As I seem to be on a bit of a 'Roald' (argh, sorry) with the exposing of beloved children's literary figures, and their increasingly obvious connections to the occult and trauma-based mind control, it would seem remiss of me to leave out the Dastardly Mr Dahl, not least because I have actually met the man.

When I was six years old, he came to Keele University, where my dad taught, in order to be awarded an "honorary degree" (not a real qualification, but a kind of glorified badge, conferred upon various cultural big cheeses for their "distinguished contributions to society").

The news of this upcoming event quickly spread around the small Keele community, causing much excitement amongst the local bookworm children, who all clamoured to meet him.

Dahl - rather grudgingly, it seems - agreed he would meet some children and sign their books, but, he stipulated firmly, strictly only children aged seven and over.

I earnestly petitioned the event organisers (or probably my parents did on my behalf) to be allowed to join in anyway, since, even though I was only six, I was such a huge fan of his - and quite tall for my age.

My petitioning worked, and so I, along with a roomful of other starry-eyed children, met Mr Dahl in Keele's resplendent Keele Hall - reserved only for very special occasions - where he was being commemorated, and where he signed my copy of George's Marvellous Medicine (more of which later).

Six seems a bit young to learn the lesson that "you should never meet your heroes", but this is indeed what I learned, as my great heroic idol sat there, surrounded by splendour, accolades, and adulation, looking thoroughly grumpy and annoyed. He dispensed with each child as quickly as he possibly could, barely muttering a few words of the "so what's your name" variety to each, before scribbling in their books.

I learned as an adult that Roald Dahl notoriously didn't like children - not even his own (the Dahl offspring reportedly endured a 'nightmare childhood', with one child first visiting a psychiatrist at the age of six) - and this fact was entirely unsurprising to me.

I have learned some more facts about him more recently, that are a bit surprising.

Dahl has fallen from favour in recent years in certain quarters, due to his "antisemitism" and "racism" - but Dahl was a white European who came of age in the 1930s. Most people of that time possessed beliefs that would be today considered antisemitic and racist (including, rather famously, the Royal family). So, these aren't the surprising facts to which I refer.

I was, however, rather surprised to learn that Mr Dahl, whilst in the army, became an intelligence officer - a spook - working for MI6.

Recruited by renowned spymaster, William Stephenson - widely considered to be the real-life inspiration for James Bond - Dahl rose to high level spy status, with his duties primarily consisting of spreading propaganda.

So, Roald Dahl was an intelligence asset and a government propagandist. These are documented facts.

Then he suddenly became one of the most famous and celebrated children's authors in the world. A rather unlikely career change. But wait until you hear how that transition supposedly happened...

Dahl was not a gifted writer at school, with one of his English teachers writing in his school report, "I have never met anybody who so persistently writes words meaning the exact opposite of what is intended".

After leaving school, he had a stint with Shell Oil, before joining the army - still displaying no literary ambitions of any sort - where he had an accident. This accident involved a severe blow to the head, which, Dahl later asserted to realise, caused him to become a creative genius.

Seriously: that's the actual official story of how someone who didn't know what words meant whilst at school, transformed overnight, into one of the most successful children's authors of all time.

However, Dahl's first forays into prose weren't aimed at children at all: they were, in fact, very adult.

So the story goes, "while he was recovering from his wounds, Dahl had strange dreams, which inspired his first short stories. Encouraged by C.S. Forester, Dahl wrote about his most exiting RAF adventures. Forester replied with the question: "Did you know you were a writer?" Dahl's first story, 'A Piece of Cake,' retitled as ' Shot Down in Libya,' was published verbatim in August 1942 in the Saturday Evening Post. It earned him $1,000."

$1,000 is equivalent to about $20,000 in today's money. Rather a phenomenal amount for a novice 26-year-old who had hitherto displayed no literary ability to earn for his debut piece.

This kind of highly unlikely "overnight success" story sounds far less like a real writer's trajectory to triumph (which usually takes years or decades, involving much hard slog and many bitter rejections), and far more like a cover story for an intelligence asset who didn't write his own books - or certainly didn't write them alone - and that were used for the same purposes that Dahl served for MI6: to propagandise.

Note that C.S. Forester, who encouraged Dahl to publish, was a known and prominent government propagandist.

After his debut's success, Dahl then went on write further short stories for adults, all with dark and macabre themes - "twisted tales with grisly punchlines", as they have been described - that were published in a variety of well-known magazines, including Playboy.

The story Dahl published in Playboy was entitled 'B!tch' and was about r@pe (typos intentional to try and avoid another age-restriction block - which I certainly would get if I quoted the extremely explicit and pornographic details of Dahl's piece).

Doesn't seem the most obvious start for a beloved children's author, does it?

It was not until 1961 that the by then 45-year-old Dahl published his first children's book, James and the Giant Peach - but even that wasn't published in the UK until 1967, as the book - detailing the abuse an orphaned boy endures at the hands of his sadistic aunts - proved too disturbing even for adult readers. To get the book published in the UK, Dahl had to agree to foot half of the publishing costs himself.

