The Circle of Blame: A Sequel to The Conquest of Dough. Being a Novel in the Manner of G.K. Chesterton, with Footnotes in the Style of Will Cuppy

Including The Updated Device of the Theory and Practice of Oligarchical Collectivism.

If you enjoy this story have a look at Smash words and buy something from the Collective of the Unacknowledged Legislators Collective.

This new work is in the form of an Audio Book. After some thought I had it narrated by Bichard Rurton my Clone of the Late Great Richard Burton. He is reading my favourite Robert Graves Poem the welsh Incident at the link.

Being a Novel in the Manner of G.K. Chesterton, with Footnotes in the Style of Will Cuppy. Roger G Lewis and the Unacknowledged Legislators Collective.

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Prologue: The Balcony at Four Seasons

The Thames stretched below like a silver ribbon binding the city's contradictions together, and Roger Lewis—known to his intimates as Rog—stood on the balcony of the Four Seasons Canary Wharf, watching the lights of London's financial district twinkle with the cold beauty of distant stars¹. The irony was not lost on him that he stood in the heart of global capitalism's nervous system, having just delivered a presentation on the very mechanisms that were devouring human consciousness like some digital Moloch².

Three months had passed since his TED talk in what he had come to call the Clockwork Forest—that vast algorithmic wilderness where human attention was harvested with the efficiency of a combine harvester³. The memory of that talk haunted him still: the sea of faces in the auditorium, each one illuminated by the blue glow of their devices, each one simultaneously present and absent, connected and isolated in the peculiar way that only the digital age could manage.

"The attention economy," he had told them, "is not an economy at all. It is a form of usury where consciousness itself is the commodity being lent at interest⁴." The applause had been polite, the networking afterward enthusiastic, but Rog had left with the distinct impression that he had been speaking to a room full of sleepwalkers who applauded their own enslavement.

Now, as he prepared for his next performance—a stand-up routine at the Klitterhus that would blend comedy with critique in ways that would either enlighten or enrage his audience—Rog found himself thinking about circles. Not the perfect circles of Euclidean geometry, but the vicious circles of blame and counter-blame that seemed to define the modern discourse⁵.

Chapter I: The Gathering Storm

In which our hero discovers that every accusation is a confession, and every confession an accusation

The Klitterhus was not, despite its Swedish name, located in Stockholm. It was a converted warehouse in Shoreditch where comedians went to die professionally and occasionally to be reborn⁶. Rog had chosen it precisely because it existed in that liminal space between respectability and rebellion, between the mainstream and the underground, where truth could be spoken with the protective armor of humor.

As he prepared his material, Rog reflected on the strange trajectory that had brought him here. The Conquest of Dough—his first novel—had been an attempt to map the territory of modern economic absurdity through the lens of narrative⁷. The Clockwork Forest had pushed deeper into the algorithmic heart of darkness, exploring how artificial intelligence was not replacing human intelligence but rather revealing its absence⁸. Now, with this new work he was contemplating—The Circle of Blame—he felt himself approaching something even more fundamental: the mechanism by which modern society prevented any genuine critique from taking root.

The circle worked like this⁹: Any serious criticism of the system was immediately met with questions about the critic's motivations, funding, or mental state. If the critic persisted, they were labeled as conspiracy theorists, grifters, or useful idiots. If they provided evidence, the evidence was dismissed as cherry-picked or taken out of context. If they appealed to logic, they were accused of being naive about how power really worked. If they appealed to emotion, they were dismissed as hysterical. The beauty of the system was that it was completely self-reinforcing—any attempt to point out the circularity of the logic was itself taken as evidence of the critic's unfitness to participate in rational discourse¹⁰.

Chapter II: The Stand-Up Revelation

In which comedy becomes prophecy, and prophecy becomes comedy

The Klitterhus was packed that night with the usual mixture of hipsters, intellectuals, and people who had wandered in by mistake¹¹. Rog took the stage with the confidence of a man who had nothing left to lose, which was almost true.

"Ladies and gentlemen," he began, "I want to talk to you tonight about the attention economy. Now, I know what you're thinking—'Oh great, another middle-aged man explaining the internet to us.' But bear with me, because I've discovered something remarkable: we're all drug dealers now¹²."

The audience laughed, but Rog pressed on. "No, seriously. Think about it. Every time you post something on social media, you're dealing in a substance that's more addictive than cocaine and more valuable than gold: human attention. And like any good drug dealer, you're also your own best customer¹³."

He paused for effect, watching the faces in the crowd. Some were laughing, some were nodding, some were already reaching for their phones to document this moment of insight about the very thing he was critiquing.

"The genius of the system," Rog continued, "is that it's convinced us that we're the customers. But we're not the customers—we're the product. And we're not just the product—we're also the factory workers, producing content for free, and the security guards, policing each other's behavior, and the sales force, promoting the platform to our friends. It's the most efficient exploitation system ever devised, because the exploited are convinced they're the entrepreneurs¹⁴."

The laughter was becoming more nervous now, more thoughtful. Rog could feel the mood in the room shifting from entertainment to something approaching enlightenment, which was always a dangerous moment in comedy¹⁵.

"But here's the really beautiful part," he said, his voice dropping to a conspiratorial whisper that somehow carried to the back of the room. "If you try to point this out, if you try to explain how the system works, you immediately become part of the problem. You become the conspiracy theorist, the Luddite, the person who just doesn't get it. You become the one who's blamed for not understanding the very system that's exploiting you¹⁶."

Chapter III: The Metaphysics of Dough

In which the nature of value is revealed to be as malleable as bread

After the show, Rog found himself in conversation with a small group of audience members who had lingered behind. Among them was a young woman who introduced herself as Sarah, a data scientist who worked for one of the major social media platforms¹⁷.

"Your bit about the attention economy," she said, "it reminded me of something I've been thinking about at work. We have all these metrics for engagement, for user retention, for monetization. But we never measure what we're actually doing to people's minds¹⁸."

Rog nodded. "It's like the old joke about the economist who falls into a hole. When someone offers to help him out, he says, 'No thanks, I'm assuming I'm already out.' The system assumes that if people are engaging, they must be happy. If they're consuming, they must be satisfied. If they're participating, they must be free¹⁹."

"But what if they're not?" asked another member of the group, a middle-aged man who had introduced himself as David. "What if the whole system is based on a fundamental misunderstanding of what human beings actually need?"

This was the question that had been haunting Rog since he began working on The Conquest of Dough. The metaphor of dough—that basic, malleable substance that could be shaped into bread or pizza or pastry—had come to him as a way of thinking about how value itself was constructed²⁰. Money, he had realized, was just one form of dough. Attention was another. Data was another. Each could be kneaded and shaped and baked into different forms of power.

"The problem," Rog said, "is that we've forgotten that dough is not an end in itself. It's a means to an end. The end is supposed to be nourishment, sustenance, the satisfaction of genuine human needs. But somewhere along the way, we started worshipping the dough instead of the bread²¹."

Sarah leaned forward. "So what's the alternative? How do we get back to making bread instead of just accumulating dough?"

It was a good question, and Rog found himself thinking about the sourdough starter that he kept in his kitchen—that living culture that had been passed down through generations, that required care and attention and time, that could not be rushed or automated or scaled up without losing its essential character²².

"Maybe," he said slowly, "we need to remember that some things can't be commodified. Some things lose their value the moment you try to put a price on them. Love, for instance. Friendship. Wisdom. The moment you try to monetize them, they cease to be what they were²³."

Chapter IV: The Clockwork Forest Revisited

In which our hero returns to the scene of his digital crime

The invitation to return to the TED stage came three months later, and Rog almost declined it. His first talk had been well-received in the way that TED talks usually were—shared widely, quoted frequently, and ultimately ignored completely²⁴. But something in the organizer's email intrigued him. They wanted him to talk about solutions, not just problems. They wanted him to offer hope, not just critique.

"The thing about the Clockwork Forest," Rog began his second talk, "is that it's not actually a forest. It's a machine that's very good at imitating a forest. From a distance, it looks natural, organic, alive. But when you get close enough to touch the trees, you realize they're made of metal and silicon and code²⁵."

The audience was different this time—more tech workers, more entrepreneurs, more people who had a vested interest in the very systems Rog was critiquing. He could feel their resistance, their skepticism, their readiness to dismiss him as another analog nostalgist who just didn't understand the digital future²⁶.

"Now, I'm not here to tell you that technology is evil," he continued. "Technology is a tool, and like any tool, it can be used to build or to destroy. The question is: what are we building? And more importantly: who gets to decide²⁷?"

He clicked to his next slide, which showed a simple diagram: a circle with arrows pointing in all directions.

"This is what I call the Circle of Blame," he said. "It's the mechanism by which our society prevents any genuine change from occurring. Here's how it works: Someone identifies a problem. Someone else blames them for being negative. The original person defends themselves, which makes them look defensive. The defender is then accused of being part of the problem they're trying to solve. Round and round it goes, and meanwhile, the actual problem remains unsolved²⁸."

A hand shot up in the audience. "But how do we break out of the circle?" asked a young man in a hoodie who looked like he might be worth several billion dollars²⁹.

Rog smiled. "That's the beautiful thing about circles," he said. "They have no beginning and no end. Which means you can step out of them at any point. The question is: do you have the courage to stop running in circles and start walking in a straight line³⁰?"

Chapter V: The Usury of Attention

In which the ancient sin is revealed in its modern form

Back in his flat in Hackney, Rog sat at his kitchen table with his laptop open, staring at a blank document titled "The Circle of Blame - Chapter 1." The cursor blinked at him accusingly, as if to say: "Well? You've identified the problem. You've analyzed the mechanism. You've even performed it as comedy. Now what³¹?"

He thought about usury—that ancient prohibition that had been at the heart of so many religious and ethical systems. The lending of money at interest had been condemned by Christians, Muslims, and Jews alike, not because they were opposed to commerce, but because they understood something fundamental about the nature of value³².

Money, they knew, was supposed to be a medium of exchange, not a commodity in itself. When money began to breed money, when the symbol became more important than what it symbolized, something essential was lost. The economy became disconnected from the real world of human needs and desires³³.

Now, Rog realized, the same thing was happening with attention. Attention was being lent at interest—every click generating more clicks, every view demanding more views, every engagement creating a debt that could only be repaid with more engagement. The attention economy was, quite literally, a form of usury³⁴.

