Curious Excerpts from HG Wells “The New World Order”
Posted Jul 06, 2007
I am not going to write peace propaganda here. I am going to strip down certain general ideas and realities of primary importance to their framework, and so prepare a nucleus of useful knowledge for those who have to go on with this business of making a world peace. I am not going to persuade people to say "Yes, yes" for a world peace; already we have had far too much abolition of war by making declarations and signing resolutions; everybody wants peace or pretends to want peace, and there is no need to add even a sentence more to the vast volume of such ineffective stuff. I am simply attempting to state the things we must do and the price we must pay for world peace if we really intend to achieve it.
There must be no protection for leaders and organisations from the most searching criticism, on the plea that out country is or may be at war. Or on any pretence. We must talk openly, widely and plainly. The war is incidental; the need for revolutionary reconstruction is fundamental.
What are called "democracies" suffer greatly from the rule of old men who have not kept pace with the times. The real and effective disapproval, distrust and disbelief in the soundness of the Soviet system lies not in the out-of-date individualism of these elderly types, but in the conviction that it can never achieve efficiency or even maintain its honest ideal of each for all and all for each, unless it has free speech and an insistence upon legally-defined freedoms for the individual within the collectivist framework. We do not deplore the Russian Revolution as a Revolution. We complain that it is not a good enough Revolution and we want a better one.
A sturdy and assertive variety of the new young will be needed for the police work of the world. They will be more disposed for authority and less teaching or creative activities than their fellows. The old proverb will still hold for the new order that it takes all sorts to make a world, and the alternative to driving this type of temperament into conspiracy and fighting it and, if you can, suppressing it, is to employ it, win it over, trust it, and give it law behind it to respect and enforce. They want a loyalty and this loyalty will find its best use and satisfaction in the service of world order.
As the report puts it:
"In general, these individuals appear to be organized into teams of 8 to 10 people, with one person described as the "Team Leader". They are usually encountered in pairs or individually carrying an art portfolio. Several times, they have been seen or admitted to being dropped off by the Team Leader, who returns later to pick them up. The females are usually described as being very attractive, and all are generally in their early to mid 20s. Most admit to having served in the Israeli military. This is not surprising given the mandatory military service requirement in Israel, however, a majority of those questioned stated that they served in military intelligence, electronic signal intercept, or explosive ordinance units. Some have been linked to high-ranking officials in the Israeli military. One was the son of a two-star general, one served as a bodyguard to the head of the Israeli army, one served in a Patriot missile unit. That these people are now travelling in the US selling art does not fit their background."
For further background on this deeply, deeply weird saga, we highly recommend the Slate magazine piece "The Israeli Art Student Mystery". An excerpt:
Then of course theres Theory No.4: that they really were art students. Either they were recruited in Israel as part of an art-selling racket or they simply hit upon the idea themselves. This theory is basically the de facto position held by the U.S. and Israeli governments, which insist that the only wrong committed by the "students" was to sell art without the proper papers. There are almost too many problems with this to list, but it's worth mentioning a few: Why in the world would people try to sell cheap art market to DEA officials? Why would they almost all use the same bogus Bezalel Academy of Arts cover story? Why would anyone running such a racket to make money use foreign nationals without green cards, knowing that they would quickly be snagged for visa violations? And why did so many of these itinerant peddlers, wandering the United States on their strange mission of hawking cheap Chinese knockoff paintings, have "black information" about federal facilities?
There are other theories. One is that these were spies in training, newly minted Mossad graduates on test runs to see how they would operate in field conditions. I asked Stability how hotly the matter was now being pursued in intel and law enforcement. "Depends on who you speak to," he told me. "Some people say that it's a dead issue, a fantasy. Most of the investigations are happening at an ad hoc level. There are people out there that you couldn't sway off some of the cases, because that's how dedicated they are."
Apparently, at least some agents in FBI remain quite concerned about the art student problem. According to several intelligence sources, including Stability, on Dec. 3, 2001, six separate FBI field offices simultaneously forwarded communiqu?s to FBI headquarters inquiring into the status of the investigation. The FBI agents wanted to have a "clarification" as to what was going on.
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