53. The Monetised Government of Delusion

1–2 minutes

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Through-out the un-ending spiral of Course’s un-folding history — a Penrose stair of policy and paradox — one can scarcely tell whether the nation is descending into chaos or ascending, blind-folded, into an age of artistic brilliance. The rhythm is irregular, the momentum un-stable. At times, night seems deeper than the promise of any coming dawn. The population stands divided, disoriented.

  Ana Elena (Janny) Primelet Primelet de Santo Domingo  enters the scene like a prophecy mi-sread. It takes barely a season before her alliance with the Liberal Party begins to fray. Un-like her predecessors, who wore populism like a chef’s apron and fried octopus with more skill than they passed reform, Janny’s approach is erratic. Experience is prized, yes — but efficiency is a ghost in her cabinet.

  The people, battered by promises and haunted by unmet dreams, exist in a collective trance. A melancholic inertia binds them — a shared fog of spirit, swinging between hope and hesitation like the weather over Dover. And yet, beneath the surface, this cloudiness begins to crystallise into something more serious: a question of commitment, of faith of Course itself.

  To her credit, Janny tip-toes towards progress. Her reforms on racial integration echo through the halls of Parliament with tentative clarity. Among the dreamers, her vision finds an audience — blurry, idealistic, but listening. Still, for every step she makes, the exodus continues. Migration numbers soar. Once, it was said that to reach the seat of government of Course was to stand on the rock in the middle of the known world. Now, it feels more like dodging an anchor as it sinks.

  Her leadership, if it can be called that, teeters. It is less a firm platform than a tight-rope laid across the state’s uncertain foundations. Even her most loyal supporters are unsure if she belongs to the values of Course, or merely pretends to. Her allegiances shift, her resignations are as regular as Sunday bells. And so the nation watches, holding its breath, waiting to see whether she will fall — or smother.

Through-out the un-ending spiral of Course’s un-folding history — a Penrose stair of policy and paradox — one can scarcely tell whether the nation is descending into chaos or ascending, blind-folded, into an age of artistic brilliance. The rhythm is irregular, the momentum un-stable. At times, night seems deeper than the promise of any coming…

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