festivities around, but every step back found in a vision of his people afar on a long journey to a distant star.
Shining over an unknown land, they were their final stand.
Onward he rushed back, onward blind over blind track.
Now he would earn his royal stature as he wrote his race's newest chapter.
Now there are a lot of things in this passage download.
First, that being amongst the people that he rules has changed him.
He's seen their situation and is now ready to be a different kind of king.
And he's ready to bring his people out of the stunning defeat that they have just recently experienced in battle.
Have I interpreted that correctly?
Oh, absolutely.
That was one of the key things I wanted to get across.
And there are a lot of parallels in this work.
I wrote it throughout 2009, 2010, and I wanted to have a lot of parallels to contemporary America and the West.
And that passage was important because I wanted to show that he's amongst his people for the first time.
He's been isolated.
I think that's a direct correlation to our own leaders who are so-called leaders who I think are totally disconnected from the people they're supposed to be ruling and watching over.
And so when he leaves that cloister, he's been isolated as part of the royal family his entire life.
He actually sees them for the first time.
their actual problems instead of just a yes and telling them what he's supposed to hear like that happens at court.
Why did you choose to write this in the ethnic poem tradition?
Well, let me ask a more pointed question.
Do you think that the epic poem tradition is still relevant and still powerful today?
I think it's very powerful.
I don't think it's relevant in the sense that we have to be realistic and that there's no money.
So nobody's going to write them anymore because you can't, nobody has done this for a long time because poetry isn't the spender.
If you want to write poetry today, you have to go into popular music.
But in terms of the epic tradition itself, I think it's very popular.
That's what inspired me.
I mean, since I was a little boy, I've always loved the story of the Odyssey with Odysseus and his way back in way back to Carthage, or not Carthage, his home island from the Trojan War.
I think it's very important.
And it deals with these themes of loyalty, courage, war, nationalism, peoplehood.
I think it's very important today.
And it's sad that it's been lost.
And I hope it comes back because it is a part of our traditions.
It's a Western art form.
always has been.
Almost every culture has a tradition of the epic poem in one form or another.
And these are stories meant to remind people of their cultural distinctives that have carried them through struggles to triumphs to remind them of heroes and of lessons hard to learn.
What it is that makes them them.
Now, whether by design or effort, or because of apathy or cynicism or fear, the epic story traditions of the West have been driven into hiding, it seems, and they're ridiculed as obsolete relics at best and or attacked as offensive and racist at worst.
Do you think I've got that correct?
Oh, absolutely.
I mean, you can't read something like Beowulf without being inspired or the Aeneid, which is a big influence on this piece, because there is a, it's, well, to use the leftist term, they are Eurocentric.
There's something that inspires you.
If you understand your ancestry and your background, there's something that inspires you.
It brings you back to your ancestors.
And of course, the powers of you today don't want you to have that connection.
So it's been swept under the rug.
It seems that, as I said, almost every culture has this type of tradition in its culture.
And I think this kind of thing is vitally important for people, especially for those of us in the Western traditions, for us European Americans.
And I think the effect of this art form on our character is so powerful.
That's why it's being driven away from us.
Our enemies don't want us to have this because they know how it would empower us.
Seven says there's music playing, so we got to take a break.
Stick with us, William.
Stick with us, folks.
We're going to take a break and come back to Political Steps Pool with more from William Rome and The Legend of the Great Trek and other poems.
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Welcome back.
Get on the show.
Call us on James's Dime at 1-866-986-6397.
All right, welcome back to the night broadcast of the Political Festival.
I'm Winston Smith, sitting in for the busy James Edwards in this first hour.
And I have with me my good friend, author William Rome, who has penned an astounding book in the epic poem tradition titled The Legend of the Great Trek and Other Poems, which you could and should lay hold of a copy of by going to Amazon.com and doing a book search for The Legend of the Great Trek and other poems.
Before I went to the break, I was talking about the empowering effects of the epic poem tradition, which is why most cultures have the art form.
Now, so important is this tradition that certain cultures today, it seems to me, are trying to reinvent the epic poem or the epic story, the heroic story.
And they're setting it in contemporary times.
And all cultures have their heroes, and there are always flawed heroes in these stories.
And the flawed hero is a, I think it's a good device.
It reminds us that even the strongest have weaknesses, and even the weakest can triumph to become strong.
But what's happening today is some cultures are taking people who are flawed, they are beyond flawed, and they're turning them into heroes.
And the people that they're turning into heroes are grotesque, they are perverted, and they're criminal.
And the backbone of the gravity of their personal lives and the shocking hatefulness of their guiding philosophies is carefully hidden from public view.
