by Johnny McNeill – unpublished author of ‘Gaslighting Gilligan‘ (© 2017 – free download – released via Berlin on 25th June 2017).
As I’ve tried to convey through #GaslightingGilligan, in both in the (free download) book and blog, it simply isn’t enough for Machiavellian, narcissistic-psychopathy characteristics (known as the ‘Dark Triad’ in professional psychiatry circles) to play out their agendas by manipulating their victims emotions, behaviours and indeed their reality, they also need to wave their knowledge and power in their far-too-trusting victims faces, without the victims remotely realising that they’re being played.
Why? Because power cannot exist in a vacuum. It needs an audience. Even – and especially – an unsuspecting audience.
Because what’s the point in having power if it can’t be exerted and its effects felt by both victim and perpetrator?
You see it’s in the victims pain, that the perpetrators pleasure and insatiable ‘addictive-rush’ is proportionately felt i.e. the more manipulative the confusion, angst, deprivation and depression experienced by the victim, the more satisfaction, sense of toxic empowerment and feeling of goading-glee the gaslighter gets from slowly destroying their ‘plaything’. And the behavioural results of which, can be seen in the perpetrators pathological hypocrisy, their seemingly misplaced sense of confidence and in their fleeting ‘inappropriate’ smirks – known as ‘duping delight’.
So, if we accept that the ‘Big Ben Brexit Bong’ is – quite evidently – a symbolic act in itself supposedly to celebrate Brexit, then so it follows that even with a different perspective – it still remains and represents an act of symbolism right? Because that has to be the consistent, logical conclusion – regardless of interpretation.
So through my #GaslightingGilligan perspective I’m going to offer you a symbolism explanation that actually makes more sense than the utterly surreal and banal one we’re being fed as ‘fact’, as we’re led by the bovine-nose, quite probably by Dominic Cummings himself, who does enjoy cryptically-waving his power-trips in full public view.
As does Boris Johnson who quirkily, darkly hinted how we were “going to make a Titanic success of Brexit”, much to most people’s derision. But he knew, as did all those in on Liam Fox’s “Empire 2.0” ‘joke’, how #ToryAnalytica would deliver the “easiest trade deal in human history“. I called It ‘#OpFukuglaschu‘.
Because when seen from this different ‘Dark Triad’ perspective the real purpose for this specific act by ‘Brexit Bong’ symbolism being waved in our faces, becomes clearer through its duplicitous meaning and motive which is itself a representation of the whole point of Brexit and its wider ideological absurdity attempting to destroy us all…
(A brilliant parody of the right-wing Daily Express front page above).
…delivered by the corrupt #ToryAnalytica ‘Government’ who intend to oversee democracy’s demise by socioeconomic-suicide and slide into a militarist, fascist UK Police State…
…and as such, it is in fact for the working masses of this island (& Ireland) ‘For Whom The Bell really Tolls’…
You see ‘For Whom The Bell Tolls’ is the title of Earnest Hemingway’s 1940 book set in the 1936-39 Spanish Civil War – itself preceded by a coup d’etat – that took place between the elected Popular Front Government; a coalition of left-wing republicans/socialists and Franco’s unelected fascists backed by Hitler’s Germany and Mussolini’s Italy.
And as described in detail here, the book title itself is taken from 17th century poet John Donne’s philosophical writings in ‘Devotions Upon Emergent Occasions’, inspired by his own near-death experience to write about the widespread, religious-cultural norm of ‘funeral tolling’ by church bell-ringers. He wrote;
“No man is an Island, intire of it selfe; every man is a peece of the Continent, a part of the maine; if a Clod bee washed away by the Sea, Europe is the lesse, as well as if a Promontorie were, as well as if a Mannor of thy friends or of thine owne were; any mans death diminishes me, because I am involved in Mankinde; And therefore never send to know for whom the bell tolls; It tolls for thee”.
In the context of this particular piece of ‘Big Ben’ power-symbolism my interpretation is this;
Britain is of course an island upon which every (wo)man inhabiting it, being connected to the Continent geographically, culturally, emotionally and spiritually, is enriched for the experience as a part of the “main(e)” – or ‘whole’.
If a part of it or “Clod” is “washed away” by the “Sea” then “Europe” is weakened, diminished and ‘disappeared’ because we in Britain, on this ‘Promontory’ (a raised piece of land jutting out the water) ‘disappear’ under the [symbolic] ‘flood’ of our own ignorance, to cut ourselves off by “Clod(s)” which has a double meaning; as either a ‘clump of earth’ or as ‘a stupid person’.
As such the ‘disappearance’ of Europe through our own ‘voluntary’ isolation, our own self-imposed solitary confinement, detrimentally affects us emotionally and spiritually, just as would the sudden disappearance of friends or “thyne owne” – meaning a death in the family, or that of any mans death. Because without being a part of the whole, without the wholesale humankind connection (without Freedom of Movement) we are solitary prisoners, merely ‘existing’ under sentence of (a welcome?) death.
No, it is not for we working masses that Big Ben was to be rung by the Etonian elite as a Brexit ‘celebration’ of British ‘independence’ but for their own symbolic celebration of ‘our’ isolationist island, by fascist State-funeral ‘For Whom The Bell Tolls‘ “for thee“; for you, for me, for democracy – in Britain, Europe and the world – in ActIII.
Because as the entry already states;
‘The point made by the choice of [Hemingway’s] title and [Donne’s] epigraph is that Spain’s change from democracy to fascist dictatorship, the outcome of the Spanish Civil War of 1936–1939, is important to and affects everyone, not just Spaniards’.
And as history has already recorded in the propaganda spread of Nazi-led fascism across the European continent in the 20th Century, so too in the 21st Century it is attempting to take its next logical step led by ‘Trump & Brexit: The ‘#DarkTriad’ Model for a Global Fascist Contagion’ – matching its organisational-scale of military ambition fronted by a tight-knit, 1% owned global communications network of both complicit, joined-up mainstream and ‘social’ media that has ‘submarine-sealed us within a ‘pseudo-reality’, within the flatscreen universe; cinematic, TV & tablet’.
I called it ‘Gaslighting Gilligan’ (2017) – ‘a paradigm shift in the meaning of ‘domestic abuse’…
“Writing fiction is the act of weaving a series of lies to arrive at a greater truth”. Khaled Hosseini.
‘Gaslighting Gilligan’ by Johnny McNeill; a contemporary dystopian ‘fiction’ about the intrinsic, interconnectedness of both personal & State-political domestic abuse, was released from Berlin on 25th June 2017. It is copyrighted ©️ but is a *free*-to-share public-service PDF download from here. 🇬🇧🇺🇸🇨🇦🇦🇺🇳🇿