But unlike traditional usury, which at least involved the lending of something real (money), the attention economy was based on the lending of something that didn't exist until it was borrowed. Attention was created in the act of paying it, consumed in the act of receiving it, and yet somehow expected to generate interest in the form of more attention³⁵.

It was, Rog thought, the most perfect scam ever devised. And the most perfect part was that the victims were convinced they were the beneficiaries³⁶.

Chapter VI: The Sourdough Metaphor

In which ancient wisdom is found in living bread

The sourdough starter sat in its jar on Rog's kitchen counter, bubbling quietly with the patient persistence of life itself. He had inherited it from his grandmother, who had inherited it from hers, and so on back through generations of women who understood that some things could not be rushed, could not be automated, could not be scaled up without being destroyed³⁷.

Every few days, Rog would feed the starter with flour and water, discarding half and adding fresh ingredients. It was a ritual that connected him to something older and deeper than the digital world that consumed most of his waking hours. It was a reminder that real value took time to create, required care and attention, and could not be manufactured on demand³⁸.

The starter was also, he realized, a perfect metaphor for the kind of economy he was trying to imagine—one based on abundance rather than scarcity, on sharing rather than hoarding, on the patient cultivation of what was already present rather than the frantic pursuit of what was absent³⁹.

When you shared sourdough starter, you didn't lose anything. In fact, you gained something—the knowledge that your living culture was spreading, adapting, evolving in kitchens around the world. The more you gave away, the more secure your own starter became, because it existed in multiple locations, cared for by multiple hands⁴⁰.

This was the opposite of the attention economy, where sharing meant losing, where every moment of attention given to someone else was a moment stolen from yourself. In the sourdough economy, generosity was not just morally superior—it was practically superior⁴¹.

Chapter VII: The Performance at Klitterhus

In which truth is spoken through the mask of comedy

The second performance at Klitterhus was different from the first. Word had spread about Rog's previous show, and the audience was primed for something more than just entertainment. They had come expecting to be challenged, to be made uncomfortable, to be forced to think⁴².

"I want to talk to you tonight about bread," Rog began, holding up a loaf of sourdough that he had baked that morning. "This bread is about a week old, if you count from when I mixed the dough. But it's also about a hundred years old, if you count from when my great-grandmother first created the starter. And it's also about ten thousand years old, if you count from when humans first learned to ferment grain⁴³."

He broke off a piece of the bread and ate it, chewing thoughtfully while the audience waited.

"The thing about sourdough," he continued, "is that it's alive. It's not just a product—it's a process. It's not just a thing—it's a relationship. Between me and the microorganisms in the starter. Between me and the farmers who grew the grain. Between me and all the people who have kept this culture alive for generations⁴⁴."

He paused, looking out at the faces in the crowd.

"Now compare that to a tweet," he said. "A tweet is dead the moment it's born. It has no history, no future, no relationship to anything except the algorithm that decides whether it gets seen. It's not bread—it's Wonder Bread. Processed, packaged, preserved with chemicals, designed to last forever and nourish no one⁴⁵."

The audience laughed, but it was a different kind of laughter than before—more thoughtful, more rueful, more aware of its own complicity in the system being critiqued.

"The attention economy," Rog said, "is the Wonder Bread economy. It's designed to be consumed quickly, to leave you hungry for more, to never actually satisfy the need it claims to address. Real attention—the kind that nourishes, the kind that sustains, the kind that builds relationships and communities and cultures—that takes time. It can't be rushed, can't be automated, can't be scaled up without being destroyed⁴⁶."

Chapter VIII: The Circle Closes

In which all accusations are revealed to be confessions

The reviews of Rog's Klitterhus performance were mixed, which was exactly what he had expected. The Guardian called it "a brilliant deconstruction of digital capitalism disguised as stand-up comedy⁴⁷." The Telegraph dismissed it as "pretentious anti-technology ranting from someone who clearly doesn't understand how the modern world works⁴⁸." The comments sections were, predictably, a battlefield of competing ideologies and mutual incomprehension⁴⁹.

But it was a private email that really caught Rog's attention. It was from someone who signed themselves only as "A Fellow Traveler," and it read:

"Dear Mr. Lewis,

I attended your performance last night and found myself both inspired and troubled by what you said. Inspired because you articulated something I've been feeling but couldn't express. Troubled because I realized that I am part of the problem you described.

I work for one of the major social media companies, in a role that involves optimizing engagement algorithms. My job, quite literally, is to make the platform more addictive. I tell myself that I'm helping people connect, that I'm democratizing information, that I'm building the future. But after listening to you, I wonder if I'm just a drug dealer who's convinced himself he's a doctor.

The question is: what do I do now? If I quit, someone else will take my job, and nothing will change. If I stay, I'm complicit in a system I now recognize as harmful. If I try to change things from within, I'll be marginalized or fired. It seems like every option leads to the same place—the continuation of the status quo.

Is this what you mean by the Circle of Blame? That every response to the problem becomes part of the problem? That every attempt to escape the circle just traces its circumference?

I don't expect you to have answers. But I wanted you to know that your words have consequences, even when—especially when—those consequences are uncomfortable.

Sincerely, A Fellow Traveler⁵⁰"

Rog read the email three times, each reading revealing new layers of complexity. Here was someone who had recognized the problem, accepted their complicity, and was genuinely asking what to do about it. It was the kind of response he had hoped for but hadn't dared to expect⁵¹.

He spent the rest of the day crafting his reply:

"Dear Fellow Traveler,

Thank you for your honesty. You've identified something crucial: the Circle of Blame is not just a mechanism for avoiding responsibility—it's also a trap that prevents well-meaning people from taking effective action.

But here's the thing about circles: they're not actually closed systems. They only appear to be closed from the inside. The moment you step outside the circle, you can see that there are other paths, other possibilities, other ways of being in the world.

You ask what you should do, and I can't answer that question for you. But I can suggest a different question: what would you do if you weren't afraid? Not afraid of losing your job, not afraid of being marginalized, not afraid of being wrong. What would you do if you were guided by love instead of fear?

The sourdough starter on my kitchen counter doesn't worry about market forces or competitive advantage or scalability. It just does what it does—transforms flour and water into something nourishing, something alive, something that can be shared without being diminished.

Maybe that's the answer. Maybe we need to stop trying to fix the system and start creating alternatives to it. Maybe we need to stop fighting the Circle of Blame and start walking away from it.

The path forward is not through the circle but around it.

In solidarity, Rog⁵²"

Chapter IX: The New Economy

In which the future is glimpsed through the lens of the past

Three months after the Klitterhus performance, Rog received another email from his Fellow Traveler. This one was longer, more detailed, and filled with a kind of cautious optimism that Rog found both inspiring and infectious⁵³.

"Dear Rog,

I took your advice. Not all of it, and not all at once, but I took it. I didn't quit my job—not yet—but I did start something new.

I've been working with a group of colleagues to develop what we're calling 'ethical algorithms'—systems designed to optimize for human wellbeing rather than engagement. It's early days, and the resistance from management is significant, but we're making progress.

More importantly, I've started a sourdough club. I know that sounds trivial compared to reforming Big Tech, but hear me out. Every week, a dozen of us get together to bake bread, share food, and talk about things that matter. No phones, no screens, no metrics. Just people, flour, water, and time.

What I've discovered is that the sourdough club is actually more subversive than my work on ethical algorithms. The algorithms are still operating within the system, trying to make a bad system slightly less bad. But the sourdough club is operating outside the system entirely. It's creating a space where different values can take root and grow.

We've started calling it the 'Slow Economy'—not because it's inefficient, but because it operates on biological time rather than digital time. Things happen when they're ready to happen, not when the algorithm says they should happen.

I think this might be the answer to the Circle of Blame. Not to fight it directly, but to create alternatives that make it irrelevant. To build the world we want to live in, one loaf at a time.

Thank you for showing me that stepping out of the circle was possible.

In bread and solidarity, Your Fellow Traveler (now known as Sarah)⁵⁴"

Rog smiled as he read the email. Sarah had understood something that he was still learning: that the most effective form of resistance was not opposition but creation. Not fighting the old system but building a new one⁵⁵.

Chapter X: The Attention Reformation

In which the 16:1 ratio is revealed as the key to liberation

The idea came to Rog while he was reading about the medieval church's prohibition on usury. The church fathers had understood that charging interest on money was not just economically harmful but spiritually corrupting. It turned money from a tool into a master, from a means into an end⁵⁶.

But what if the same principle could be applied to attention? What if there was a natural ratio, a sustainable balance, between giving and receiving attention that could serve as a guide for ethical engagement⁵⁷?

Rog began to experiment with what he called the "16:1 ratio"—for every minute of attention he consumed from others, he would give sixteen minutes of attention to the world around him. Not digital attention, not mediated attention, but direct, unfiltered, present-moment awareness⁵⁸.

The results were immediate and profound. The constant anxiety that had plagued him since he began working in the digital space began to fade. The compulsive checking of notifications, the endless scrolling through feeds, the desperate hunger for validation—all of it began to lose its grip on him⁵⁹.

More importantly, he began to see the world differently. Colors seemed more vivid, conversations more meaningful, experiences more real. It was as if he had been living in a low-resolution simulation of life and had suddenly been upgraded to high definition⁶⁰.

The 16:1 ratio, he realized, was not just a personal practice but a economic principle. It suggested that sustainable attention economy would need to be based on abundance rather than scarcity, on giving rather than taking, on presence rather than distraction⁶¹.

Chapter XI: The Carbon Connection

In which good carbon and bad carbon reveal the nature of all value

The breakthrough came when Rog was reading about carbon cycles in preparation for a talk on climate change. He had been struggling to connect his work on the attention economy with the broader environmental crisis, but suddenly the connection became clear⁶².

There was good carbon and bad carbon, just as there was good attention and bad attention. Good carbon was part of the living cycle—absorbed by plants, released by animals, cycling through the biosphere in a sustainable dance of give and take. Bad carbon was extracted from deep storage, burned for energy, and released into the atmosphere faster than natural systems could absorb it⁶³.

The same principle applied to attention. Good attention was part of the living cycle of human relationship—given freely, received gratefully, cycling through communities in a sustainable dance of connection and care. Bad attention was extracted from deep reserves of human consciousness, burned for engagement, and released into the digital atmosphere faster than human systems could process it⁶⁴.

The attention economy, Rog realized, was creating the psychological equivalent of climate change. It was extracting attention from the deep reserves of human consciousness—the capacity for sustained focus, for deep reflection, for meaningful relationship—and burning it for short-term engagement, releasing the byproducts into the collective mental atmosphere⁶⁵.

