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White Man Bad, Brown Man Good – A Guide to the New New Zealand History

With news that the New Zealand Government will make the teaching of New Zealand history compulsory in schools from 2022, many are wondering what form this history will take. Napoleon said “History is a set of lies agreed upon,” and many Kiwis are skeptical that this new history will be accurate and fair. These concerns are warranted. This essay summarises the New New Zealand History in six words: White Man Bad, Brown Man Good.

The move by the Sixth Labour Government has been heavily criticised by commentators such as Anarkiwi, and for good reason. Government initiatives to “tell the real truth about history” always end up being indoctrination campaigns, launched to brainwash the population into supporting a particular agenda. The history that will be taught in New Zealand schools will be a set of lies agreed upon (although your input will not be sought).

Central to the New New Zealand history is the idea that there was no benefit to the Maori from colonisation, only losses. Maoris did not benefit from medicine, or a justice system, or from sanitation, or from infrastructure, or from technology. All of these things are either presumed to have no value, or it is assumed that Maoris would have developed them anyway without British help.

This New History will follow a Rousseauean conception of human nature, in which uncivilised man is a “noble savage”, morally superior to civilised man. The civilised man is, according to this conception, much like the stereotypical Jewish merchant. He schemes, he swindles, he extorts and steals, and he does so without shame or scruple. Uncivilised man, by contrast, lives in a state of perfect harmony with his environment.

In the New New Zealand History, civilisation descended on these isles like a black wave of corruption and evil. Technology, law and order are considered to be negative things that lured the Maori out of his state of innocence. This allowed for land to be swindled out of the Maori tribes much like candy from an innocent baby in the crib.

Part of this New New Zealand History will be the enshrinement of the special status of Maoris as those people who live here by right, whereas every other race has a conditional residency status contingent on “upholding the Treaty”. The idea is that the continued presence of non-Maoris in New Zealand is dependent on the permission of Maoris. This will see an increase in the use of vocabulary like ‘tangata whenua’ and ‘tauiwi’ (the latter being the Maori equivalent of ‘goyim’ or ‘kaffir’).

Anything that doesn’t fit the White Man Bad, Brown Man Good narrative will simply not be taught.

The Musket Wars, during which 40,000 Maoris were killed by intertribal wars launched by Ngapuhi chief Hongi Hika, will be glossed over, summarised or simply ignored. One can confidently predict that the New New Zealand History will begin in 1840, as if New Zealand had come to Earth already perfectly formed, a last-minute addition direct from the mind of God.

Another thing that won’t be taught is that some 150,000 Maoris have emigrated away from New Zealand to Australia, which offers the same wealth and prosperity that colonisation brought to New Zealand, only more so. Neither will it be taught that Maoris are, on average, five times wealthier than the average Tongan.

Tonga was never colonised, and the fact that Tongans willingly move to New Zealand in far, far greater numbers than Maoris willingly move to Tonga is solid evidence that Polynesian natives prefer the benefits of Western life to the sort of life that existed previously. Actions speak louder than words, after all, and Polynesians have clearly shown with their migration decisions that the Western life is better.

Neither will the ecological consequences of Polynesian settlement get a mention. We won’t hear a word about the extermination of pre-existing megafauna such as the moa and the Haast Eagle. Neither will we hear anything about the fact that Maori settlers in the South Island destroyed 40% of its forest cover within the first 200 years.

The Parihaka story (or at least the Green Party version of it), on the other hand, will play a central role. This story paints Maoris as Gandhi-like figures of peace, and the British as Genghis Khan-like murderers and rapists, and is therefore emblematic of the New New Zealand History. Doubtlessly we will see renewed calls for a Parihaka Day, which is to be another grievance day.

Genuine grievances will not be mentioned if that doesn’t fit the agenda. The destruction of Maori religious and spiritual traditions by Abrahamists suits the Government fine, as does the imposition of recreational alcohol culture on a people who had no genetic resistance to it (and the criminalisation of the recreational cannabis culture that they preferred). Both of those things serve the agenda of tightening control on the thoughts and behaviours of the people.

The actual purpose of the New New Zealand History is manyfold, but it achieves two major objectives from the point of view of those bringing it in.

First, it divides Maoris between those who are New Zealand nationalists and those who are Maori nationalists. The New Zealand nationalists tend to be assimilationists who would rather get on with things and declare old history to be water under the bridge. The Maori nationalists tend to be separatists who understand that their power comes from stoking grievance and dissatisfaction.

The New New Zealand History splits these two groups apart by teaching a grievance narrative that has white people and Maoris at each other’s throats. Those Maoris who are New Zealand nationalists are made to feel as if they are betraying “their own people” by remaining loyal to New Zealand. On the other side, white people with sympathies to Maoris will have them tested by a narrative that places Maoris in the role of accuser and prosecutor and white people in the role of defendant.