Such heroes are not at all a part of the epic traditions of the Europeans, of European Americans, because our epics are meant to inspire us, whereas the heroes of today, of some cultures, are not meant to inspire their own people, but are meant to be weapons. against us.
They're designed as marketing strategies against us, their esteemed enemies.
And since they're designed to a hateful purpose, they bear scant resemblance to what we see in historical records and observable cultural character.
For example, there's Martin Luther King.
He was a serial adulterer.
He was a plagiarist, which is a thief.
He was very, very flawed and really not worthy of being a hero, but he is a synthetic hero.
He is manufactured for a purpose, and that purpose is to be a weapon against white people.
Nelson Mandela, he turned a prosperous and productive South Africa into a hopeless sewer of poverty and despair that has now become the world's rape and murder capital.
Recently, we have the likes of Trayvon Martin and Michael Brown.
These guys were criminals.
They were thugs.
And they are being turned into something like saints, some process of apotheosis, turning them into gods practically.
Now, again, that was a long way of wanting to ask you, do you see a hypocrisy?
Do you see any sort of hypocrisy between, well, I wrote this down.
Now I can't find it.
Do you see a hypocrisy between the left in showing the left about what they've called this kind of thing racist and Eurocentric?
They call our epic traditions racist and offensive.
Do you see any hypocrisy in that?
Oh, I see a ton of hypocrisy in that.
The perfect example I would give is I just graduated from grad school and I had written this.
The reason I took so long to publish this is because, like I said, I finished it in 2010 and I put this out while I was in grad school until this past year.
When I was in grad school, I got to know really well this Chinese girl, originally born in Malaysia, and she came over to the United States to study for grad school.
We talked about her once since.
And she, I know her very well.
She gave me her first, an advanced copy of her first book last summer.
It's an excellent book.
It's about, it takes about a little girl in medieval China.
And now she's writing her second book and she's actually in China right now doing research because it takes place in contemporary China.
And nobody calls this girl for her work racist.
Nobody calls her Xenocentric or Chino-centric.
It's only our side that's somehow wrong for celebrating our traditions and heroes and making heroes in our tradition.
It's total hypocrisy.
Do you see any parallels between the decline of our people, the European American people, and the neglect of our own epic poem traditions?
I think so completely.
Once you take away that tradition, you don't have anything to hold on to.
The left actually has a point on this sense.
And when they talk, like, they used to talk, I know I'm not an admirer of these people, but they talk about how you take away the language, you take away the culture, and you replace it with something else.
They go back, what you're talking about, our traditional heroes and stuff has been pushed aside.
We can't talk about Andrew Jackson or George Washington anymore.
They're racist, gumbag, slave owners, right?
And so instead, we have people like our gentle giant, Michael Brown, to give the most recent example, who robbed the convenience store and basically manhandled the cashier and attack a cop.
So there is a way our traditions have been pushed aside.
And like I said, you get inspired by reading these.
The perfect example would be the one poem that we can never have today are The Song of Roland, which is all about this Frenchman under Charlemagne fighting against the Muslim invasion of France.
That would be unheard of today.
Now, if Frenchmen read that today, and that was taught in schools, the Islamication of France and all of Europe, which I saw when I studied abroad there, would be turned around in a generation.
So there is a way it's declined because we don't have this tradition to look back on, inspire us to keep going forward.
Since we have nothing, we're declining.
Interesting.
By the way, Stephanie, one of me to ask you if you could slow down just a little bit.
Yeah, I'm sorry.
I'm a fast-talking New Yorker.
She says, you sound like you're very excited about your book and passionate about your art form.
Understatement.
So you've written this wonderful book, and folks, I urge you to lay hold of a copy of it and see to it that everybody in your house reads it.
I've been reading it to my son, and he is enjoying it to no end, and so am I.
And I've read it a couple of times before.
So, by the way, it's been my pleasure to watch William Rome forge this story over the past few years.
He's occasionally sent me advanced copies, and I was proud to write an advanced praise for it, which you can read in the thing.
And actually, I'm working on an introduction for the story.
He's self-publishing it, so he's going to be able to insert it anytime he wants, I guess.
And William, I'm sorry I haven't gotten that to you.
I'm working hard on it, but I'm, you know, OBE, overcome by events.
No, it's fine.
It's fine.
I understand.
Okay, so you're excited about this story.
And in your introduction, you treat it as a child almost.
You love this story, and so do I. What do you hope it will do after all we said about the empowering effects of this art form?
What do you hope it will do?
Who do you want to read this?
I want anybody, well, first off, anybody that enjoys a good story in the classical tradition, I was kind of hoping the same way.
