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Guess Which George
Picture a beautiful castle atop a
warm green hill.
Golden prairies here and there
abloom with the unstrung loom
of Gaia, our sun queen, mother
Earth alive on high, humble white
pastures, tended to by
masters—yes gods, yes kings—
all an ode to the faster, the better,
those few folk on the upswing, living
high life, other half life, the up-and
-across-the-track’s-type, all alive and
vivid in the moody interior of beautiful
castles atop brilliant, astroturfed hills.
(The fire snaps, crackles, and pops)
Wintry whistles in the chimney,
Crisp toast spread with melted butter,
Leather-seated cars shining sharply
on their rims
And kindly smiles from the sun
whenever it peaks out
from behind the clouds.
But descend a few steps to the foot
of this giant, gilded thing, and all
that still glitters is a dream
Damned souls wading in the shade of
a glorious castle without a thing for which
to show, crows chirping instead of
hummingbirds’ tunes, and beer in place of
finely-aged champagne—
“Shanpany,”
they say, but does that make it something
other than the Devil’s confection?
All the sins in the world brought
forth under the rigid gaze of the sun
—the anti-diligence, the anti-temperance,
the anti-patience—and they offer
industriousness as the new philosopher’s
stone,
Atone! they cry, Atone for your
crimes and let it be done; let none be saved
from that scalding gaze, the pain, the
voyage of the beagle, tried and true, of little
worker bees, me and you—
don’t be greedy,
don’t be needy, just be hardy—that’s all it takes!
What’s one measly year without two coins to shake!?
“Sterile and silent land;
it is of ours that I am speaking.”
Black shadows
White wisps
No words for Washington,
none still for the
third, for there’s nothing to say of dead men
lying dead—six feet shy of the sun’s rigid gaze.

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I often feel frustrated with the more superficial elements of capitalism, the way it strangles individuality, builds up saints, and tears down people. Hence, the poem is a critique of a structure disguised in a declamation of the material connections we put to it. It does not merely go so far as to say George Washington was as bad as his peer King George III, it makes the direct parallel of the slave system to feudalism and the both of them to capitalism, i.e. it travels from figures we all identify with certain ideals and time-periods to the ideals and time-periods themselves.
The quotation, "Sterile and silent land; it is of ours that I am speaking," is Aime Cesaire's.