Second, it divides the rest of the population between those who tell the truth and those who are on board with the new fashion. Inevitably, those who maintain that Maoris benefitted from colonisation will be decried as old-fashioned and out of touch with the “new learning”. They will be pilloried as racists and bigots and we will hear that society would be better without them.

The New New Zealand History is, like most United Nations-driven novelties, a set of lies intended to further a globalist agenda. It’s closely related to the movement known as Brown Communism, which is a form of slave morality intended to divest white and Far East Asian people of their wealth. Like most sets of lies, the way to counter it is to remain steadfast to the truth, no matter how unfashionable that becomes.

If you enjoyed reading this essay, you can get a compilation of the Best VJMP Essays and Articles of 2018 from Amazon for Kindle or Amazon for CreateSpace (for international readers), or TradeMe (for Kiwis). A compilation of the Best VJMP Essays and Articles of 2017 is also available.

The Holocaust Religion

Most people think that, with the decline of Christianity, there is no longer a religion that unifies the Western world. These people are in error, because the forces and social phenomena that led to the rise of every previous religion still exist, and continue to give rise to new ones. Not only has the Holocaust been mythologised to the point of being an actual religion, but this religion, as this essay will examine, is now the one that unifies the West.

Where history becomes religion is when you aren’t allowed to question it without facing strict censure. In any society, whatever it is that you’re not allowed to question is the mainstream religion, which has to be respected otherwise the transgressor will face the wrath of God.

Back in the day, you couldn’t question God or the Bible, else you be shunned and persecuted by your fellows. Now you can’t question whether or not the Holocaust happened. British writer David Irving got a three-year prison sentence for denying the Holocaust in Austria, and many Western groups would like to bring in similar laws in their own country.

There might well be piles of evidence that supports the contention that eleven million people were killed in the Nazi extermination camps, of who six million were Jews. This essay does not contest this belief. But there are piles of evidence for many historical events, yet questioning any of these is permissible – even such events as the genocide of the American Indians, involving ten times as many deaths as the Nazi genocide.

The Holocaust occupies a unique place in that it is uniquely unquestionable, taboo – sacred.

After all, you’re allowed to question everything else, no matter how obscene. You’re allowed to question whether the Earth revolves around the Sun, or whether European colonisation of the New World was a good thing, or whether ghosts exist. You’re even allowed to argue that mutilating the genitals of a newborn baby is a legitimate spiritual or medicinal practice.

But question the Holocaust and people gasp and go quiet, and a dark shadow seems to fall, as if one was playing with opening Pandora’s Box.

In this new form of Abrahamism (perhaps we could call it Holocaustianity), the Jew is Abel and the Nazi is Cain. Hitler is the devil, the Germans the Romans and the Jew is collectively Jesus: enlightened, persecuted, innocent. The creation event is World War Two, when the Allies banded together to defeat the Nazis. This was the act that bonded the West together and created the modern world.

Because of the pre-eminence of the Holocaust religion among Western political and media elites, we’re led to believe that the deaths of the six million somehow collectively won us a spiritual peace or absolution from evil. This sacrifice replaces the sacrifice of Jesus as the one that we should all be grateful for; we should all grovel before the priests because of it. Questioning this narrative is worthy of rage, disgust, social rejection.

The charge of “Holocaust denial” is a modern way of saying blasphemy, the religion so blasphemed against in this case being the Holocaust religion. To suggest that fewer than six million Jews were killed in the Holocaust is to blaspheme. This is effectively a heresy, in other words a sin against God, and deserves to be treated as such, with the utmost contempt and censure. Germany even went as far as putting an old lady in prison for questioning this sacred myth.

The reason why this Holocaust narrative was chosen and given sacred status is not because of the machinations of some Jewish conspiracy, finally triumphant. It has arisen simply because it serves the geopolitical aims of the Western ruling classes.

Israel serves very effectively as a Western colony and beachhead in the middle of the Middle East, allowing the Western ruling classes to project power into that area easily, which keeps the oil flowing. If that oil stops flowing, the world population is set to drastically decrease, because that oil is the basis of the fertilisers that grows most of the world’s food. Hence, the presence of Israel solves an immensely important strategic objective.

To that end, the Holocaust religion has been promoted to dispel the sense of outrage that the Israeli presence in the Middle East would otherwise have. The Jews must have Israel, we are told, because the alternative is Holocaust.

Central to the Holocaust religion is the belief that Jews must be completely absolved of any blame in the events of World War Two. The Holocaust didn’t happen because of things like the Jewish support for the German Revolution of 1918-19, or the Jewish influence in the Holodomor that starved ten million Ukrainians to death. The creed states that the Holocaust happened because of the inexplicable unique malice of the German people, or at least the Nazi Party.