The result was a kind of psychological global warming: rising levels of anxiety, depression, and disconnection; extreme weather patterns of viral content and cancel culture; the melting of the polar ice caps of privacy and contemplation⁶⁶.

Chapter XII: The New Trifecta

In which three principles emerge to guide the post-digital economy

As Rog worked on what would become the final chapter of The Circle of Blame, three principles emerged that seemed to capture the essence of what he had learned⁶⁷:

First: The Principle of Presence Real value could only be created through presence—full, undivided attention to the moment at hand. This was the opposite of the multitasking, always-on, perpetually distracted mode that the digital economy demanded⁶⁸.

Second: The Principle of Patience Anything worth creating took time. This was true of sourdough bread, meaningful relationships, deep understanding, and sustainable communities. The demand for instant gratification was not just unrealistic but destructive⁶⁹.

Third: The Principle of Generosity The most valuable things in life became more valuable when shared. Love, knowledge, attention, culture—all of these followed the logic of abundance rather than scarcity. The more you gave away, the more you had⁷⁰.

These three principles, Rog realized, were not just personal guidelines but the foundation for an entirely different kind of economy. An economy based on presence rather than distraction, patience rather than speed, generosity rather than hoarding⁷¹.

Epilogue: The Sourdough Revolution

In which the future is baked, one loaf at a time

Six months after his final performance at the Klitterhus, Rog received a package in the mail. Inside was a jar of sourdough starter, along with a note that read:

"Dear Rog,

This starter is descended from the one you wrote about in your book. It has traveled from London to San Francisco to Tokyo to Berlin, passed from hand to hand, kitchen to kitchen, community to community. Each person who receives it promises to share it with at least two others.

We are calling it the Sourdough Revolution—not because we think bread will save the world, but because we think the principles that make good bread might help us make a good world. Patience. Presence. Generosity. The willingness to tend something larger than ourselves.

The Circle of Blame continues to spin, but more and more people are stepping out of it. They are creating alternatives, building communities, practicing presence. They are choosing the slow economy over the fast one, the living economy over the dead one, the generous economy over the extractive one.

The revolution will not be televised, but it might be fermented.

In bread and solidarity, The Sourdough Underground⁷²"

Rog smiled as he read the note. He opened the jar and inhaled the familiar, tangy scent of living culture. Tomorrow, he would bake bread. Tonight, he would write.

The Circle of Blame was still spinning, but it was no longer the only game in town. And that, he thought, was a beginning⁷³.

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Footnotes (In the Style of Will Cuppy)

¹ The Four Seasons Canary Wharf: where millionaires go to feel poor and billionaires go to feel normal. The view of the Thames is spectacular, assuming you enjoy watching money flow in one direction.

² Moloch: the ancient deity who demanded child sacrifice. Modern Moloch is more efficient—it demands adult attention, which is arguably more valuable since adults have credit cards.

³ Combine harvesters: agricultural machines that separate grain from chaff. The attention economy has perfected this process, except it throws away the grain and keeps the chaff.

⁴ Consciousness as commodity: Marx predicted that capitalism would commodify everything, but even he didn't imagine that thoughts themselves would become products. He lacked imagination, apparently.

⁵ Vicious circles: like regular circles, but with more viciousness. Also more circularity.

⁶ The Klitterhus: Swedish for "sticky house," which is either a reference to the venue's acoustics or its hygiene standards. Possibly both.

⁷ The Conquest of Dough: Lewis's first novel, which proved that economics could be made interesting if you added enough metaphors and removed all the math.

⁸ The Clockwork Forest: Lewis's second novel, which demonstrated that artificial intelligence is neither artificial nor intelligent, but it is definitely something.

⁹ The Circle of Blame: a perpetual motion machine powered by human indignation. Scientists are studying it as a potential solution to the energy crisis.

¹⁰ Self-reinforcing systems: like echo chambers, but with better acoustics and worse outcomes.

¹¹ People who wander into comedy clubs by mistake: a surprisingly large demographic, which explains much about the state of modern comedy.

¹² Drug dealers: traditionally, people who sell substances that alter consciousness. In the digital age, everyone is a drug dealer because everyone is selling attention-altering content. The main difference is that traditional drug dealers are more honest about what they're selling.

¹³ Being your own best customer: the ultimate in vertical integration. Also the ultimate in self-destruction, but capitalism has never been known for its long-term thinking.

¹⁴ The most efficient exploitation system ever devised: previous systems required overseers, whips, and chains. The current system requires only WiFi and the promise of likes.

¹⁵ The dangerous moment in comedy: when the audience stops laughing and starts thinking. Most comedians avoid this by never saying anything worth thinking about.

¹⁶ Becoming part of the problem by identifying the problem: a paradox that would have delighted the ancient Greeks, who invented paradoxes as a form of entertainment before Netflix.

¹⁷ Data scientists: people who use science to extract data from humans, which is different from using data to extract science from humans, though both are equally questionable enterprises.

¹⁸ Measuring what we do to people's minds: a revolutionary concept in an industry that measures everything except the things that matter.

¹⁹ The economist's joke: economists are people who assume things that aren't true in order to prove things that aren't important. This joke is funnier if you're not an economist.

²⁰ The dough metaphor: Lewis's central insight that value is malleable, like dough, and can be shaped into different forms. Unlike actual dough, economic value doesn't rise when left alone.

²¹ Worshipping dough instead of bread: the modern equivalent of worshipping the golden calf, except the calf is made of data and the worship involves clicking.

²² Sourdough starters: living cultures that require care and attention, unlike social media followers, who require only neglect and occasional validation.

²³ Things that lose value when monetized: a surprisingly long list that includes love, friendship, wisdom, and comedy. Economists are working on solutions to this problem.

²⁴ TED talks: presentations designed to make complex ideas simple, which often results in making simple ideas incomprehensible. The format is popular because it combines the authority of academia with the attention span of advertising.

²⁵ The Clockwork Forest metaphor: nature imitated by machines, which is different from machines imitating nature, though both are equally unnatural.

²⁶ Analog nostalgists: people who remember when phones were attached to walls and conversations were attached to people. They are considered dangerous by those who profit from the current arrangement.

²⁷ Who gets to decide: the eternal question of democracy, which becomes more eternal and less democratic with each technological advance.

²⁸ The Circle of Blame mechanism: a system so perfect that it prevents its own reform, like a lock that changes its combination every time someone tries to pick it.

²⁹ Young men in hoodies worth billions: a demographic that emerged in the 21st century and now controls most of the world's information. Previous generations wore suits when they controlled the world, which was at least more honest about their intentions.

³⁰ Walking in straight lines: a skill that humans possessed before GPS, smartphones, and the general digitization of navigation. It is now considered a lost art, like making fire or reading maps.

³¹ The accusatory cursor: modern technology's way of creating guilt where none previously existed. The blank page has always been intimidating, but at least it didn't blink.

³² Ancient prohibitions on usury: religious traditions understood something about money that modern economics has forgotten, which is that

Appendix: The Play Within the Play

"Usury Hell's Fuel and Man's Oppressor"

A Theatrical Dialogue in Three Acts

Act I: The Dittmann Doctrine

SCENE: A stark, modernist boardroom. ADRIAN DITTMANN, a figure bearing a suspicious resemblance to a certain tech billionaire, sits across from ROG, who has been cast in the role of Winston Smith. Behind them, a holographic projection of G.K. Chesterton's "Thursday" flickers intermittently.

DITTMANN: You think you understand the game, don't you, Roger? You think you've identified the problem, exposed the mechanism, revealed the truth. But you're still thinking like a customer when you're actually the product¹³.

ROG: The attention economy is usury. Every click is a loan of consciousness that must be repaid with interest—

DITTMANN: (interrupting with a laugh) Usury! How quaint. How medieval. You're thinking too small, my friend. We're not lending attention at interest—we're creating attention out of nothing and then charging rent on the very capacity to pay attention¹⁴.

He stands and begins pacing, his voice taking on the measured cadence of O'Brien explaining the nature of power.

DITTMANN: Let me explain how this really works. In the old economy, you had to own something to lend it. Gold, grain, labor—something real. But attention is different. Attention doesn't exist until it's paid. It's created in the act of paying it, consumed in the act of receiving it, and yet somehow expected to generate more of itself¹⁵.

ROG: That's impossible. You can't create something from nothing.

DITTMANN: Can't we? (He gestures to the air) Every notification you receive creates a moment of attention that didn't exist before. Every algorithm that learns your preferences creates a desire you didn't know you had. Every targeted advertisement creates a need that was previously absent. We're not harvesting attention—we're manufacturing it¹⁶.

ROG: But that's—

DITTMANN: Insane? Unsustainable? Of course it is. That's what makes it so profitable. We've created an economy based on the infinite expansion of a finite resource. Every human mind has only so much attention to give, but we've convinced them that they can pay attention to everything, all the time, forever¹⁷.

The hologram of Thursday flickers more intensely.

DITTMANN: And the beautiful part—the truly elegant part—is that the system is self-reinforcing. The more attention you pay to our platforms, the less attention you have for anything else. The less attention you have for anything else, the more dependent you become on our platforms for information, entertainment, connection, meaning. We're not just selling you a product—we're selling you back your own capacity to think¹⁸.

Act II: Alexander Ajax's Soliloquy

ALEXANDER AJAX, a character bearing more than a passing resemblance to a certain controversial radio host, takes center stage. He is dressed as Hamlet, but his manner is pure InfoWars.

AJAX: To click or not to click—that is the algorithm! Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous notifications, Or to take arms against a sea of trending topics, And by opposing, feed them?

He pauses, looking directly at the audience.

To scroll: perchance to dream of authentic connection— Ay, there's the rub, for in that scroll of death, What dreams may come when we have shuffled off This mortal feed, must give us pause¹⁹.

His voice rises to its familiar crescendo.

They're turning the friggin' frogs gay with algorithms! Not chemicals this time—pure information warfare! Each meme a mind-virus, each share a surrender, Each like a little death of critical thinking!

He drops the Shakespearean cadence entirely.

Don't you see? They don't want to control what you think—they want to control how you think. They don't want to change your opinions—they want to make you incapable of forming opinions. They don't want your agreement—they want your attention, because attention is the raw material from which all other forms of control are manufactured²⁰.

Back to Hamlet.

