“… to reassure us generally of the good intentions of the average German. Eulogies are pronounced on his good-humour and domesticity, and the warlike house-burners are praised as peaceful householders. It is, perhaps, admitted that there was something tactless in torturing the Belgians. But it is regarded as the exuberance of a young nation; and an indulgence is asked for such pastimes of Prussian officers on the principle that boys will be boys. That dark and watchful enemy, the sower of tares, is represented as having merely sown his wild oats.”

G.K. Chesterton in Illustrated London News Jan. 1, 1916, quoted in “The Golden Key Chain GKC on Scripture Conducted by Peter Floriani” in Gilbert: the Magazine of the Society of G.K. Chesterton Vol. 28 #3 (Jan./Feb. 2025)

In my latest Epoch Times column I argue that decades of immigration and investment policy based on mistaken and incoherent multiculturalism is predictably turning Canada into a low-trust society.

“Don’t put it off until tomorrow. Tomorrow there may be a law against it.”

“Don’t know who said it” quoted in “Other Suspects – III Quotes not by GKC” in Gilbert: the Magazine of the Society of G.K. Chesterton Vol. 28 #4 (March/April 2025)

“Though he [Nero] came quite early in Roman Imperial history and was followed by many austere and noble emperors, yet for us the Roman Empire was never quite cleansed of that memory of the sexual madman. The populace or barbarians from whom we come could not forget the hour when they came to the highest place of the earth, saw the huge pedestal of the earthly omnipotence, read on it Divus Caesar, and looked up and saw a statue without a head.”

G.K. Chesterton quoted without further attribution in “News with Views” “Compiled by Mark Pilon” in Gilbert: the Magazine of the Society of G.K. Chesterton Vol. 28 #4 (March/April 2025) [in context of the North Hertfordshire Museum announcing that it would refer to Elagabalus as she-her].

In my latest Loonie Politics column I say since nuclear weapons are a crucial feature of geopolitics including the structure of deterrence that has prevented major wars for three-quarters of a century, it’s asinine or worse to be against making sure they work the way we expect them to.

In my latest Epoch Times column I ponder the battling dispositions in public debate to refuse to believe things can be as bad as they seem, or to refuse to believe anything else, and the characteristic errors each can cause.

“The fascist opposition to the novel [All Quiet on the Western Front] blended often with that of the conservatives and presented many of the same arguments, but there was an essential difference in the reasoning. The fascists sanctified not so much the purpose of the war as the ‘experience’ of the war, the very essence of the war, its immediacy, its tragedy, its exhilaration, its ultimate ineffability in anything but mystical and spiritual terms. The war, as we shall see, gave meaning to fascism. Thus, any suggestion that the war had been purposeless was a slur against the very existence of this form of extremism. It is here, on the extreme right, that the most active opposition to Remarque, and to the whole wave of so-called negative war books, films, and other artifacts, assembled.”

Modris Eksteins Rites of Spring: The Great War and the Birth of the Modern Era

“of all the war books of the late twenties... Remarque’s [phenomenally successfull All Quiet on the Western Front] made its point, that his was a truly lost generation, most directly and emotionally, even stridently, and this directness and passionately at the heart of its popular appeal. But there was more. The ‘romantic agony” was a wild cry of revolt and despair – and a cry of acceleration. In perversion there could be pleasure. In darkness, light. The relation of Remarque and his generation to death and destruction is not as straightforward as it appears. In his personal life and in his reflections on the war Remarque seemed fascinated by death. All of his subsequent work exudes this fascination. As one critic put it later, Remarque ‘probably made more out of death than the most fashionable undertakers.’ Like the Dadaists, he was spellbound by war in its horror, by the act of destruction, to the point where death becomes not the antithesis of life but the ultimate expression of life, where death becomes a creative force, a source of art and vitality.”

Modris Eksteins Rites of Spring: The Great War and the Birth of the Modern Era