Among those who fancy their voice in the elevation of the Chief Executive of their collective, in hopes that he will force justice through the webs of lies, complaisance, avarice and fanaticism projected by his many handlers, one might which to consider his plight. Most importantly, he is opposed—always and forever—by those elites over whom he has been elevated as a sham to appease our taboo yearning for a king, but to whom he is actually enthralled. These elites include the merchants, the bankers, those who would be kings and the priesthood [media] and most of all the secret societies [CIA, FBI, Secret Service, etc.]
No yarn-spinner, toiling in the telling of the plights of men and fates, has done better than Homer in his portrait of Agamemnon and Achilles in his Iliad. And although the modern voter yearns for an Achilles, he is most often served with a jester-surrogate. Indeed, consider the acting abilities of Reagan, Clinton and Obama and the celebrity status of Trump, and one sees, not an Achilles [the warrior prince], not even a Nestor [the wise old man], nor even an Agamemnon [the king], but the forgettable figure of the herald, the crier—the court jester, for the ancient king’s court of power and justice has been wholly usurped by the merchant’s desk, the spy’s trick and the banker’s vault, leaving the king more slave than all about him.
The authors of Gilgamesh, Roland and Beowulf came within sight, but fell short of Homer’s Achilles as the lost hope of Man—to their sorrow, for his name means Sorrow-of-the-people. Among these poets there is one modern equal, Robert E. Howard, who told the tale of the beleaguered ancient king, having taken the throne by his own might [which makes Donald Trump his modern, albeit degraded incarnation, as he trampled the rituals of succession with words rather than swords] in By This Ax I Rule!, the fascistic story of brooding King Kull, and later, in two drafts, the tale of King Conan, the breakout story of his non-chronological hero cycle, The Phoenix on the Sword.
The story of the chains upon the ruler of a civilization are well told in each, though the sense of injustice is largely gone from Conan’s version of the tale. Anyone truly interested in the plight of an elected executive of a restive people who wish him to take on the entrenched elites, may well be served by listening to Nathan Kloske’s brilliant reading of the dark romance featuring Howard’s most brooding character, keeping in mind, that only a president with the means to get physical in his defiance of the elites would have a chance of success—and that success would be wrought by force and by suspension of the diabolically woven threads of government by which the global elite maintain a stranglehold on the American people who provide the men and machinery for the world’s police force.
By This Ax I Rule! charts the only course for reform, a course that civilized people are incapable of embarking on, which is why Howard chose a barbarian as his conflicted king. The tack Kull takes in the story below is the equivalent of a modern president gaining the personal loyalty of the military and having soldiers usher out congress and smash the benches of the supreme court and then communicating directly with his subjects.
No fantasy story—and such can only be written as fantasy—could be more relevant to our plight in the America of 2017 than that recorded below.
The second version of the story, linked below, is a less relevant but more skillfully and beautifully sketched than its predecessor. The kingly wrath of Kull is condensed and placed into Conan as his race consciousness and tigerish persona. If you are an aspiring writer listen to both of these back-to-back to learn the keys to transforming a politically incorrect tale into an acceptable form of art that imbeds the defiance of the original tale more deeply in the folds of the story.
The character of the sorcerer, the real power behind the elite opponents of the King in The Phoenix on the Sword, was developed from the slave in the first story and elevated to the position of interloper, representing for the modern man, the violent migrants imported by the European and American elites to support their cause.
Note, in the later tale, how Conan is judged a fool for keeping advisors that once advised the regime he replaced. Does that ring a modern bell?
The best dialogue of the two stories is between Acalante the usurper and Toth Amon the Stygian, at five to twelve minutes in. This s masterfully concealed political dialogue. Think of Toth Amon as an operative of the international bankers and Ascalante as the leader of the American Neo-Cons.
Unfortunately, the Age of Heroes is past, and the man whom our versions of Ascalante and Toth Amon conspire against, is a soft product of our degenerate civilization, that society which most needs the hero being fundamentally incapable of creating him.