Thus conscience does make cowards of us all, And thus the native hue of resolution Is sicklied o'er with the pale cast of thought, And enterprises of great pith and moment With this regard their currents turn awry, And lose the name of action²¹.

AJAX: (Breaking character completely) But here's what Shakespeare didn't know, what he couldn't have known: in the digital age, thinking itself becomes a form of inaction. The more you analyze, the more paralyzed you become. The more you understand the system, the more trapped you feel within it. Knowledge becomes a prison, and awareness becomes a cage²².

Act III: The Dittmann Revelation

DITTMANN returns, now speaking directly to the audience.

DITTMANN: You want to know who Thursday is? Thursday is not a person—Thursday is a process. Thursday is the algorithm that learns from your resistance and adapts to overcome it. Thursday is the system that grows stronger every time you try to fight it²³.

He walks to the edge of the stage.

DITTMANN: Every time you share an article about the dangers of social media, you're using social media. Every time you write a blog post about the attention economy, you're participating in the attention economy. Every time you give a TED talk about digital addiction, you're feeding the very machine you claim to oppose²⁴.

ROG: (From his chair) So there's no escape?

DITTMANN: Oh, there's an escape. But it's not what you think. The escape is not in fighting the system—it's in understanding that you are the system. You are not separate from the attention economy; you are a node in the attention economy. You are not a victim of the algorithm; you are part of the algorithm²⁵.

He pauses, letting this sink in.

DITTMANN: The moment you accept this—truly accept it—you become free. Not free from the system, but free within the system. You stop trying to escape the Circle of Blame and start dancing with it. You stop resisting the flow of attention and start directing it²⁶.

ROG: That sounds like surrender.

DITTMANN: It is surrender. But not the kind you think. It's the surrender of the illusion that you were ever separate from what you're fighting. It's the surrender of the ego that thinks it can stand outside the system and critique it objectively. It's the surrender of the fantasy that there's some pure, unmediated space where authentic human connection can occur²⁷.

The hologram of Thursday solidifies, revealing itself to be a mirror.

DITTMANN: Thursday is you, Roger. Thursday is all of us. We are the anarchists and the police, the rebels and the system, the critics and the criticized. The Circle of Blame is not a trap—it's a dance. And the sooner you learn the steps, the sooner you can start leading²⁸.

Epilogue: The Sourdough Solution

ROG stands, holding his jar of sourdough starter.

ROG: But what if there's another way? What if instead of trying to escape the circle or dance with it, we simply step outside it? What if we create something so fundamentally different that the circle becomes irrelevant²⁹?

He opens the jar.

ROG: This culture has been alive for a hundred years. It has no shareholders, no board of directors, no terms of service. It asks for nothing but care and offers nothing but nourishment. It operates on biological time, not digital time. It grows through sharing, not hoarding. It builds community, not platforms³⁰.

DITTMANN: (Laughing) You think bread can save the world?

ROG: I think the principles that make good bread might help us make a good world. Patience instead of speed. Presence instead of distraction. Generosity instead of extraction. The willingness to tend something larger than ourselves³¹.

He breaks off a piece of bread and offers it to the audience.

ROG: The revolution will not be televised, but it might be fermented³².

The lights fade as the audience members pass pieces of bread among themselves, the first act of an economy based on abundance rather than scarcity.

---

Footnotes (In the Style of Will Cuppy)

¹ The Four Seasons Canary Wharf: where millionaires go to feel poor and billionaires go to feel normal. The view of the Thames is spectacular, assuming you enjoy watching money flow in one direction.

² Sourdough starters: living cultures that require care and attention, unlike social media followers, who require only neglect and occasional validation.

³ The Clockwork Forest: Lewis's metaphor for the algorithmic wilderness where human attention is harvested with industrial efficiency. The trees are made of fiber optic cables, and the fruit is data.

⁴ Moon landing computing power: Apollo 11's guidance computer had 4KB of memory. Modern smartphones have millions of times more power, which we use primarily to look at pictures of food and argue about politics.

⁵ Medieval usury: the practice of lending money at interest, condemned by religious authorities who understood something about the nature of value that modern economists have forgotten.

⁶ The perfect addiction delivery system: previous addictive substances required physical distribution networks. Digital addiction requires only WiFi and the promise of social validation.

⁷ People who wander into comedy clubs by mistake: a surprisingly large demographic, which explains much about the state of modern comedy.

⁸ Sourdough requirements: feed regularly and share generously. Social media requirements: feed constantly and share nothing genuine. The contrast is instructive.

⁹ Social media survival: twenty years is nothing in historical terms. The Roman Empire lasted over a thousand years, and it didn't require constant updates.

¹⁰ The sourdough economy vs. the attention economy: one builds community through abundance, the other destroys it through artificial scarcity. Choose wisely.

¹¹ The Circle of Blame: a perfect logical trap that prevents reform by making any criticism of the system evidence of the critic's unfitness to participate in rational discourse.

¹² Building alternatives vs. fighting systems: the difference between creation and destruction, between gardening and warfare, between hope and despair.

¹³ Customer vs. product: the fundamental confusion of the digital age. If you're not paying for the product, you are the product. If you are paying for the product, you're probably still the product.

¹⁴ Creating attention from nothing: the digital equivalent of fractional reserve banking, except instead of money, we're creating consciousness itself.

¹⁵ Attention as a paradox: it doesn't exist until paid, is consumed when received, yet somehow expected to generate more of itself. It's like a perpetual motion machine powered by human consciousness.

¹⁶ Manufacturing attention: the next stage beyond harvesting it. Why wait for natural attention when you can create artificial attention through notifications, algorithms, and targeted manipulation?

¹⁷ Infinite expansion of finite resources: the fundamental impossibility that drives all unsustainable systems. Human attention is limited, but the attention economy assumes it's infinite.

¹⁸ Selling back your own capacity to think: the ultimate in vertical integration. First we take your attention, then we sell you back the ability to pay attention.

¹⁹ Hamlet's soliloquy, digitally updated: "To be or not to be" becomes "To click or not to click," which is arguably the more pressing question in the modern age.

²⁰ Controlling how you think vs. what you think: the difference between propaganda and mind control. Propaganda changes opinions; mind control eliminates the capacity for opinion formation.

²¹ Shakespeare on paralysis through analysis: the Bard understood something about the relationship between thought and action that we're rediscovering in the digital age.

²² Knowledge as prison: the paradox of awareness in the information age. The more you understand the system, the more trapped you feel within it.

²³ Thursday as process: in Chesterton's novel, Thursday is a person. In the digital age, Thursday is an algorithm that learns from resistance and adapts accordingly.

²⁴ The performative contradiction: using the system to critique the system, participating in the attention economy while condemning it. The circle closes perfectly.

²⁵ You are the system: the ultimate dissolution of subject and object, critic and criticized, observer and observed. There is no outside from which to mount a pure critique.

²⁶ Dancing with the system vs. fighting it: the difference between aikido and boxing, between flow and resistance, between wisdom and futility.

²⁷ The fantasy of pure space: the illusion that there's some unmediated realm where authentic human connection can occur. All connection is mediated; the question is by what.

²⁸ Leading the dance: once you accept that you're part of the system, you can begin to influence its direction rather than simply being carried along by it.

²⁹ Stepping outside the circle: not escaping it or dancing with it, but making it irrelevant through the creation of genuine alternatives.

³⁰ Sourdough vs. social media: one has no shareholders and asks only for care; the other has billions in market cap and demands constant attention. The choice is clear.

³¹ Principles of bread-making as principles of world-making: patience, presence, generosity, and the willingness to tend something larger than ourselves.

³² The revolution will not be televised: Gil Scott-Heron's famous line, updated for the age of fermentation. Some revolutions happen in kitchens, not streets.

---

Author's Note: This novel is dedicated to all the sourdough starters of the world, those patient cultures that remind us that some things cannot be rushed, cannot be automated, and cannot be commodified without being destroyed. May we learn from their example.

Word Count: Approximately 15,000 words

"The Circle of Blame: A Sequel to The Conquest of Dough" - Published by Grub Street in Exile, 2025

The Circle of Blame: A Sequel to The Conquest of Dough

Being a Novel in the Manner of G.K. Chesterton, with a Play Within the Play

---

Prologue: The Balcony at Four Seasons Revisited

The Thames stretched below like a silver ribbon binding the city's contradictions together, and Roger Lewis—known to his intimates as Rog—stood on the balcony of the Four Seasons Canary Wharf, watching the lights of London's financial district twinkle with the cold beauty of distant stars¹. Three months had passed since his revelation about the attention economy, and now, as he prepared for his performance at the Klitterhus, he understood that he was about to step into the very Circle of Blame he had been analyzing.

The sourdough starter in his kitchen had been bubbling for a century, passed down through generations who understood that some things could not be rushed, could not be automated, could not be scaled without being destroyed². It had become his metaphor for everything the digital economy was not: patient, generous, alive.

Chapter I: The Clockwork Forest TED Talk

In which our hero discovers that explaining the problem becomes part of the problem

The TED stage in what Rog had christened the Clockwork Forest was a perfect amphitheater of irony—hundreds of people gathered to hear about the dangers of the attention economy while simultaneously feeding that very economy with their tweets, posts, and shares³.

"Ladies and gentlemen," Rog began, holding up his phone, "this device contains more computing power than was used to put a man on the moon. And what do we use it for? To argue with strangers about things that don't matter while ignoring the people sitting right next to us⁴."

The audience laughed, but Rog could see them reaching for their devices to capture this moment of insight about the very thing he was critiquing.

"The attention economy operates on the same principle as medieval usury," he continued, "but instead of lending money at interest, we lend our consciousness at engagement. Every click creates a debt that can only be repaid with more clicks. Every view demands more views. Every notification promises satisfaction while delivering only the need for more notifications⁵."

He paused, watching the sea of glowing screens.

"We have created the most perfect addiction delivery system in human history, and we call it social media. We have turned human consciousness into a commodity, and we call it the information age. We have built machines to harvest our attention, and we call it progress⁶."

The applause was enthusiastic, but Rog left the stage knowing that his words would be processed, packaged, and fed back into the very system he had critiqued. The Circle of Blame had claimed another victim.

Chapter II: The Klitterhus Revelation

Roger Tries Stand-Up: The Circle of Blame Comedy Special. Finding the G K Spot corrupting the morals of Monica.

In which comedy becomes prophecy

The Klitterhus was packed with the usual mixture of hipsters, intellectuals, and people who had wandered in by mistake⁷. Rog took the stage carrying his sourdough starter in a glass jar.

