In Parts 1 and 2 we have been tracking the development of Scientism—use of science and technology for power and control—from Francis Bacon’s depiction in The New Atlantis and the formation of the Royal Society, through the Illuminati’s pivot from sorcery to scientism as a secret society influencing the broader worldview in hidden influences.
Some of these influences have been presented to us as fiction and “entertainment.” See the essay “Jews of the CFR” to explore some of the writings in novel form of H G Wells, implanting fear of infectious disease and “pandemics,” as well as his obvious publication of the book The New World Order in 1940. Well’s novel The Shape of Things to Come (1933) was made in to a movie mostly by Jews in Britain in 1936 called Things to Come. It depicts a devastating pandemic wiping out half the world’s population, called the Wandering Sickness, in which people transform into literal shuffling mindless zombies. Uninfected people must shoot them from a distance because proximity to a zombie spreads the infection. In the book/movie, people must shoot their own family members to stay safe. This prepared us for the “social distancing” concept so heavily applied in the recent plandemic.
As a child and young man, I enjoyed science fiction and fantasy novels and movies, devouring them incessantly and almost exclusively. At a young age I discovered such classics as Brave New World (1933 also) and 1984 (1948), never suspecting they were not in fact fiction, and not “entertainment,” but indoctrination and cult programming into the Scientism worldview. I was completely fascinated by a short story we were required to read as part of the Junior High School curriculum (12-15) titled The Machine Stops. I experienced it as entertainment, never wondering why it was selected out of the huge canon of possibilities for reading by Junior High students.
Years later in college, at the age of 19 or 20, we studied The Machine Stops in my favorite class, The Literature of Utopia. Once again, we must ask why this story was part of the curriculum out of the vast range of choices.
Both in Junior High and College, I closely identified with the protagonist, Kuno, a young man living in a post-apocalyptic technocratic society of extreme social isolation and technological dependency struggling to find something natural outside the machine experience. He was treated as taboo even by his own mother, Vashti, though in the end—the end not just of their own lives but of their entire society—they reconcile as living human beings in each other’s physical presence.
The Machine Stops is framed as some form of the Hero’s Journey, a young man adventuring outside his original society, discovering a transformative truth, and bringing it back to his original society to redeem it and himself. How compelling to the young man I was in Junior High, and hopeful to the idealistic college man! Yet in the end, Kuno’s society is not redeemed, but destroyed. Perhaps that is the redemption it deserved, for it was too dependent on The Machine and too bereft of humanity.
In the first scene Kuno calls his mother Vashti on what can only be described as a cell phone. Vashti had previously been listening to music and corresponding with remote people on what can only be described as the internet. The Machine Stops was first published in 1909!
The author of this 25 page short story was E M Forester, who much later—after I had begun my Awakening in earnest in 2015—I even thought to investigate as a homosexual humanist. Belief in the Christian worldview was much more prevalent in Forester’s time than today, after the Communists succeeded in discrediting Christianity, primarily among the youth, and replacing it with Scientism. Forester’s homosexuality and his humanism were both heretical and deviant in the largely Christian society he inhabited. His most famous work was A Passage to India, and its glorification of Indian society was most likely an attempt to prepare Great Britain to sever the sub-continent from the Empire. Remember, Forester was British. We looked at this in the TT essay “The World Plan: Surrender of Another Empire.” It is notable that Forester used Indian names for his 2 main characters in The Machine Stops, which was published more than a decade before A Passage to India. “In 1961 he was one of the first five authors named as a Companion of Literature by the Royal Society of Literature.”
Perhaps Forester’s homosexuality explains the bizarre scene where Kuno finally reaches the surface of the Earth and escapes outside the confines of the Machine. There he encounters the Mending Apparatus, a machine that repairs and maintains the Machine:
”I realized that something evil was at work, and I had better escape to the other air, and, if I must die, die running towards the cloud that had been the colour of a pearl. I never started. Out of the shaft—it is too horrible. A worm, a long white worm, had crawled out of the shaft and gliding over the moonlit grass.
“I screamed. I did everything that I should not have done, I stamped upon the creature instead of flying from it, and it at once curled round the ankle. Then we fought. The worm let me run all over the dell, but edged up my leg as I ran. ‘Help!’ I cried. (That part is too awful. It belongs to the part that you will never know.) ‘Help!’ I cried. (Why cannot we suffer in silence?) ‘Help!’ I cried. When my feet were wound together, I fell, I was dragged away from the dear ferns and the living hills, and past the great metal stopper (I can tell you this part), and I thought it might save me again if I caught hold of the handle. It also was enwrapped, it also. Oh, the whole dell was full of the things. They were searching it in all directions, they were denuding it, and the white snouts of others peeped out of the hole, ready if needed. Everything that could be moved they brought—brushwood, bundles of fern, everything, and down we all went intertwined into hell. The last things that I saw, ere the stopper closed after us, were certain stars, and I felt that a man of my sort lived in the sky. For I did fight, I fought till the very end, and it was only my head hitting against the ladder that quieted me. I woke up in this room. The worms had vanished. I was surrounded by artificial air, artificial light, artificial peace, and my friends were calling to me down speaking-tubes to know whether I had come across any new ideas lately.”
