Eschatological Narratives

Several worlds are ending simultaneously. This is not metaphor. Eschatological Narratives maps four concurrent endings: the collapse of the post-war democratic consensus, the accelerating ecological catastrophe, the transhumanist project proposing to abandon the body and the earth entirely, and the slow cultural implosion of a white Western dominance that no longer has the resources to maintain its own story. These are not separate crises. They are four expressions of the same underlying trajectory — a civilisation built on severance, arriving at the conclusions of its own logic. Against this backdrop, the book traces one man's attempt to understand what was done to him and what he built in response. Adopted at birth into a white family in rural Worcestershire, biracial, his Jamaican father and biological mother Carol both systematically erased, he spent five decades constructing an interior world of extraordinary complexity — a cosmological framework called MuMaGi, a musical system, a philosophical architecture — in the gap that the external world could not fill. The book is the first major outward gesture. It says plainly what was kept underground for a very long time. Eschatological Narratives moves between the civilisational and the intimate without apology, because the argument demands it. The Christmas dinner table in Norfolk and the enclosure of the commons are the same structure at different scales. The pointed arch carrying its Arabic geometry north through the stones of an English cathedral is the same argument as Capoeira — knowledge hidden in plain sight, patient as stone, waiting. Part cultural criticism, part memoir, part cosmological proposition, this is a book about what survives severance. What the managed reality could not extinguish. What warrior comes home means when you are forty-eight years old and finally beginning to understand what home is.