Why would a 45-year-old man, who was already a successful author, known for his dark and pornographic adult material, suddenly switch to writing for children?

Dahl is once quoted as saying, "parents and schoolteachers are the enemy."

That's a rather sinister and subversive statement, isn't it?

Such a statement would seem to fit with my theory that the reason universal childhood literacy has been sponsored so ardently by the ruling classes, and why children everywhere can access books so easily - often freely - and with no age restrictions (in contrast to screen-based entertainment, where age restrictions are rife), is because the establishment has tasked its chief intelligence assets and propagandists with getting into children's minds and programming them via books: acting as alternative, superceding authorities to the child's own family and community.

Why else would "parents and teachers be the enemy" to an elite propagandist spy like Roald Dahl?

While every parent knows too much screen-time is bad, and that there are plenty of things on TV (and latterly the internet) a child shouldn't be seeing, such parental censorship rarely extends to books, which children are encouraged to read without restriction for many hours a day. Hence, the best way of ruling class propagandists getting into young children's minds is not through TV - which is typically closely monitored and restricted by parents.

It's by books.

Dahl even masterfully creates villains of parents who try to limit their children's reading time, in his beloved Matilda book. Matilda is a little girl who loves to read, and her horrible, philistine parents try to prevent her from spending so much time indulging the hobby. Thus, Dahl deftly sows the notion into his child readers' minds that if their parents ever dare to try and intrude upon their sacred reading time - and their reading of anything and everything (Matilda is reading Dickens, Hemingway, and Orwell at the age of five) - they are clearly extremely evil.

And when I say "Dahl" sows this notion into readers' minds, upon closer inspection - and thoroughly ratifying the notion that he was far from the only author involved in producing "his" books - it turns out this idea actually came from somebody else entirely. It was the editor, Stephen Roxburgh, at Dahl's American publisher who completely transformed the initial draft.

Dahl's original story portrayed Matilda as a deceitful and manipulative child (her name probably being taken from the Hillaire Belloc poem, "Matilda") who tortures her innocent parents, and uses her psychokinetic powers to fix a horse race.

Now, why would a children's author, who supposedly likes children (why else, after all, would you dedicate your life to writing for them?) write a book that depicted the child as the villain and the adults as the victims? 

The original Matilda draft likely far more accurately encapsulated Dahl's real feelings towards children, but his handlers vetoed it, as this, they knew, would not have the desired propagandist effects on children's malleable minds.

So, the book was rewritten, as per Roxburgh's specifications. Notably, Roxburgh insisted that Matilda was shown to have developed her psychokinetic powers as a result of the abuse she endured - which is straight out of the MK Ultra handbook - and such techniques are currently being revealed to a mainstream audience, courtesy of the huge Netflix hit, 'Stranger Things'. Interestingly, the current and final series of the show extensively references the work of Dahl's contemporary, Madeleine L'Engle, who wrote fantasy, probably occult, books for children.

It is no secret that the themes of Roald Dahl's children's novels are typically very dark, involving all sorts of awful, abusive treatment of children, and with some particularly graphic torture devices, such as "the Chokey" - a nail-studded locked cupboard filled with broken glass - leaving enduring memories for many readers.

Other Dahl offerings include tomes where, to quote the BBC, "the young are eaten by bone-crushing giants and changed into rodents by be-wigged, toeless hags".

It's not hard to see how reading all these stories of abuse and horror could have a profound effect on a developing mind, of the "trauma-brainwashing" variety - a kind of "MK lite", as, with the allusions in Matilda to abuse causing psychokinetic powers, it's clear that Dahl, with his military-intelligence background, knew very well what trauma-based mind-control programming was, and what it could do.

Further cementing his connections into the highest echelons of the establishment was Dahl's 1953 marriage to famous Hollywood actress, Patricia Neal. Neal had starred in Breakfast at Tiffany's, amongst many other films, and made her acting debut alongside Ronald Reagan.

Neal met Dahl at a dinner party, hosted by the Jewish communist, Lillian Hellman. Hellman, a writer and playwright, had been a member of the Communist Party, and was widely regarded to be a committed Stalinist.

These ties to Jewish communism seem to come up again and again with these children's literary figures - see C.S. Lewis and his Jewish communist wife, and the very pro-Jewish, anti-Christian propaganda of Michelle Magorian.

Dahl was known for his "antisemitism", but as I've observed before, posing as a rabid antisemite is an effective and common disguise for subversive plants pushing Jewish interests. If Dahl was really such a raving antisemite, it's highly unlikely he would have accepted a dinner invitation from Lillian Hellman, one of the most notorious Jews of her day, and that she would be credited with introducing him to his wife.

Patricia Neal, meanwhile, had recently starred in Hellman's famous play, The Children's Hour, which - rather incongruously from its title - was about female teachers at a girls' school being accused of lesbianism.