I'm trying to talk slower now.
I was hoping for the kind of same effect J.R. Colton had when he wrote Lord of the Rings, because he had written it for a contemporary epic for England, because England didn't have one.
And so I'm hoping those kind of people that are looking for an epic story find one in it and read it and enjoy it.
So that would be the first reason just to enjoy those epic stories that aren't around anymore.
And the second, I would hope for anybody in the wider with Columbia or Tornado Wright would read it and be inspired by it for the creation of a new homeland and arising from generation from a civilizational fall, which I think we're in right now.
So I hope people that love the West and love our traditions read it and inspire them to do something.
So you mentioned the alternative right.
And who do you identify as the alternative right?
The alternative right is pretty broad, but people like Richard Spencer over at Radix, Gregory Coote, who's a good friend of mine, he writes that radiance, Gary Taylor, who has the greatest respect for the religious, the more people that want to bring back traditional religion, like say Matthew Heinbach or Matt Perrin, or even what's called the man of sphere, want to restart a restart a mass flinging culture.
The alternative right would basically be the enemies of the collective opposite.
I gotta hold you right there, William.
We're coming to for the break.
Darn that clock.
So, folks, stick with us through the break, and we'll be right back with William Rome here on Political Test School.
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Welcome back.
To get on the show, call us on James' Dime at 1-866-986-6397.
All right, here we are, folks, at the final segment of this hour.
And I urge you to stay on after I'm gone because fan favorite James Edwards is going to be back on the job.
Back where he was supposed to be back where he is meant to be behind the microphone of the political cesspool.
It's been my pleasure to fill in for him this hour.
I hope you've benefited from it.
And, you know, who knows?
Maybe I can get back on the air again soon.
That's up to James.
I'm always pleased to help out when I can.
We're still here with my friend William Rome talking about his book, The Legend of the Great Trek and other poems available at Amazon.com.
Just do a book search for that title, The Legend of the Great Trek and other poems.
You know, William, what I take away from this, and one of the reasons I love literature so much, is because it takes us back to our heritage.
It takes us back and reminds us of the things that make us us, makes us unique.
And part of what makes us unique is our, well, our genetics, our mothers and our fathers, our families, our extended families, on down through the mists of time.
And as a good Presbyterian, as a good Calvinist, you know, I have a very strong feeling for the Ten Commandments.
And I have an especially strong feeling for the fifth commandment, which says, honor thy father and thy mother, that thy days may be long upon the land which the Lord thy God giveth thee.
Now, we've ignored our bardic traditions.
We've ignored the stories of our people.
We've ignored our past.
And we've ignored our fathers and our mothers.
And I think that is why we are losing our country right before our very eyes, because we have ignored the fifth commandment.
Scripture also tells us that my people perish for lack of a vision.
And that means that where there is no vision for a future, there is no future.
And part of having a vision of the future is having a grasp of the past.
And that past comes from your heroes, from your family.
Do you agree with that?
I agree completely with that.
And one thing I would add is, young man, I'm not, excuse me, as a young man, I'm actually turning 31 Monday.
And I think for people my age, the reason literature is so important is because we were born after that was all over.
I was born at the tail end of 83.
And so the literature, like these epics, like the Homeric epics, Beowulf, Dante's divine comedy, the literature is the only way we have left people my age to really understand that heritage and know it because we weren't raised in it.
We were born after everything started to be pushed aside by the cultural Marxists and everything.
So absolutely, I agree that it's imperative for this literature to be read.
So you'll agree with me that it's easy for us to spend time thinking about and discussing those who hate us.
I mean, we're bombarded by it in the mainstream media 24-7.
All we see, as I've said at the opening, are people hating us.
Everybody from people in the streets to college professors to even national leaders.
They hate us and they are focusing attention off of the bad behavior of their people and trying to focus it on our assumed flaws.
I think that we need to spend time not listening to those who hate us and start building each other up.
And that's what I hope comes from The Legend of the Great Trek and other poems.
Agreed, completely.
I mean, and you don't want to be like the left because we have to reflect on our culture and our heritage and our great works of art.
Because, like you said, we just can't concentrate on these people attacking us because that's what the left does as well.
The left really doesn't produce anything.
They're agents of destruction, as this past week has shown.
And so they're so obsessed with hating the people they see hating them that they don't produce anything.
And I think that's one of the great characteristics of a great people.
They actually produce things that last.
So that's my opinion.
Oh, yes, I agree with you.
Some friends and I were discussing, we were discussing via Messenger how the ruins of classic architecture.
