Hail Regina (A satire of political & religious romp) Series

The depiction of the ‘nativity’ in this episode might be described as, ‘the anti-nativity.’ It is a fair description, in the context of an anti-utopian story. The so-called ‘cabaret’ is presented more as a warped tragi-comedy because it combines the birth, death and resurrection of the ‘Regis’ child (based on elements of the New Testament gospels). The scene has a most unusual depiction of the nativity. The scene may be observed as being, irreverent or silly amongst other things. The baby in the manger has been re-named ‘Regis’ the son of the Holy Regina. This is part of the artistic style of the novella. It seeks to blur and suspend normal reality, inviting the reader to look at the well-recognised nativity scene in a different light. We are being baited of course—to ask what kind of society would twist gospel and liturgy into this strange presentation to charity-ball guests? Karmalade is experimenting with the artistic idea that the nativity is capable of being morphed. From something that is a cross between a piece of medieval theatre to something which some of the audience in the scene, might believe to be true, because reality has been temporarily suspended by the ‘theatre’ being presented. As artist, the writer is toying with the power of suggestion. Any rational person would know how ridiculous it is to have O’Malley play the ‘Regis’ figure. Our humour is also being challenged, as the artist-writer becomes a ‘jester’ here to test our reactions. Karmalade uses the audience watching the play, to develop the reader’s knowledge about the guests at the ball. Lamb’s flamboyance is on display. One feels there is something not quite right about the whole social scene that participates in these ‘charitable’ festivities. Like Fitzgerald in The Great Gatsby (1924-25), Karmalade is entreating us to reflect on the rash forms of behaviour that pass for entertainment. There is a duality here. On one hand the professional construction of a modern fund-raising event. And on the other—a fakery that is palpable, if we explore just below the surface: the games, the costumes; those who pocket the charitable funds are complicit in abusing the charity itself. The entertainment is a form of tainted collective gratification that occurs in an intoxicating atmosphere. Karmalade paints a vulgarity that is very directly inspired by Brugal (b1525-1569) and Bosch (1450-1505), except it is penned into 2025 instead.

Father Santamaria becomes quite agitated as he watches Lady Melrose being escorted from the ball to her car. Scantily clad boys with chalk harnesses and trans-gender ushers trail just behind them. The priest is an intense character. He is a peeping tom that leads others in their peeping activities, behind the hundreds of hidden peepholes and hidden wall spaces, that surround the old church buildings. Lady Melrose’s evening dress has been spoiled by Dolly the sheep. For her dignity, it is best that she leaves. As she disappears through the gates, we are interrupted by the blasphemous head of a statue. Its head has accidently broken-off from the rest of its body. The technicians have captured the head in a laundry basket. They are followed by a rabble of guests, as they make their way across to the entrance porch of the archbishop’s rectory. Father Santamaria takes control, whilst the archbishop can be woken and brought down to officiate, over what’s to be done with the head in the bucket. In the meanwhile, it seems to channel multiple characters and slogans. One entity is a grumpy old Speaker of the House whom we assume has passed over. We observe the dropping of the ‘Little Boy’ and ‘Fat Man’ (1945) atomic bombs, as they are channelled out the mouth of the head. Other voices come through—to give the guests some cheek. The head is one of the most fanciful props of the novella. It is an artistic device: simply a ‘channel’ by which a variety of voices come through to exclaim a set of lines and slogans, such as for example, Gandhi’s universal mantra, ‘Truth, Force’. It is Dirk and Micah, a technician that rescue the situation. They suggest to the archbishop that they try to attach the head back on to the body of the statue. The last part of the chapter features a short performance by a fancy-trick, performance donkey; as he swills beers and swallows them. His final act involves an interaction with a baby tub, which the audience enjoy as they are led by Royston Bustwick, the State–leader to cheer the donkey on. Archbishop Garibaldi features for a few moments as he deals with what is a metaphysical problem. There is humour mixed with irony derived by the way the statue is silenced. The proctor’s news of apparitions in the Cathedral is an artistic re-conjuring of a sliver of the Renaissance period. In that time, winged angels were prevalent in some of the great devotional paintings of the period. Eventually – this form of art almost disappeared entirely as the Renaissance drew to a close. The angels re-surfaced in other forms and depictions in later ages.

Hail Regina (A Satire of Political & Religious Romp) SEASON ONE –EPISODES 1-8 This is the first of five novellas in this series. Hail Regina is a classic, theatrical-styled satire, created in a dystopian setting. It is serialized and set in the near future (2025-30). It is family-friendly with mature themes. The novella opens in 2027. There has been a great economic crash that has devastated citizen’s lives throughout the Congregation of States. In the wake of recovery, the Secular Party has devised an inspiration for the citizens. It will reclaim the dilapidated docklands, spread along the waterfront of the Capital. Whilst the atomic test program is on track, the State-leader, Royston Bustwick and his Secular Party, will bring hope to the citizens, as they are called upon to make their state—great again. Atop of Constitution Hill, the statue of the Holy Mother Regina—presides within the sacred waters of the rooftop fountain of the Vivatrium. Angelic beings are sighted gravitating around Her, whilst inexplicable horn-like sounds are heard—up in the skies, beyond the Mt. Liberty Control-Tower and out to the atomic wastelands. Stylistic influences include, 'The Iron Heel' by Jack London (1907), 'We' by Yevgeny Zamyatin (1920), ‘Brave New World’ (1932), ‘Fahrenheit 451’ (1953), Player Piano by Kurt Vonnegut (1952) and 'The Children of Men' by P.D. James (1992). This irreverent work has a more light-hearted flavour than the former works mentioned. Its theatrical flamboyance makes this a different offering to the traditional novels in the genre. Hail Regina is written to entertain above all else.