Saturday, February 28, 2026

Chesterton as War Propagandist: Or, Against the Ignorant, Mendacious, Calumniating Anti-Chestertonians

Chesterton as War Propagandist: Or, Against the Ignorant, Mendacious, Calumniating Anti-Chestertonians

As people who know me in real life can attest, I have for the past fifteen years or so regularly joked that--despite being (by this point) nominally an academic expert with a PhD and a book from Oxford University Press on 4th century political theology--the area which I am actually most qualified to write on is Star Trek. However, in the dry, sober, unhumorous light of day, the single topic I am probably actually most fully qualified to write on is the life and thought of G.K. Chesterton.

Regular readers of this """weblog""" will note that pretty much every essay I have written for The Adventures of Captain Peabody since its inception has included at least a few credited or uncredited paraphrases of Chesterton. These citations, though, drastically underrate the degree to which I have stolen from Chesterton over the years. 

The truth is, there is more or less no thought I have had on any topic since the age of twelve that has not derived to at least some degree from a thought by Chesterton. This is not an exaggeration. Since the age of twelve, I have self-consciously and deliberately done everything in my power to adopt and assimilate Chesterton's approach to the world as my own. The basic structures of my reasoning on history, art, literature, poetry, psychology, anthropology, humor, enjoyment, and theology all derive to greater or lesser degrees from his own: as does by extension every thought or creative product deriving from those structures. In the scale of my various identities, "Chestertonian" comes just behind "Catholic Christian" and very far ahead of "American."

Grotesque, Egotistical Presentation of Credentials

Beyond that, though, I have in fact read a shockingly large proportion of Chesterton's shockingly large corpus: and what is more (believe it or not!) remembered most of it. That, though, gives a perhaps unhelpful impression of my engagement with Chesterton, which has not been academic and systematic but constant and totalizing. Put simply, "reading Chesterton" is something I do every day, multiple times a day, on top of and alongside anything else I happen to be reading or doing. The vast majority of the works by Chesterton I have read I have read not once, but somewhere between a dozen and a hundred times.

Or, as Chesterton's close personal friend Hilaire Belloc put it:

I like to read myself to sleep in Bed,
A thing that every honest man has done
At one time or another, it is said,
But not as something in the usual run;
Now *I* from ten years old to forty one
Have never missed a night: and what I need
To buck me up is Gilbert Chesterton,
(The only man I regularly read).

The Illustrated London News is wed
To letter press as stodgy as a bun,
The Daily News might just as well be dead,
The 'Idler' has a tawdry kind of fun,
The 'Speaker' is a sort of Sally Lunn,
The 'World' is like a small unpleasant weed;
*I take them all because of Chesterton*,
(The only man I regularly read).

The memories of the Duke of Beachy Head,
The memoirs of Lord Hildebrand (his son)
Are things I could have written on my head,
So are the memories of the Comte de Mun,}
And as for novels written by the ton,
I'd burn the bloody lot! I know the Breed!
And get me back to be with Chesterton
(The only man I regularly read).

ENVOI

Prince, have you read a book called 'Thoughts upon
The Ethos of the Athanasian Creed'?
No matter--it is not by Chesterton
(The only man I regularly read).

I have naturally read many times all of his so-called "major works" of Christian apologetics and philosophy: namely, Heretics, Orthodoxy, and The Everlasting Man. I have also, however, read and re-read his less well-known works on Christian topics, namely The Thing, The Catholic Church and Conversion, The Well and the ShallowsSt. Francis of Assisi, and St. Thomas Aquinas. I have read and reread many times all of Chesterton's six novels (The Napoleon of Notting Hill, The Man Who Was Thursday, The Ball and the Cross, Manalive, The Flying Inn, and The Return of Don Quixote), as well as more or less all of his short stories (including not only all 53 Father Brown mysteries, but also the one-off collections The Club of Queer Trades, Four Faultless Felons, The Man Who Knew Too MuchTales of the Long Bow, The Poet and the Lunatics, The Paradoxes of Mr. Pond, and the early unpublished writings collected in The Coloured Lands and elsewhere). I have read nearly all of his poems that have been collected (some thousands), and memorized more than a dozen of them, including his famous epic poems Lepanto, The Ballad of St. Barbara, and the book-length Ballad of the White Horse. I have read all those books covering his frequent travels and impressions taken from them: What I Saw in America, Irish ImpressionsThe New Jerusalem, Sidelights on New York and Newer London, Christendom in Dublin, and The Resurrection of Rome. I have not read all, but at least a reasonable proportion of his works of literary criticism, including his Twelve Types, The Victorian Age in LiteratureCharles Dickens, Robert Browning, George Bernard ShawAppreciations and Criticisms of the Works of Charles Dickens, Robert Louis Stevenson, and his Chaucer. I have read most of his works of political and economic theory and polemic, including Utopia of Usurers, Eugenics and Other Evils, William CobbettWhat's Wrong with the World, and The Outline of Sanity. I have read his one and only Short History of England. I have read all three plays he wrote in his lifetime, namely, Magic, The Judgement of Dr. Johnson, and The Surprise, as well as the mummer's play The Turkey and the Turk. I have also, relevantly to this essay, read most of his works of anti-German war propaganda, including The Barbarism of BerlinLord Kitchener, The Crimes of England, and the posthumous collection of his anti-Nazi columns and essays The End of the Armistice