And we all agreed that the ruins of classic architecture, like palaces and castles, the ruins are actually as beautiful as the structures were when they were first constructed.
And I think that holds true for literature as well.
Yes, our bardic traditions like Paradise Lost and Chaucer, Canterbury Tales, yes, they are different than the world today.
Apparently they are, but not really.
Those people, those stories have the same issues that we have, but they are better for being old.
They are better for being somewhat different from us, but at the same time, reflecting us even through the centuries.
Agreed.
I mean, you're talking about the Bardic tradition, go back to the original Bard Homer.
The world of the Homeric epics of Odysseus and Penelope and Ajax, it's so different from our contemporary time.
Yes, they're dealing with the same issues we deal with today: pride, war, love, regret.
So I completely agree.
All right.
What do you got coming on the future?
What are your future projects?
What's on the horizon for William Rome?
I actually have two books planned for this upcoming spring.
One of them is a short story collection about, I've been writing these stories over the years because college, they're about young men and 27 men and relationships.
It's a contemporary, it's more in the tradition of, say, early Fitzgerald and everybody dealing with contemporary young people their age.
And the other one would be a science fiction novel actually started a couple years ago and put aside.
It's about the criminal underworld on Mars after we've colonized the planet.
So.
That sounds rather interesting.
What was the inspiration for that?
It was a lot of Japanese animation that I've been watching since I was a teenager, lots of science.
I've always been a big science fiction nut.
And actually, that's also contemporary in the fact that, like I said, it's about the Martian underworld on Mars after he colonized the planet.
But at the same time, the main industry that this cartel on Mars does is they import people on Mars back to Earth.
They illegally smuggle people born on Mars back to Earth to work as cheap labor because Earth has basically become a giant gated community.
So I wanted to bring in some contemporary analogies to immigration in the story, too.
I didn't quite catch what the other projects were.
Could you tell the inspiration for those?
Oh, the inspiration for the short stories is basically my own experience as a young person.
Like I said, this is more in traditional, say, Fitzgerald talking about young people of his time and what they go through with relationships, school, drinking, that kind of thing.
All right.
Well, look, it's been a real pleasure having you tonight.
It's been a real pleasure watching you forge The Legend of the Great Trek and other poems.
And, you know, we focused on the main entree of the book, The Legend of the Great Trek, but the other poems are just as exciting, just as thrilling, and very heroic.
Can you touch on this a bit?
Excuse me.
Can you repeat that?
Yeah, I asked, could you touch on the other poems in the book?
Yes, the other poems are, they're wide ranging from traditional lyrical ballads.
One of them is called The Wandering Prison, which we both agree.
That's actually, I think that's the best piece I've ever written.
It's about a young, it's got a pirate named Byron who made this deal with the devil.
So to redeem himself, he has to fight the Turks at the Battle of Lepanto outside Greece.
Another one called The Battle of the Last Night, which is my case on like the traditional Nordic Beowulf type single hero going walk through a new land to fight a beast type creature.
And so there's heroic epics like that, but there's also some love poems in it, some poems in traditional, say, Kipling, like his poem is talking about traditional masculinity today and this kind of thing.
Stephanie wanted me to ask you how it is you sound so young, especially since you smoke so many cigars.
I don't know.
I'm actually, I'm, like I said, I'm turning 31 Tuesday or Monday.
And over the past month, I've had three different people go, no, you're not turning 31.
You're like 26, aren't you?
I'm like, no.
Then you've got that Michael J. Fox gene, I guess.
I remember back in my hearing days when you and I used to talk on the phone and when you used to come on the fest pool, I just could not believe that you sounded so much like a high school kid.
Pardon me from saying so, but you did.
But my gosh, you're 31 years old.
That's just amazing.
I guess most people are going to be able to do that.
I know I'm going to have to take testosterone and stuff to get my voice lower.
Stephanie says to say that again, I was talking over you.
I'm sorry, I made a joke.
I said I'm going to have to take testosterone supplements to get my voice lower.
No, maybe when you hit pure reading, it'll happen.
Oh, ouch.
All right.
Well, I'm going to say goodbye to you and thank you again for joining us tonight.
I look forward to future interviews and I wish you all the best on your future projects.
Thank you again for writing The Legend of the Great Trek and other poems.
I hope it sells well.
Not just because I want you to be suitably remunerated for your efforts, but because I just think it's a great reading and it should be in every home of every person who loves Western civilization and European-American civilization and wishes to see it thrive.
Another hour.
Well, thank you very much, Mr. I hope everybody buys my book and enjoys it.
And pardon me if I talk as I've masked this off basketball.
I'm a combination of nervous and excited being on the show.