This means that anything Hitler is believed to have said is exactly wrong and something we shouldn’t do. Note that this has no relevance to what Hitler actually did say. It doesn’t matter, for instance, that Hitler said that Islam was a natural warrior religion and would have suited his vision for an all-conquering Germany perfectly – if a person criticises Islam, that sounds like someone criticising Jews and therefore criticing Islam makes you a Nazi.

Any discussion or line of discussion that leads to even the smallest likelihood of someone raising what some like to call the “Jewish Question”, like alt-right talk, is the forbidden fruit, and media figures like Lauren Southern are the hissing serpent that wants to corrupt the minds of the innocent. This is the power that the Holocaust religion has.

The curious thing is that America has just recently become a net exporter of oil, thanks to technological advances that have driven down the cost of recovering oil from shale and from tar sands. This means that the geostrategic imperative to prop up Israel is about to disappear. One can predict from that that the grip of the Holocaust religion will also fade.

If you enjoyed reading this essay, you can get a compilation of the Best VJMP Essays and Articles of 2017 from Amazon for Kindle or Amazon for CreateSpace (for international readers), or TradeMe (for Kiwis).

Writing Hallucinogen Persisting Perception Disorder

Hallucinogen Persisting Perception Disorder (HPPD) is an uncommon condition that arises as a consequence of permanent perceptual changes brought on by use of hallucinogens. There is almost no data on the prevalence of this condition, and some don’t even believe it exists. Nevertheless, this article will discuss how to believably portray characters with HPPD.

HPPD usually causes a problem because of visual disturbances that are akin to those that accompany a hallucinogenic experience. It’s common to see glowing halos around various objects, or visual trails that linger behind moving objects. It’s also possible to perceive objects as being much larger than they actually are, or much smaller. Some people even see a kind of “visual snow” between objects, like the static on a television set. Auditory hallucinations are also possible.

A character who has HPPD might appear kind of ‘spaced out’ to the other characters. Those other characters might suspect that the one with HPPD is, or has been, on a heavy drug of some kind. Because their perceptions are so vivid, a character with HPPD might be too distracted to pay proper attention to what’s going on around them. This could create a number of social difficulties for that character.

The author might decide that writing a character with HPPD is not very interesting if focus is placed solely on visual and perhaps auditory disturbances. It might be possible to tell a far richer and more engaging story by showing the reader some of the other lingering psychological effects of psychedelics, especially the deeper emotional and spiritual ones.

The problem with this approach is that one soon steps outside the bounds of the clinical – which is perfectly fine for the sake of literature, but it has to be kept in mind that the strictures of the DSM are distantly removed from what follows here.

Many psychedelic drugs have the capacity to break down a person’s existing perception of reality and replace it with something entirely different. This means that some of the persisting perceptions that arise from hallucinogenic drugs use are not so much sensual, but intuitive.

A common persisting perception from using hallucinogens is a belief that the material world isn’t real. Our culture is materialist; we take for granted that the material world is real and that the human brain generates consciousness. For the vast majority of us, it seems intuitively true that the material world genuinely exists and that the brain gives rise to consciousness, and this perception is so common that it’s taken for granted by most.

People who have HPPD might no longer believe in materialism. They may feel that, in the course of a hallucinogenic trip, they were granted a particular insight into the way the cosmos truly functions. Maybe they now believe that the world is a dream in the mind of God. A character who has had a change in perceptions relating to cosmic attitudes might find themselves coming into conflict with some of the other characters around them. Theirs could be a story of how easy it is to get ostracised from a community for having unique beliefs.

In practice, it doesn’t actually matter whether materialism is correct or not; a character who becomes a non-materialist as a result of a hallucinogenic experience will have extreme difficulty fitting into society in any case. They will frequently be rejected and mocking for being mentally ill. In particular, it will be impossible for them to convince a psychiatrist that their new belief is anything other than a mental illness. A character who thinks like this will therefore likely be an outsider to some degree.

Another common change in perception relates to the presence of a light at the end of the tunnel. Dovetailing with materialism is atheism – the two seem to follow each other closely. The vast majority of people who were raised atheist do not believe in the presence of a benevolent force that watches over their life with a desire to end their suffering. The cosmos is indifferent to human suffering and misery.

A person who has a strong experience with a hallucinogen can easily come to change their opinion on this subject. It might be that your protagonist has suddenly decided to believe in God – not the God of Abraham, but the benevolent, all-pervading force that gives rise and motion to the world. This might not be received well by the other characters in your story, especially if they are materialists, or if they believe in a dead God such as the Abrahamic one. They will probably think your protagonist is mad or evil.

This can make for an interesting story because of the contrast between the good feelings that arise naturally inside a person who has spiritual satisfaction, and the bad feelings that comes from the outside world as a consequence. Their social life might become much more difficult than before, on account of pressure to go back to the socially-approved way of thinking. This could push them into the arms of a new group of people, such as those who have also seen beyond.