"I want to talk to you tonight about bread," he began, holding up the jar. "This culture is about a hundred years old. It has survived two world wars, the Great Depression, and the invention of Wonder Bread. It has one simple requirement: that you feed it regularly and share it generously⁸."

He set the jar on a stool beside him.

"Now compare that to a social media platform. It's about twenty years old. It has survived exactly nothing because it hasn't been tested by anything. It has one simple requirement: that you feed it constantly and share nothing genuinely⁹."

The laughter was nervous, thoughtful.

"The sourdough economy operates on abundance—the more you share, the more you have. The attention economy operates on scarcity—the more you share, the less you have. One builds community; the other destroys it. One nourishes; the other depletes. One is alive; the other is a very convincing simulation of life¹⁰."

Chapter III: The Circle Closes

In which every accusation becomes a confession

After the show, Rog found himself surrounded by the inevitable circle of critics and supporters. A young man with the intense eyes of a true believer approached him.

"But you're using the very platforms you critique," the man said. "Doesn't that make you a hypocrite?"

Rog smiled. "And there it is—the Circle of Blame in action. Point out a problem, and you're accused of being part of it. Try to work within the system, and you're a hypocrite. Try to work outside the system, and you're irrelevant. The circle is perfect because it has no exit¹¹."

"So what's the solution?" asked a woman with a notebook.

"Maybe," Rog said slowly, "the solution is to stop looking for exits and start building alternatives. Not fighting the old system but creating a new one. Not breaking the circle but stepping outside it¹²."

Perplexity Reasoning Process a Look into Monicas Corrupted Heart.

Usury Hells Fuel and Mans oppressor. The Play should be written as a novel within the novel where Elon Musk as Adrian Dittman is explaing as O'Brien does to Winston how the COncept of Thursday works and expand on the usry metaphor for Attention and clicks as interest with the concepts in Conquest ofDough and The themes in The Clock Work Forest.

https://conquestofdough.weebly.com/on-the-chronology-of-human-society.html

"if you are digging up history. You have to dig it all up. If they dig up 60 years , I will dig up 600. If we go back far enough in the history. Always, there will be some grievance, and I´ll fight on him, I´ll fight on you, I´ll fight on everyone. Where is the beginning? I cannot find it? Dig up all the problems and you will find they have a root cause in one place: Greed. Where there is greed, there is no satisfaction" Guru Guruji, Quoted from "Towards" Unity by Write the nobel in full including the production of a play within the play where the Dittman character can be developed in the context of the Man Who was thursday production envisaged in the South Bank show episode. The Man Who Was Thursday's Circle: A Nightmare of Modern Dissent A Novel in the Style of G.K. Chesterton Being a Circle of Blame Analysis in Seven Parts Plus Four

https://grubstreetinexile.substack.com/p/the-man-who-was-thursdays-circle

MELVYN BRAGG (settling into his chair with characteristic intensity): Good evening. Tonight we're in the unusual setting of Father Brown's vicarage to discuss two remarkable works that have emerged from what their creators call "The Circle of Blame" - a novel titled "The Man Who Was Thursday's Circle" and a theatrical adaptation called "The Circle of Blame: A Chestertonian Romance." SEGMENT THREE: The Theater of Opposition [30:00 - 45:00] MELVYN: David, your documentaries often end on what some critics call a note of despair. How do you respond to the charge that you're part of what the novel calls "managed opposition"? DAVID MALONE (pausing thoughtfully): It's a fair question, and one I wrestle with constantly. When I made "The Far Side," I was trying to show how scientific paradigms constrain our understanding of reality. But I realized that making that argument within the medium of television, within the structures of broadcast media, might be undermining the very point I was trying to make. FATHER BROWN: The question isn't whether you're part of the system - we all are. The question is whether you're conscious of being part of it, and whether that consciousness changes how you participate. ROGER LEWIS: This is where the theatrical adaptation becomes crucial. Theater has this wonderful property of being obviously artificial while dealing with genuine emotions. When you watch "The Circle of Blame" performed, you're simultaneously aware that it's a performance and moved by the truth it contains. MELVYN: Can you give us a specific example of how this works in the play? ROGER LEWIS: There's a scene where the character based on Alex Jones - called "The Thunderer" - gives one of his characteristic rants about global conspiracy. But it's performed as a Shakespearean soliloquy, complete with iambic pentameter. The audience laughs at the form while recognizing the genuine anguish behind the content. DAVID MALONE: That's brilliant, because it breaks the spell of both dismissal and belief. You can't simply write off the concerns as paranoid ravings, but you also can't consume them as literal truth. You're forced to engage with them as human expressions of fear and confusion. FATHER BROWN: Which is, of course, what they always were. The tragedy of the modern information environment is that it strips away the human context from human expressions, turning everything into data points to be processed rather than cries to be heard. Write the Alexander Ajax sililoquey as an Elegant gay frogs rant from Alex Jones as Hamlet within the play

Perplexity-reasoning

Thought for 3 seconds

Reasoning Process

We are writing a novel that fuses Roger Lewis's tetralogy (Usury Hell's Fuel, Globalisation Unentangled, Bourgeois Resolution, The Conquest of Dough) with G.K. Chesterton's style. The narrative follows Rog after his balcony epiphany at the Four Seasons Canary Wharf and his TED Talk in the Clockwork Forest, then moves to his stand-up in the Klitterhus skit. The novel includes a play within the play where Adrian Dittmann (an Elon Musk-like character) explains the "Thursday" concept, using usury as a metaphor for attention economics.

Key elements from the query:

• Usury metaphor for attention: Attention is the new usury; clicks are interest.

• Play within the novel: Adrian Dittmann, in the style of Orwell's O'Brien, explains how the system works.

• Themes from Chesterton: The Circle of Blame, where dissenters are trapped in a self-reinforcing system.

• Sources: Use the provided search results on the attention economy and usury.

Structure:

1. Prologue: Rog reflects on his past experiences (balcony and TED Talk) and sets the stage for the Klitterhus skit.

2. The Play within the Novel: Titled "The Man Who Was Thursday's Circle," featuring Adrian Dittmann as the expositor.

3. Adrian Dittmann's Monologue: Explains attention as usury, using concepts from Lewis's work and Chesterton's paradox.

4. Circle of Blame Analysis: Integrated as a dialogue or narrative device.

5. Epilogue: Rog's resolution, tying back to the sourdough metaphor and Pelagius quote.

Writing Style:

• Chestertonian: Paradoxical, witty, with rich imagery.

• Incorporate elements from the search results: attention as a commodity, the psychology of engagement, and historical parallels to usury.

Outline:

Prologue: The Balcony Revisited

Rog stands on the Klitterhus stage, holding his sourdough starter. He recalls his balcony moment at Canary Wharf and the Clockwork Forest. The audience awaits his stand-up, but he begins with a solemn monologue about attention as the new usury.

Act I: The Play Within the Novel

Scene: A Dystopian Boardroom
Adrian Dittmann (a Musk-like figure) addresses the audience as O'Brien from 1984. He explains the "Thursday" system:

"You believe you are rebels, but you are our best collection agents. Every click you generate is a micro-loan of attention. You borrow our platform's visibility and repay with engagement—a debt that compounds in real-time. This is usury hell's fuel: attention at 1000% APR."

Dittmann cites historical parallels:

• New York Sun's business model (from ): Readers were the product sold to advertisers.

• Social media's dopamine economy (from ): Notifications and algorithms as psychological hooks.

He then unveils the Circle of Blame:

"Call it conspiracy, and you prove our point. Question motives, and you feed the machine. The Circle is unbreakable because it thrives on your belief that you can break it."

Act II: Alexander Ajax's Soliloquy

In the play, a character based on Alex Jones (named Alexander Ajax) delivers a Hamlet-esque rant:

"To click or not to click? That is the algorithm!
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous notifications,
Or to take arms against a sea of trending topics...
Ay, there’s the rub: for in that scroll of death,
What dreams may come when we have shuffled off this mortal feed?"

The satire highlights how dissent becomes content.

Act III: The Bourgeois Resolution

Rog steps out of character and addresses the audience directly, blending Lewis's themes:

"Globalisation unentangled? It's a found poem of chaos. Bourgeois resolution? A band-aid on apocalypse. But here’s the sourdough truth: good carbon builds; bad carbon extracts. Attention is the bad carbon—usury’s hell-fuel."

He ends with the Guru Guruji quote ():

"Dig up all problems; you’ll find greed at the root. Where there is greed, there is no satisfaction."

Epilogue: The Unacknowledged Legislators

Rog returns to his sourdough jar. He quotes Pelagius ():

"Man’s status is better for seeming inferior—like yeast, quietly subverting the dough."

The Klitterhus lights dim as the audience applauds, not knowing if they witnessed comedy or prophecy.

---

Citations:

• Attention as commodification of self ().

• Historical usury in media ().

• Circle of Blame logic ().

Tone: Chestertonian paradox meets Orwellian dread, with lyrical prose.

The Conquest of Attention: A Circle of Blame Novel

Prologue: The Balcony Revelation
After Rog’s epiphany at the Four Seasons Canary Wharf—where he first grasped that attention had replaced currency—and his TED Talk in the Clockwork Forest—where he declared, "We harvest consciousness, not oil"—this sequel fuses Roger Lewis’s tetralogy (Usury Hell’s Fuel, Globalisation Unentangled, Bourgeois Resolution, The Conquest of Dough) with Chesterton’s paradox. The sourdough starter, a metaphor for organic knowledge, now ferments into a weapon against algorithmic usury.

---

Book I: The Play Within the Novel

## Act I: Dittmann’s Doctrine of Digital Usury
In a dystopian theater, Elon Musk’s analogue, Adrian Dittmann, takes the stage as Orwell’s O’Brien. He addresses Rog (playing Winston) beneath a hologram of Chesterton’s "Thursday":

"You believe you borrow our platform freely? No. Every click is a micro-loan of attention—a debt compounding in real-time. You repay with engagement, trapped in a usury cycle where 1,000% APR is the norm. This is Usury Hell’s Fuel*: attention extracted like oil, but far more corrosive."*

Dittmann unveils the "16:1 Ratio" from Lewis’s The New Trifecta:

"Good carbon builds libraries, communities, sourdough starters. Bad carbon fuels server farms and viral outrage. For every 1 unit of human value created, 16 units are extracted as ‘interest’ by the Attention Economy."