My college professor explained that this parenthetical phrase “(That part is too awful. It belongs to the part that you will never know.)” refers to castration. The worm-like cable of the Mending Apparatus climbed up Kuno’s leg and castrated him. I speculate that this depicts either Forester’s own counter-natural homosexuality, or the general neutering of humanity that Scientism imposes, or both. The only other motif this phrase could refer to is anal penetration, a kind of homosexual rape by the Machine in its most powerful form, the Mending Apparatus. Is that how it “mends” humankind, or at least irreverent youth, through a humiliating subjugation? It is as equally plausible an explanation as castration. The grotesque over-promotion and celebration of homosexuality or “transgenderism” today is the direct result of Forester’s depiction in this horrific and disturbing scene.
One more detail of Kuno’s adventure he related to his mother Vashti before she departed, never to see his face again (though to be in his presence one last time):
“Because I have seen her in the twilight—because she came to my help when I called—because she, too, was entangled by the worms, and, luckier than I, was killed by one of them piercing her throat.”
Here Kuno relates that a young woman, approaching him, was seized by the Mending Apparatus and killed outright. This represents the way Scientism kills the feminine, the masculine consort, leaving marriage, family, and love bereft. It kills by piercing the throat and draining the life-blood of the young fertile woman, leaving her lifeless and barren.
In the end Kuno comes to visit Vashti one last time in person (IRL), though they do not “see” each other because the Machine has stopped and provides no longer any light. In the darkness they finally embrace with the humility of death and folly as their technocratic society implodes:
”They wept for humanity, those two, not for themselves. They could not bear that this should be the end. Ere silence was completed their hearts were opened, and they knew what had been important on the earth. Man, the flower of all flesh, the noblest of all creatures visible, man who had once made god in his image, and had mirrored his strength on the constellations, beautiful naked man was dying, strangled in the garments that he had woven. Century after century had he toiled, and here was his reward. Truly the garment had seemed heavenly at first, shot with colours of culture, sewn with the threads of self-denial. And heavenly it had been so long as man could shed it at will and live by the essence that is his soul, and the essence, equally divine, that is his body. The sin against the body—it was for that they wept in chief; the centuries of wrong against the muscles and the nerves, and those five portals by which we can alone apprehend—glozing it over with talk of evolution, until the body was white pap, the home of ideas as colourless, last sloshy stirrings of a spirit that had grasped the stars.”
The humanist in Forester says man created god in his image, and man is “the noblest of all creatures visible”—the cult of Man. It led only to his physical degradation and spiritual emptiness.
Finally one of the AI-controlled driverless planes crashes through layer upon layer of the underground city, and before they die too Kuno and Vashti see a glimpse of open sky through the rent.
The end.
Just as with Brave New World, 1984, Eisenhower’s Military/Industrial Complex speech, JFK’s speech on the “ruthless conspiracy,” the movie Things to Come, even the progenitor science fiction story Frankenstein and much much else, The Machine Stops is not a cautionary tale or a warning. It is depiction. It is meant to familiarize us with the plan for Scientism over our lives. It does not predict, it displays the technology which Forester was informed by foreknowledge would be inflicted on humanity later in the 20th century and into the 21st. It displays also the inevitable destruction such machine dependence will inflict on humanity individually, in families, and upon the entire global society.
The Fourth Industrial Revolution is upon us. It is expanding to encompass all the technology depicted in The Machine Stops and more, with all the debilitating dependency and dysgenic consequences for the “new normal” person. On behalf of his masters the Technocrats, Forester wants us all to know the unalterable fate that is prepared for us. The degraded but still fully human race will die out in a techno-cataclysm, but in the “Build Back Better” society humans themselves will merge with machines to fulfill the intimate communion of the organic with the synthetic in the new progress of self-expressed evolution. Man, God and Machine are becoming one, while everything lesser goes extinct. Join it or die.
Unless—
Depictions from 1623 through 1660 through 1782 through 1909 hardly differ. Scientism was imposed in a shift away from Sorcery, as a system much better suited to the projection of power and control. Today the World Economic Forum operates as the organizing hub for the final technocratic take-over of humanity and the Earth. The new gods in the form of AI computers will feed on oceans of digital data, spreading an omniscient panoticon even into the minds, hearts and souls of the remnants of humanity that survive the transition. Cybernetic dictation of our behavior and even thoughts will produce a new zombie, created by self-written computer code.
We must be the Neo-Luddites. We reject the current crop of new tech. No wearables, no injectibles, no implantables. No gmo, no gene editing, no bio-sensors. We are not nodes in the internet of bodies. Our bodies are sacred, as perfect as they can be as they are. Diet, exercise, training, meditation (mind training), love of family, partner, clan, tribe and race (heart training), meaningful vocation, and a positive natural eugenics steadily and forever improving the fitness of our People is our Way, our Worldview.
The machine stops, and humanity grows onward in a dance of destiny wtih the living Earth.
Thanks; during school we were made to read '10.4 Signaler's' 'catcher' https://postflaviana.org/freemason-rye/