(I left out a few books here because I missed them in the Wikipedia list of Chesterton works I found and/or wasn't 100% sure I had read them even though I likely did.)

While I have not read all his collections of essays, I have read at least a reasonable proportion of the weekly or more than weekly columns he wrote for most of his life and from which these essay collections were drawn. In particular, I have read and reread all of the weekly columns, reviews, and letters he wrote for the Daily News from 1901 to 1913. It is literally true that I do not know how many of the weekly columns he wrote for the Illustrated London News from 1905 to 1936 I have read--as I used to simply read through volumes of them ad libitum without taking any particular notice of what the year was or which I had read before--but I believe upon sober reflection that I have read certainly the majority of them (including definitely all between 1914 and 1919 and all from 1930-1936, of which I made particular note), and consider it likely that I have in fact read something approaching all of them. I have also read everything he wrote (including both weekly columns and occasional anonymous leaders, easily distinguishable by his distinctive voice) for his brother's newspaper The New Witness from 1919 to 1922 (the only years, alas, currently available online); and am at the present slowly reading through everything he wrote for his own newspaper G.K.'s Weekly in the available online archives: so far, I have only made it from Sept. 1925 to February 1926, but am making steady progress. This remains, for me, the true "frontier" of Chesterton reading, which will hopefully last me until death.

Oh yes, and I have also naturally read a decent amount of scholarship and writing on Chesterton: including most notably Chesterton's own Autobiography, and Ian Kerr's voluminous and magisterial G.K. Chesterton: A Biography, my copy of which is in tatters from reading it in the shower too much. I have also read many times the initial biography written by Maisie Ward, a personal friend of Chesterton: as well as owning and frequently rereading the rare and hard-to-find supplement Return to Chesterton, a delightful and profound book consisting of dozens of largely unedited accounts and anecdotes of Chesterton by personal friends and people he took under his wing as children and adolescents.

All this might well make me seem like a rather crazed monomaniac, the proverbial "man of one book" spoken of by Aquinas. I can assure my readers that this is not the case: as, for instance, the many books on diverse topics reviewed in this space might indicate. Besides getting a PhD in Classics and writing a book on 4th century political theology, I flatter myself in thinking that I read rather widely. In the past few months, for instance, I have read an academic book on Ottoman political theory, another on modern Islamic movements to revive the Caliphate, another on Medieval European social organization, and another on the internal economy of the contemporary Pakistani military, in addition to a few works of fiction. Still, all the while, I have been also and on the side reading and rereading G.K. Chesterton.

It is, in fact, Chesterton who led me to become such a generalist, and my general reading that leads me back to Chesterton. He himself read and wrote rather widely on very different topics all throughout his life: and a close personal friend compared him to a house with large windows opening in every direction. I have, to a much smaller extent, aspired to be the same.

For the purposes of this essay, however, I should point out that my knowledge of Chesterton extends not merely to his text, but to his context. I would venture to say that I have a fairly decent working knowledge of all of the major authors and politicians, intellectual and religious and political movements, major world events, and journalistic fads of Chesterton's lifetime. A decent amount of that knowledge, it is true, comes via absorbing and researching the references to these events and fads and figures found in Chesterton's voluminous writings--while some more comes from reading a decent proportion of the non-Chesterton writings and reviews and columns and leaders of the weekly popular newspapers Chesterton wrote for. But I have also directly read a decent number of other contemporary authors and/or scholarly works on the period. 