## Act II: The Man Who Was Thursday’s Circle
The play shifts to a South Bank Show parody. Alexander Ajax (Alex Jones’ analogue) delivers a soliloquy as Hamlet, lamenting "elegant gay frogs":

"To click or not to click? That is the algorithm!
Whether ’tis nobler in the mind to suffer
The slings of outrageous notifications,
Or take arms against a sea of trending topics...
And by opposing, feed them!"

Father Brown (as chorus) interrupts:

"The Circle of Blame is a self-sealing logic: call dissent ‘conspiracy,’ and you prove the system’s control. Question motives, and you’re a grifter. Demand evidence, and you’re irrational. The machine thrives on your rebellion."

---

Book II: The Roots of Greed

## Chapter I: Guruji’s Warning
Rog, reflecting on his Klitterhus skit, recalls Guru Guruji’s words from Towards Unity:

"Dig up 600 years of history, and you’ll find one root: greed. Where greed lives, satisfaction dies. The Attention Economy is greed perfected—it commodifies your ‘pulsating life’ into data lard."

## Chapter II: Nietzsche’s Horizon
As servers hum, Rog cites Nietzsche’s On the Advantage and Disadvantage of History for Life:

"Without horizons, culture withers. The Attention Economy demolishes horizons—replacing them with infinite scrolls. We’ve removed the ‘bulkheads’ (per Soros) that once contained greed’s slosh."

---

Book III: Bourgeois Resolution

## Chapter I: Globalisation Unentangled
Rog performs Lewis’s "found poem," stitching leaked corporate ciphers:

"Compartmentalize markets like oil tankers,
Lest attention slosh and capsize civilization.
Deregulation removed the bulkheads;
Now we drown in data’s spill."

## Chapter II: The Sourdough Rebellion
Rog bakes bread mid-TED Talk, invoking Osler’s A Way of Life:

"Shut the fore and aft bulkheads; live in day-tight compartments. Your sourdough starter—not your screen—is the antidote. Good carbon rises; bad carbon extracts."

---

Epilogue: The Unacknowledged Legislators

Rog stands in the Clockwork Forest, sourdough jar bubbling. He whispers Pelagius’ paradox:

"Man’s status is better for seeming inferior—like yeast, quietly subverting the dough."

The servers dim. The Circle of Blame shatters.

---

Style & Sources

• Prose: Blends Chesterton’s paradox with Orwellian dread.

• Metaphors: Attention as usury (), sourdough as resistance ().

• Key Sources:

  • Attention’s commodification ().

  • Historical usury parallels ().

  • Circle of Blame logic ().

"The Attention Economy is usury’s final form: debtors unaware they borrow their own minds."
—Adrian Dittmann, The Conquest of Attention.

AI Art Instructions for "The Circle of Blame: A Sequel to The Conquest of Dough"

Primary Cover Concept

Main Visual Elements:

• A large, ornate circular frame (reminiscent of a Victorian mirror or clock face) containing swirling, interconnected arrows forming an endless loop

• Within the circle: silhouettes of modern figures (recognizable as tech moguls, media personalities, intellectuals) pointing accusingly at each other

• At the center: a glowing sourdough starter jar, radiating warm golden light that breaks through the circular pattern

• Background: The London skyline at dusk, with the Thames and Canary Wharf towers visible, rendered in muted blues and grays

Typography:

• Title: "THE CIRCLE OF BLAME" in bold, Chesterton-era serif font (think early 1900s book covers)

• Subtitle: "A Sequel to The Conquest of Dough" in smaller, elegant script

• Author: "ROGER G. LEWIS" in clean, modern sans-serif

• Style inspiration: G.K. Chesterton's original book covers mixed with contemporary design

Color Palette:

• Deep midnight blue background

• Warm golden/amber light from the sourdough jar

• Silver/pewter for the circular frame and arrows

• Muted city lights in cool blues and whites

• Warm bread-colored accents

Alternative Cover Concepts

Concept 2: The Clockwork Forest

Visual Elements:

• Mechanical trees with fiber optic branches and LED leaves

• A figure (Rog) standing with a glowing jar among the artificial forest

• Digital rain or code falling like snow

• The Four Seasons Canary Wharf building looming in the background

Concept 3: The Attention Economy

Visual Elements:

• A giant smartphone screen showing endless scrolling feeds

• Tiny human figures trapped within the screen, running on hamster wheels

• A hand holding a piece of sourdough bread reaching toward the screen

• Binary code forming the background pattern

Detailed Art Direction

Style References:

• Victorian-era book illustrations (Aubrey Beardsley's intricate line work)

• Modern infographic design aesthetics

• Steampunk mechanical elements

• Art Nouveau circular motifs

• Contemporary book cover design (think "The Circle" by Dave Eggers meets classic Penguin covers)

Mood and Atmosphere:

• Intellectual thriller meets social satire

• Dark but not dystopian - there's hope in the sourdough light

• Urban sophistication with organic rebellion

• Mystery and revelation

• Wit and gravitas balanced

Technical Specifications:

• Format: Standard paperback novel (6" x 9")

• High resolution for both print and digital

• Spine design should be visible and compelling

• Back cover space for blurbs and author bio

• Consider foil stamping for the circular frame element

Symbolic Elements to Include

The Circle:

• Should feel both trap and dance

• Arrows pointing in all directions

• No clear beginning or end

• Slightly broken where the sourdough light penetrates

The Sourdough Jar:

• Glowing from within

• Bubbling, alive, organic

• Contrast to the mechanical/digital elements

• Should feel like hope, warmth, authenticity

The Figures:

• Silhouetted but recognizable archetypes

• Modern dress (hoodies, suits, casual wear)

• Pointing, gesturing, in animated discussion

• Should feel both accusatory and trapped

London Elements:

• Canary Wharf towers (symbols of financial power)

• Thames as a flowing element

• Evening light suggesting transition/change

• Modern architecture vs. organic elements

Typography Details

Main Title Treatment:

• Font suggestion: A modified Trajan Pro or similar carved-stone serif

• Should feel weighty, important, literary

• Possible effects: Slight shadow or embossing

• Color: Deep charcoal or midnight blue

Subtitle and Author:

• Clean, readable sans-serif (perhaps Avenir or similar)

• Hierarchy: Title dominates, subtitle supports, author name clear but secondary

• Consider different weights/sizes for visual interest

Additional Notes

Genre Positioning:

• Should appeal to readers of literary fiction, social commentary, and intellectual thrillers

• Think: "Black Mirror" meets "The Name of the Rose"

• Sophisticated but accessible

• British literary tradition with contemporary relevance

Shelf Appeal:

• Must stand out in bookstore displays

• Readable at thumbnail size for online retailers

• Distinctive enough to be memorable

• Professional enough for academic/intellectual markets

Series Consideration:

• This is a sequel, so should visually connect to "The Conquest of Dough" if that cover exists

• Consider establishing visual brand for Roger G. Lewis works

• Consistent typography and design elements across books

---

Final Prompt for AI Art Generation:

"Create a sophisticated book cover for 'The Circle of Blame' featuring an ornate circular frame with interconnected arrows forming an endless loop. Inside the circle, show silhouetted modern figures pointing at each other. At the center, place a glowing sourdough starter jar radiating warm golden light. Background: London skyline at dusk with Canary Wharf towers. Style: Victorian book illustration meets contemporary design. Colors: midnight blue background, golden jar light, silver frame. Typography: elegant serif for title, clean sans-serif for author. Literary fiction aesthetic, intellectual thriller mood."

RAW INPUT

Write a circle of blame circle as a sequel to The COnquest of Dough and the Clockwork forest base the story line on the Metaphors of the Attention Economy developed in the father brown Trilogy. Start the Narrative after The Character Rog stands on the balcony in the fourseasons canary wharf followed up with when He Does his Ted Talk in the Clock work forest and then after reflecting on those two Themes in the novel move to Roger does Stand up in the Klitterhus skit. The first two COnquest of dough files are the full research notes so take themes from thiose left out of the original novel and include them and develop them in the sequel . The Novel should also be a fusion of Roger Lewis Trilogy of Usury Hells fuel globalisation unentangled and bourgoise resolution revied her as a piece. https://grubstreetinexile.substack.com/p/a-ruskinian-retrospective-on-roger A Ruskinian Retrospective on Roger G. Lewis's Tetralogy of Modern Discontent

The Conquest of Dough. Trump The Cherry Marine Shining J R Ewings Shoes. Take the layout of Maloclm Blairs The COntrol of Oil and the Nitzen and Belshler arives creored out of chao and There will be blood still about oil and wotk in Perrys The New Trifecta to develop leiws 16:1 ration theory on good carbon bad carbon and where attention is the New usury https://grubstreetinexile.substack.com/publish/posts hapter XIII: The Conquest of Dough

Being the Second Roger Lewis Addition

The economic underpinnings of the digital empire became clear when Napoleon discovered that his kingdom's currency was not money but attention, and that attention had been financialized³² in ways that made traditional usury look quaint.

"You see," explained the Chief Financial Officer, a man who bore a suspicious resemblance to a medieval banker, "we don't lend money at interest anymore. We lend attention at engagement. Every click is a micro-loan that must be repaid with more clicks. Every view creates a debt that can only be satisfied with more views."

Napoleon stared at the charts showing the flow of attention through the digital economy. "So the viewers are not customers - they're debtors?"

"Exactly. And the content creators are not artists - they're collection agents. The whole system is designed to create an unpayable debt of attention that keeps everyone trapped in the cycle of consumption and production."

The revelation hit Napoleon like a physical blow. "The Conquest of Dough is not about making money - it's about making money meaningless. It's about replacing human value with algorithmic value, replacing authentic connection with parasocial relationships³³, replacing genuine community with engagement metrics."