These persisting changes in perception are much more subtle than the visual and auditory ones, but they might have just as large an impact on a person’s ability to live a normal life, primarily because of the social disruption just mentioned. In extreme cases, these changes in perception might make employment also impossible, leading to radical life changes that could lead anywhere.

Writing a character with HPPD is no easy task, because it is likely that most of the readers are not intimately familiar with the effects of hallucinogens and so will have difficulty relating to the often bizarre and surreal perceptual changes that accompany the condition. However, if executed skillfully, a tale with a character who has HPPD could be highly entertaining, insightful or even edifying.

This article is an excerpt from Writing With The DSM (Writing With Psychology Book 5), edited by Vince McLeod and due for release by VJM Publishing in the summer of 2018/19.

Writing Anorexia Nervosa

A person with anorexia nervosa can see themselves as hideously fat even while dangerously underweight

Anorexia nervosa (usually just called anorexia) is an eating disorder characterised by an overpowering fear of being fat or of gaining weight. This fear is so all-consuming that it can lead to illness from self-starvation. This article looks at how to write engaging and believable characters with the condition.

The basis of the psychopathology of anorexia is believed to be valuing of thinness. People with anorexia feel that being thin is extremely important, to the extent of it being an obsession. For this reason, anorexia is much more common among women compared to men, and more common among women exposed to fashion media or who have an interest in sport and fitness compared to other women.

More specifically, thinness is considered important because it’s where a person’s sense of self-worth derives from. Thinness is seen as a virtue by anorexics, which is why the condition is so hard to understand for people who don’t have it.

Some might be surprised to hear that anorexia is one of the most deadly of all psychiatric conditions, up there with schizophrenia and major depressive disorder. An unusually low body weight is linked to a wide range of physical ailments, as many elementary bodily functions cannot operate past a certain level of starvation. Even without intending to, it’s common for anorexics to become sick and die as a consequence of lengthy periods of starvation.

If you are writing about a protagonist that suffers from anorexia, their internal dialogue might have a lot of anxiety based around a need to be in control of their body weight. Sometimes such a person will have a ruthless, almost sadistic approach towards their own body. This explains why there is a high degree of comorbidity with Obsessive-Compulsive Disorder. A person with anorexia often becomes extremely particular and fussy about their food and their calorie intake.

Then again, the approach might be more feminine. Instead of a desire to control, having a meal might conjure feelings of fear, almost panic. The sight or smell of food might trigger a reaction similar to that of a person with a phobia encountering their object of fear. It might be enough to also trigger powerful feelings of self-loathing.

Much like psychosis, anorexia tends to come and go in ’bouts’. An episode of anorexia is often triggered by a traumatic life event. It may be that sudden high levels of stress and anxiety result in a desire to compensate for a perceived loss of control.

Anorexia is not a psychotic disorder. A person with it will generally know that they have something amiss about them – but therein lies the difficulty. This reasonable part of the mind struggles incessantly against the part of the mind that commands that one must be thinner no matter what. It might be that the part of the mind that desires thinness above everything is somehow stronger, or more able to assert itself.

The effect that this might have on a protagonist of your story is therefore similar, in many ways, to that of one with depression. Constant feelings of having undermined oneself lead to guilt, personal recrimination, and a loss of confidence in one’s own intelligence, one’s competence or even one’s will to live. As is true of most of the conditions in this book, anorexics tend to have damaged self-esteem.

Like many of the other conditions in this book, it’s believed that anorexia nervosa frequently has an origin in childhood abuse. It might be that this is the reason for why it goes in bouts: dysregulated stress responsivity arising from the trauma leads to extremes of anxiety, and when one of those extremes is reached, a sudden desire for extreme control appears.

The experience of other characters who have a friend or family member suffering from anorexia is usually a difficult one. In many ways, watching someone waste away through anorexia is similar to watching them waste away through a heroin addiction.

This often brings with it a range of feelings that might profoundly affect that character, in particular frustration at not being able to get through to the anorexic about how dangerous their condition is, and guilt about not being able to “do more” for them. Although it’s true that it’s hard to reason with people who have mental illnesses – by definition – it’s still very common for friends and family of people with them to feel guilt about not being able to do more to get them to live a healthy, normal life.

A more distant character who encountered someone with anorexia might get the feeling that the anorexic is uptight and rigid. Anorexia is often associated with a sensitivity to insults and disrespect, as as perfectionism, and a character that demonstrated any of these traits could plausibly develop anorexia or have a past history of it.

This article is an excerpt from Writing With The DSM (Writing With Psychology Book 5), edited by Vince McLeod and due for release by VJM Publishing in the summer of 2018/19.