Hence, while I would never profess to be a scholarly expert on the Victorian Era or the early 20th century or WW1 or the '20s or the '30s, I can speak with reasonable facility on and around, for instance, the Eugenics movement in Germany, England, and America, the Celtic Revival, the Decadents, the WW1 German military, the lead-up and results of the Russian Revolution, the introduction of Russian literature into England, the birth and early development of the English Air Force, the rise of Imperialist Jingoism and Mafficking in England, the Darwinian debates over evolution, Teutonist racialism in England and Germany, the Victorian debates over Birth Control, the Great Strikes of the 1900s, Orientalism as a cultural movement, the French syndicalist movement and its American and British offshoots, the place of Jews in England and France in the 19th and 20th centuries, Anarchist dynamite attacks and assassinations, the economic downturn in England, France, and Germany after WW1, the birth of modern policing, the origins of science fiction, the rise of Fascism in the 1920s and '30s, detective fiction in Britain and America, the Conservative Revolution in Germany, and so on and so forth. More than this, I am intimately familiar with the language and cast of mind of people in these times and places and could give, I fancy, a pretty decent approximation of how different groups wrote and thought. I have also read or read about a great number of the authors and topics from earlier history written about by Chesterton, including such diverse figures as William Cobbett, William Shakespeare, Homer, and Euripides.

Wednesday, February 11, 2026

Poem: Lourdes

[Today is the feast day of Our Lady of Lourdes, which commemorate the anniversary of the first apparition to St. Bernadette Soubirous on February 11th, 1858. I visited Lourdes in 2017, drank the water, and bathed in the spring, and there received what I regard as both a true revelation and a miraculous healing. I wrote this poem a number of years later in recognition of this event.]

Lourdes

My Lady

who dwell in the mountains

abandon me not

forget me not

in silence

hold me


Lady of the stillness

of those overshadowed valleys

and of the spring

that bubbles up

from the depths of our despair

dark and clouded

by our filth

colder

than our loneliness


Lady of the darkness

that holds our eyes

in the night

in the grotto

under the shadow 

of your crossed arms


and Lady of the lights

the tongues of flame

melting wax

that spills upon our hands

searing

as we stumble

in your footsteps


Lady of gleaming white

reflected light

amidst the darkness


Lady of the song

we sing to you

sinners, fools,

sick and old

dispossessed, abandoned

in masses driven

calling upon you


Lady of the stench

and all the ugliness

of our decaying bodies

and souls


Lady of the shit-pile

where your daughter lived


Lady of the great grey expanse of space

beneath the ground

where we shelter

huddled together

so many

from the clamor

and the light

and the fire

that devour us


Lady of the shadows

on the concrete walls


Lady of the cinder-blocks

and the steel


Lady of this age

Queen of this great City

of blood and iron


Lady of the masses

teeming

starving

herded

driven

anonymous

to labor

and extermination


Lady of the broken selves

cast into the trash can


Lady of all those 

whom unclean iron

has pierced


Lady of all those

whom radiant idols

have chilled


Lady of all those

whose inner chamber is empty


Lady of all those

whose door is sealed shut

or broken open


Lady of all those

whom this world has defeated


Lady of all those

the righteous have despaired over

let fall

dropped out of the picture

hidden in the calculation

whose evil

the good have tolerated

whose eternal loss

the wise and just

have accepted


Lady who pass beyond

the limits of our patience

and our love


Lady of our healing


Lady of our death


Lady of Lourdes

I call upon you

over all your names

your shrines upon the earth


because I called upon you

in the night

and in the night

you heard and answered

and because I fell back

naked

into your icy waters

and you caught me


Lady of Lourdes

Queen of this age

and of me


I praise you


Amen

Monday, February 2, 2026

Melania 2026 and the Fossilization of Power

Melania 2026 and the Fossilization of Power

What is power?

This is not, or should not be, a difficult question to answer. 

The most basic definition of power might be something like "making something happen." A more metaphysical answer might be "the actualization of potential existence by actual existence." A more human answer, encompassing pretty much every society and form of power throughout history, might be something like "the ability to make what you want happen." 

The human answer quite naturally connects power with desire or will--and in so doing explains why power is universally seen as something good or desirable by humans. All three definitions, though, show with equal clarity the basic directionality or teleology of power: actuality actualizing potency and something making something else happen. You want power because you will or desire that something happen--and because power itself is essentially and totally ordered to making something happen.

Yet, if power is defined by teleology, will, and desire, it is essentially and totally dependent on things outside itself--on the will and desire and actuality of the being that wields it, and on the being it is ordered to producing. Indeed, power is essentially and totally, not a thing in itself, even a being in itself, but merely a relation between beings. Potential being is actualized by already actual being, and in so doing produces more actual being: someone makes something happen. Without either actual term, power is incoherent and cannot exist. 