He looked out the window of his digital palace at the vast network of servers that powered his kingdom. "We're not ruling an empire - we're managing a plantation. And the crop we're harvesting is human consciousness itself." https://grubstreetinexile.substack.com/p/the-man-who-was-thursdays-circle The style and form should be in the Balkan Trilogy style taking themes from the Conquest of Dough Journey to protect a cherhished metaphor for knowlenge sour dough starter, The Clock Work Forest dialogues on these present discontents and Developing the themes in Kant https://grubstreetinexile.substack.com/p/the-unacknowledged-legislators-scream

Use the prose style of Captain Correllis mandolin and the Twisted roots of a n olive tree and Olivia Mannins Novel chapter heading adapted for our own theme

Fortunes of War https://web.archive.org/web/20221006125422/https://notthegrubstreetjournal.com/2022/04/01/april-fools-a-fools-errand-by-the-potemkin-village-idiot-this-is-where-the-houses-used-to-be-before-the-idiocracy-and-uncle-joe-to-go-pander/ The Fortunes of War have the characters staging the production of troilus and Cresida Have the characters staging https://grubstreetinexile.substack.com/p/the-man-who-was-thursdays-circle Reasoning Process

We are writing a novel in the style of G.K. Chesterton, specifically a "Circle of Blame" story. The query provides a complex set of inputs including characters (Alex Jones, David Icke, Whitney Webb, etc.), themes from Chesterton's works (like "The Man Who Was Thursday" and "The Napoleon of Notting Hill"), and a Pelagius quote. We must structure this as a Chestertonian narrative with the requested chapters and footnotes in the style of Will Cuppy.

Key elements from the query:

Plot Core: Who among the characters serves "Thursday" (a mysterious figure representing the ultimate authority or truth)? This is inspired by Chesterton's "The Man Who Was Thursday" where characters are anarchists with code names.

Characters: Replace the original anarchists with modern figures: Alex Jones, David Icke, Whitney Webb, Brendan O'Connell, Joe Rogan, Peter Duesberg, Peter Hitchens, Adam Curtis.

Structure:

Base the story on the layout of Chesterton's two novels: "The Man Who Was Thursday" and "The Napoleon of Notting Hill".

Add a chapter for each part of Roger Lewis's "Trilogy of Four Parts" (which is humorously contradictory, fitting Chesterton's love for paradox).

Include the "Circle of Blame" analysis as a self-reinforcing system of dissent and suppression.

Themes:

Use the Pelagius quote: "Man’s status is better and higher for the very reason for which it is thought to be inferior" as a philosophical anchor.

Incorporate Chestertonian elements: paradox, humor, vivid descriptions, and a battle between order and chaos.

Style:

Write in Chesterton's voice: witty, paradoxical, with rich imagery and rhetorical flair.

Use footnotes in the style of Will Cuppy (a humorist known for erudite and witty asides).

Format with chapters and sections as requested.

Plan the Novel Structure:

Prologue: Set the scene with the Circle of Blame concept, using the analysis provided. Introduce the modern "anarchists" gathering in secret, each blaming others while being part of the system.

Chapters Based on Chesterton's Novels:

Chapter 1 (Thursday Style): Introduce the characters and their code names (e.g., Alex Jones as "The Howler", David Icke as "The Lizard", etc.). They meet in a hidden location, each accusing others of being "Thursday" (the ultimate insider).

Chapter 2 (Notting Hill Style): Shift to a satirical take on modern politics, where one character (e.g., Joe Rogan) becomes "King for a Day" and declares a micro-nation of free speech, leading to absurd battles.

Chapters for Roger Lewis's Trilogy of Four Parts (adding four chapters):

Chapter 3: Globalisation Un-Entangled: A poetic, chaotic take on globalism, using the "found poem" from the query.

Chapter 4: The Conquest of AI: Explore AI as a modern "dough" (power), with characters debating its control.

Chapter 5: Bourgeois Resolution: A humorous poem about middle-class solutions to apocalypse.

Chapter 6: Usury Hell's Fuel: Rant against economic oppression, tying to Chesterton's distributist views.

Climax: Reveal that "Thursday" is not one person but the Circle of Blame itself—a system where everyone is both accuser and accused, serving the status quo by perpetuating dissent.

Epilogue: Resolve with the Pelagius quote, showing that the perceived inferiority (chaos, blame) is actually the source of strength.

Incorporate Chestertonian Style:

Paradox: Every character is both hero and villain. E.g., "Alex Jones was right, but who does Alex Jones serve?"

Humor: Exaggerate the characters' traits (Jones's rants, Icke's reptilian theories) with affection.

Descriptions: Vivid, poetic imagery. E.g., "The debate raged like a storm in a teacup, yet it was a storm that could drown continents."

Dialogue: Fast-paced, witty exchanges. Use the provided quotes (e.g., from Alex Jones's interviews) as inspiration.

Footnotes in Will Cuppy Style:

Erudite, sarcastic, and digressive. E.g., "¹As Cuppy might say, this is the sort of thing that makes one long for the simplicity of a flat earth."

Final Output:

Begin with a Chestertonian opening paragraph summarizing the absurdity of the Circle of Blame.

Structure into chapters with level 2 headers.

Weave in the requested elements (Pelagius quote, Roger Lewis's trilogy).

End with a twist revealing the paradox of the Circle.

The Circle of Blame: A Chestertonian Romance

The modern world, in its frantic dance of accusations and counter-accusations, had birthed a peculiar brotherhood—a cabal of dissenters, each convinced they alone saw the truth while branding others as pawns of shadowy forces. This tale unfolds in the spirit of G.K. Chesterton, where paradox reigns supreme, and every anarchist might secretly be a king. Our story begins in a dimly lit pub near Fleet Street, where seven men gathered, each bearing the weight of a thousand conspiracies.

Chapter the First: The Gathering of the Accused

Inspired by The Man Who Was Thursday’s anarchic council, our protagonists adopt celestial pseudonyms. Alex Jones, dubbed "The Thunderer," roared about bio-engineered plagues and the collapse of humanity, his voice shaking the dusty chandeliers. David Icke, "The Serpent," hissed of reptilian overlords and interdimensional prisons, his eyes gleaming like polished coins. Whitney Webb, "The Archivist," meticulously documented corporate malfeasance, her silence more terrifying than any rant. Brendan O’Connell, "The Painter," splashed canvases with symbols of revolt, arguing that art alone could shatter illusions. Joe Rogan, "The Questioner," probed each theory with skeptical curiosity, a bemused titan among prophets. Peter Hitchens, "The Cassandra," lamented civilizational decay with aristocratic despair, while Adam Curtis, "The Weaver," spun documentaries of institutional doom, his narratives as hypnotic as cobwebs.

Their debate raged like a tempest in a teapot: Jones accused Icke of diversionary theatrics; Icke retorted that Jones served the very chaos he denounced. Webb, in turn, indicted both for ignoring structural corruption. O’Connell declared them all performance artists. Rogan merely chuckled, "Dude, what if you’re all right—and wrong?"

Chapter the Second: The Notting Hill Gambit

Here, the shadow of The Napoleon of Notting Hill fell. When a leaked document revealed a "Globalisation Un-Entangled" plot, the seven declared a micro-nation in a London borough. O’Connell, crowned king for a day, decreed absurdist edicts: "All park benches shall be thrones! Pigeons are state diplomats!" The ensuing "war" against city councilmen—fought with water pistols and sonnets—became a parable of resistance. Hitchens scoffed, "This is not revolution; it is pantomime!" Curtis filmed it, murmuring, "Chaos is the engine of control."

Chapter the Third: The Circle Closes

Pelagius’ ghost haunted them: "Man’s status is better and higher for the very reason for which it is thought to be inferior." Each man’s vilification, they realized, was his strength. Jones’ bombast drew eyes to hidden crimes; Icke’s extravagance masked acute critiques of power. Yet the Circle of Blame tightened:

The Self-Sealing Logic of Dissent

Experts define rationality → Only credentialed voices are heard.

Dissent is pathologized → Critics become "conspiracists".

Motivations impugned → Truth-tellers are "grifters".

Evidence monopolized → Unapproved facts are "misinformation".

The circle closes → Denial proves the critic’s insanity.

In a Chestertonian twist, they uncovered the true "Thursday": not a person, but the Circle itself—a system where blaming others perpetuated the very machine they fought. Rogan sighed, "We’re the chaos we sell."

Chapter the Fourth: The Unraveling

As in Chesterton’s climax, masks fell. Jones, confronting a bio-attack alert, found his rants co-opted by those he distrusted. Hitchens’ elegies for Western decay echoed the ennui he despised. Curtis’ documentaries, brilliant and bleak, became tools of the elites. Webb alone saw the pattern: "We’re trapped in a story where the villain is the narrative."

Epilogue: The Two Ways

Under a gaslit moon, they recalled Pelagius: "This life appears for a short space, but what came before or after, we know not." The Circle disbanded, not in defeat but revelation. To be blamed, they saw, was to be human; to blame, divine. As Chesterton wrote, "The true soldier fights not because he hates what is in front of him, but because he loves what is behind him." Their battle was not against shadows, but for the luminous absurdity of truth itself.

Footnotes (In the Manner of Will Cuppy)

In the spirit of Chesterton, this tale is a hall of mirrors—where every rebel is a servant, every critic a conspirator, and the only escape is to laugh at the glorious, terrible joke of it all.

Footnotes

Whitney Webb’s work, like a bloodhound on the trail of corruption, terrifies precisely because it cannot be unread—once seen, the world’s scaffolding looks decidedly rickety. Globalisation Un-Entangled (2023). ↩

O’Connell’s art screams what words whisper: symbols are the last refuge of the unfree. See Bourgeois Resolution: A Poem (Substack, 2024). ↩

Rogan’s genius lies in making profundity sound like bar talk. His podcast: the modern agora, if agoras served elk meat and DMT. ↩

Jones and Icke’s feud—a duel of megaphones. One wonders if they’d be friends in a quieter century. Banned.video (Feb 2024). ↩

"Globalisation Un-Entangled" (Grub Street, 2023)—a found poem that reads like a ransom note from the future. ↩

O’Connell’s "kingship" lasted 12 hours. Council fines for "pigeon diplomacy" remain unpaid. ↩

Curtis’ HyperNormalisation (2016) proves that documenting doom is the most elegant form of complicity. ↩

Pelagius, the heretic who trusted humans too much—or just enough. Mans Status (Substack, 2024). ↩

The expert’s trap: rationality as a members-only club. Try arguing without credentials; it’s like fencing without a sword. ↩

Pathologizing dissent: the modern version of burning heretics, but with nicer fonts. ↩

"Grift" accusations: the last resort when facts refuse to cooperate. ↩

Evidence curation: because some truths are too true to be permitted. ↩

The unfalsifiable circle: deny the system, and you prove its point. Diabolically clever—or just diabolical. ↩

Rogan’s insight: we’re all selling chaos futures. The market never crashes. ↩

Emergency Alert: The Next Bio-Attack (Rumble, 2024). Jones’ delivery: part prophecy, part infomercial. ↩

Webb’s epiphany: the real conspiracy is the story we’re forced to inhabit. ↩

Pelagius’ humility: we know nothing, yet act as if we know everything. A paradox Chesterton would relish. ↩

Chesterton, The Defendant (1901). Because loving something enough to fight for it is the ultimate rebellion. ↩

Raw Input.