In being fulfilled, though, in causing something to be, power or potency is always and totally, as it were, used up, fulfilled, ended in the base etymological sense of the Greek telos. In the terms of Aristotelean and Thomist theology, God himself is what you get when the power of all being is entirely used up, leaving no conceivable potency whatsoever. God is finished, and in that sense powerless.

(Of course, though God himself has eternally completed in himself everything that could be, he still retains a free, contingent will that can, when and how he chooses, make other, lesser things exist, in a secondary, derivative sense, out of sheer gratuitous generosity. When he wills or desires it, he can make things happen, and so wield power.)

All this proem is merely a way to say that the reason why people have from the beginnings of the human race universally wanted power is because there were things they wanted to happen. Which is to say, they were actual beings of will and desire who willed things that they saw as desirable but as yet only possible and so in need of being actualized--or, more simply, because they wanted what they wanted to happen. For this reason, though, the end of power is always and everywhere not power itself, but what you want: power is only and solely a means. 

Or, in other words: if people in fact want something, then they will want the power to get that thing, and nothing more or less. If they want different things, then they will want the perhaps very different form or degree of power necessary to get that other thing. If they do not happen to want anything, though, they will not want power. It is, really, that simple.

I watched Melania in theaters. It is the most devastating film I have seen since The Last Showgirl. It is also one of the greatest films I have ever seen, precisely because of its brutal, unstinting look at the spiraling whirlpool that is the contemporary American cult of power. 

I should say that I am not sure the film's devastating surrealism is entirely intentional--but I am also far from certain it is entirely unintentional. Rather, what makes the film great is precisely its artistic devotion to vividly and truthfully chronicling the artifice and craft of power as it is actually practiced by the rulers of the greatest Empire in the history of the human race--and because it centers on someone who is clearly an absolute master of this craft. Melania Trump, whatever else she may be, is a great artist--even if, like many great artists, she does not appear to consciously understand almost anything of what she is doing and why, and even if, also like many great artists, her life appears to be a living hell.

As with my review of Oppenheimer, a devastating film that compelled me to immediately struggle to process just what about it I viscerally hated, I find it very hard to capture just what made Melania such a terrifying and alienating and powerful experience for me. It would be easiest to just point to random details and moments in the film, moments that are indelibly graven upon my mind and heart and will probably never leave it.

Four people cluster around a glassy table in the impossibly ornate and labyrinthine and gigantic red-and-gold interior of Trump Towers, mirrors upon mirrors upon glass upon carpet curling in and ever in and around on themselves. They are waiting for Melania. She enters, a stiff figure in black and white, and they jump to life and begin their performances: the French fashion designer with his exaggerated mugging and rushed faux-friendliness, the rumpled American fashion designer with his large smiles and air of suppressed tension, the two Asian tailors in black-and-white uniforms standing silent and concerned in the background of every shot. 

They show her the suit for the Inauguration. Everything is perfect, she tells them with stiffly exaggerated friendliness, but the fabric is wrong, as is the waist, as is the lapel. She tells them matter-of-factly the specific changes she will need: they agree with each one enthusiastically. Then she leaves the room, and for about thirty seconds the camera lingers on these four people as they cluster around the table, talking in rushed, tense, oddly frustrated voices, trying to conform to her demands. "It is impossible," the male Asian tailor says. Then the camera follows the female Asian tailor as she leaves the room, in and around golden walls and golden paneling, and begins to climb a golden spiral staircase, up and around and up and around and--

Melania Trump, more than perhaps any First Lady since Jackie Kennedy, has a style and aesthetic of her own, one manifested throughout the film. Yet this aesthetic is, when one looks at it objectively, rather strange. In many different scenes, Melania tries on and requests alterations to and finally performs in a number of different outfits: but both the outfits and her alterations are always more or less the same. 

Melania's aesthetic, it turns out, can be rather easily summarized: black and white--which, she says at one point, are "her colors"--and straight lines, which she again and again demands alterations to achieve even in already quite straight garments, making sure the small bit of white blouse showing under her black coat is straight, making sure the neckline of her strapless white-and-black ballgown is straight, making sure her inauguration coat falls straight, tensely pointing to where the white strap around her black hat seems to her rounded and "loose" and not nearly straight enough. Every time she dons these similar black-and-white straight garments, her fashion designers praise them--but she simply stares stiffly in the mirror, tensely checking to make sure that she is as black and white and straight as she should be.

At one point, her designer tells her that a dress is "so you." But who is the "you" expressed by these severe confections of straight lines in white and black, by these oddly scripted and formal and stiff interactions with subordinates? Or is that really the question?