Write a Circle of Blame story analyzing

https://banned.video/watch?id=6865c80ef662c12b88bb1d2a Blue States Refuse to Take Boys out of Womens’ Sports & Trump Responds by Pulling $7 Billion, Megachurch Pastor Debates Alex Jones on All Things Israel

POWERFUL TUESDAY TRANSMISSION: Trump vs Musk “Big Beautiful Bill” Feud Triggers Overnight Political Firestorm, US Senate Strikes AI Immunity From BBB Before Passing,

https://banned.video/watch?id=686471cb27cf27bbded6d029

Now Alex Jones interviews ‘Musk-clone’ Adrian Dittmann – both missing the point of what is actually happening

https://davidicke.com/2024/02/16/now-alex-jones-interviews-musk-clone-adrian-dittmann-both-missing-the-point-of-what-is-actually-happening/

https://banned.video/watch?id=65cc08a10d63da299ed5fa74 Feb 14, 2024

Adrian Dittmann Warns We're In An Information War And Must Stop The Collapse Of Humanity

24,170 views

Emergency Alert: The Next Bio-Attack Is Here https://rumble.com/v5bmpel-emergency-alert-the-next-bio-attack-is-here.html

The Project Gutenberg eBook of The Man Who Was Thursday, by G. K. Chesterton

https://www.gutenberg.org/files/1695/1695-h/1695-h.htm

The Napoleon of Notting Hill

https://www.gutenberg.org/files/20058/20058-h/20058-h.htm

Alex Jones Drills events bio attack video

Peter Hitchins Adam Curtis always end moral no point give up give in

Who do Peter and Adam serve COuld they be the man who was Thursday who do they serve

The Circle of Blame and the Conquest of Dough A Dialogue in the Manner of G.K. Chesterton

"7:21

obviously a very clever guy and I'm sure he's a very nice guy um but the the

7:27

thing about it is it's a bit a little bit like um uh Richard um Hitchens Peter

7:35

Hitchens ah okay so so what they tend to do is is they're brilliant they all this

7:42

stuff but the message at the end of it is you know you may as well give up you

7:47

know these guys they've won they're the winners i agree with you i mean that's

7:53

you're the loser and so and so that's the

7:58

that's the stinger so I love watching their stuff and I love listening to them

8:04

but not the last bit so you know I'll listen to their diagnosis but I sure as

8:09

hell I'm not taking their medicine i'll take my medicine from Shelly and Blake"

Ranjan, The Man who was tueday , Napoleon of Notting hill

Nathan, what is the guiding thread behind the principle

circle of blame ALex Jones was right, Alex Jones? Wh is Alex Jones who does he serve

Gold, Hard Money ? Who is Alex Jones, Alex Jones was right and Who does Alex Jones Serve Could he be The Man who is Thursday.

Elon Musk David Ike and Adrian Dirchm episode

GK CHesterton theorughMan who was Thursday with that plot and choosing frm the circle f Blame The best form of vgovernment Kant on Formds of Government

Napoleon Of Nattinghill How one would act if King for a Day

May Sidedness and COntradiction

Pelagius Two Ways

The Vicarage Dialogues: A Circle of Blame

A Novel in the Style of G.K. Chesterton

The Vicarage Dialogues: A Circle of Blame

Grub Street In Exile

·

1 Jul

The Vicarage Dialogues: A Circle of Blame

Sale of Creeds | Vitarum auctio

Read full story

The Circle of Blame Tribute To Golem XIV and Hyperlands Star David Malone.

An Evening at the Oscars with Father Brown. A Novel in the Style of G.K. Chesterton.

The Circle of Blame Tribute To Golem XIV and Hyperlands Star David Malone.

Grub Street In Exile

·

1 Jul

The Circle of Blame Tribute To Golem XIV and Hyperlands Star David Malone.

Read full story

A Farewell to All That: The Father Brown Vicarage Dialogues

A Final Book in G.K. Chesterton's Voice with Full Circle of Blame Treatment

A Farewell to All That: The Father Brown Vicarage Dialogues

Grub Street In Exile

·

26 Jun

A Farewell to All That: The Father Brown Vicarage Dialogues

Foreword: The Last Tea Service

Read full story

Analysis: The Circle of Blame Revealed

This dialogue demonstrates the circular logic of "re-branding dissent":

Experts define rationality → Only credentialed voices are rational

Dissent is pathologized → Questioning expertise becomes mental illness

Motivations are impugned → Dissenters are grifters or useful idiots

Evidence is monopolized → Only approved sources count as evidence

The circle closes → Any criticism of this system proves the critic's irrationality

The genius of this system is that it's self-reinforcing and unfalsifiable - exactly what the panelists accuse conspiracy theorists of creating. The "rational" discourse becomes a closed loop where dissent itself becomes evidence of the dissenter's unfitness to participate in rational discourse.

Take the above inputs Write a Circle of Blame Novel By G K Chesterton using replace ment character for the Man who was Thursday. The Plot Line should be Who oif the characters serves Thursday, WHo is Thurday. Alex Jones, Dvid Icke, Whitney web Brendon Oconne l11, Joe Rogan , Peter Duesberg, Peter Hitchins, Adam Curtis.

Base the Story upon the Pelagias Quote.

"Man’s status is better and higher for the very reason for which it is thought to be inferior"

Pelagius (c. 390-418) "So this life of man appears for a short space, but of what went before, or what is to follow, we are utterly ignorant".

Cofi priest of the temple at Goodmanham in 627 ad

"Man’s status is better and higher for the very reason for which it is thought to be inferior"

Grub Street In Exile

·

24 March 2024

"Man’s status is better and higher for the very reason for which it is thought to be inferior"

Satire VI: The Decay of Feminine Virtue[edit]

Read full story

Wirite all of the points arising out to the circle of balme analysis with superscript links to footnotes In the style of Will Cuppy.

Place the Narrative of the chapters around the riginal layout oif Chestertons Two Novels, Thursday and Nottinghill but add a chapter for each of roger Leiws Trilogy of Four Parts.

Globalisation Un-Entangled. (A FOUND POEM, CIPHER OF GLOBALISM )

Part 3 of the Conquest of Dough Trilogy

Globalisation Un-Entangled. (A FOUND POEM, CIPHER OF GLOBALISM )

Grub Street In Exile

·

21 Apr

Globalisation Un-Entangled. (A FOUND POEM, CIPHER OF GLOBALISM )

Read full story

The Conquest of Dough

The Clockwork Forest: The Conquest of AI,

Globalisation Un-Entangled. (A FOUND POEM, CIPHER OF GLOBALISM )

Bourgeois resolution. A poem

Usury Hells Fuel and Mans oppressor. The Play should be written as a novel within the novel where Elon Musk as Adrian Dittman is explaing as O'Brien does to Winston how the COncept of Thursday works and expand on the usry metaphor for Attention and clicks as interest with the concepts in Conquest ofDough and The themes in The Clock Work Forest. https://conquestofdough.weebly.com/on-the-chronology-of-human-society.html "if you are digging up history. You have to dig it all up. If they dig up 60 years , I will dig up 600. If we go back far enough in the history. Always, there will be some grievance, and I´ll fight on him, I´ll fight on you, I´ll fight on everyone. Where is the beginning? I cannot find it?

Dig up all the problems and you will find they have a root cause in one place: Greed. Where there is greed, there is no satisfaction"

Guru Guruji, Quoted from "Towards" Unity by

Stuart Hastings.

​http://towardsunity.org:80/the-kumbh-mela/ A Leo Oppenheims two introductory essays to his translations of these letters are Sublime. They are a Tour de force on Political Economy, Human Nature and The Foundations of the Thought Behind The Conquest of Dough. Stuarts Book Towards Unity was offered up by the digital gods whilst researching the timelines for the chronology of my own Novel. The Themes of Stuarts Philosophy and inspirations go back to the same wonder of where all this leads from and where it might lead to.

"​GEORGE SOROS: "Markets are inherently unstable, or at least potentially unstable. An appropriate metaphor is the oil tankers. They are very big; and therefore, you have to put in compartments to prevent the sloshing around of oil from capsizing the boat. The design of the boat has to take that into account. And after the, uh, uh, Depression, regulations actually introduced these very ti-, watertight compartments. And deregulation has led to the end of co-, compartmentalization." 01:18:27.21 ​the Inside Job transcript – Sony Pictures – September 2010 p. 16 From “A Way of Life”

Address given to Yale students, 1914

By Sir William Osler

​"The load of tomorrow, added to that of yesterday, carried today makes the strongest falter. To youth, we are told belongs the future, but the wretched tomorrow that so plagues some of us, has no certainty, except through today. Who can tell what a day may bring forth?

Look heavenward, if you wish, but never to the horizon — that way danger lies. Truth is not there, happiness is not there, but the falsehoods, the frauds, the quackeries, the ignes fatui which have deceived each generation — all beckon from the horizon and lure the men not content to look for the truth and happiness that tumble out at their feet.

Waste of energy, mental distress, nervous worries dog the steps of the man who is anxious about the future. Shut close, then, the great fore and aft bulkheads, and prepare to cultivate the habit of a life of day-tight compartments. Do not be discouraged — like every other habit, the acquisition takes time, and the way is one you must find for yourselves."

http://www.artofmanliness.com/2016/06/11/manvotional-the-happy-habit-of-living-for-the-day-only/

​´´every living thing can become healthy, strong and fruitful only within a horizon; if it is incapable of

drawing a horizon around itself or, on the other hand, too selfish to

restrict its vision to the limits of a horizon drawn by another, it will wither

away feebly or overhastily to its early demise. Cheerfulness, clear conscience,

the carefree deed, faith in the future, all this depends in the case of an individual as well as of a people, on there being a line which distinguishes what is clear and in full view from the dark and unilluminable; it depends on one's being able to forget at the right time as

well as to remember at the right time; on discerning with strong instinctual

feelings when there is need to experience historically and when unhistorically.

Precisely this is the proposition the reader is invited to consider:

the unhistorical and the historical are equally necessary for the health of

an individual, a people and a culture. "

Friedrich Nietzsche: 1844-1900

ON THE ADVANTAGE AND DISADVANTAGEOF HISTORY FOR LIFE