Patricia Neal and Roald Dahl went on to be married for 30 years - during which time, Neal christened him 'Roald the Rotten', for his extramarital affairs and unpleasant personal disposition - and produced five children, the eldest of whom was Olivia.

Olivia, it is reported, died on the 12th November, 1962, at the age of seven, allegedly of measles.

Olivia was a healthy child from an affluent family, with no existing co-morbidities, so the statistical chances of her dying from measles are extraordinarily low: roughly in the region of 0.01% or less. Measles deaths are typically associated with severe malnutrition, of the type one would find in the third world, and are vanishingly rare in well-nourished first-world children. Most deaths from childhood illnesses were eradicated in the West in the early 1900s, by improvements in nutrition, hygiene, and plumbing.

It is, in short, a stroke of extraordinary bad luck that a child like Olivia, from a family like the Dahls, should even suffer any lasting effects from measles - as the overwhelming majority of children in the 1960s did not - let alone die.

Yet, apparently, she did die, which enabled her propagandist father to become a prominent and aggressive advocate for the measles vaccine, once it was introduced later that decade. Dahl even went so far as to suggest parents who didn't get this vaccine for their children should be criminalised.

While it may be regarded as a stroke of very bad luck for the Dahls that this happened to their family, wasn't it a stroke of very good luck for the establishment that the man who went on to be one of its chief and most successful children's propagandists was also in a position where he could evangelise so personally and persuasively to children and their families about the merits of receiving the measles vaccine?

Prior to the 1960s, when no measles vaccine was available, measles was seen as a routine childhood infection that posed no long-term risks to healthy children - the Royal family weren't even worried when the 12-year-old Prince Charles contracted it.

However, in the 1960s, when a measles vaccine was in development (it became publicly available in 1968), the establishment needed to develop a market for its new product, so an aggressive marketing campaign was undertaken to rebrand measles from a harmless childhood illness into a deadly killer disease - one which only vaccines could prevent.

Courtesy of what happened to his daughter, Roald Dahl played a key role in this propaganda offensive, even writing an aggressive polemic entitled 'Measles: A Dangerous Illness', sternly ordering parents to vaccinate their children.

In this emotive screed, Dahl declares the only reason parents don't vaccinate is "obstinacy, ignorance, or fear" and that there is "more chance of your child choking to death on a chocolate bar than of becoming seriously ill from a measles immunisation."

Unsurprisingly, Dahl refrains from offering any actual evidence to back up these claims (he also asserts that vaccine injury only affects one child every 250 years).

On the subject of the toxic witches brews that are vaccines (today's measles vaccine, the MMR, contains, amongst other things, blood from cow foetuses, and cells derived from aborted human babies), Dahl famously wrote a recipe for his own noxious potion, in the much-loved George's Marvellous Medicine.

The eponymous George, an eight-year-old boy with a very unpleasant grandmother, dispatches to her the "marvellous medicine" of the title, a mixture he has concocted from various common household ingredients. When Grandma ingests the "medicine", it has all sorts of strange physiological effects, such as causing her to grow enormously tall.

It is thought that Dahl took inspiration for this from Lewis Carroll's Alice in Wonderland, and the "Drink Me" sequence. Carroll's Alice in Wonderland is reportedly widely used in MK Ultra style mind-control of children.

In 2020, a team of British researchers performed a toxicological investigation into George's Marvellous Medicine, and all 34 of its listed ingredients. They reported in the BMJ that, if ingested, it would cause vomiting, kidney injury, convulsions, and other severe health problems, including "the most likely clinical outcome", death.

Why would a children's book, aimed at readers as young as five, provide them with explicit instructions on how to create a fatal poison?

Apparently, the book now has a disclaimer telling children "not to try this [making the medicine] at home", but that's a bit like having a sign warning "do not read this sign".

Of course millions of child readers will be tempted to try to make the potion themselves. and this became a particular concern during "the pandemic" - that bored children stuck at home would attempt to create the dangerous mixture, as an effort to "find a cure for Covid".

If a child consumed such a "medicine", they would be at risk of acute poisoning and death. Accidental poisonings most often occur at home, and are a leading cause of child death.

It is phenomenally unlikely that an elite intelligence asset such as Roald Dahl - and his stable of editors, co-writers, and handlers - didn't know this.

Indeed, when Grandma initially consumes the 'medicine', it is detailed in the book that she 'shot up whoosh into the air' and when she landed she shouted suddenly, 'My stomach’s on fire!'

The toxicology researchers who studied George's Marvellous Medicine admitted these first two effects of ingesting the medicine as depicted in the book 'were extremely accurate'. 

It is also notable that George is portrayed as performing some sort of occult ritual whilst he heats the "medicine", with the book stating, 'And suddenly, George found himself dancing around the steaming pot, chanting strange words'.

Interestingly, the recipe for George's Marvellous Medicine initially contained 33 ingredients.

George only adds an additional, final ingredient to disguise the colour.

The allusion to 33 in George's Marvellous Medicine is far from the only Masonic reference in Dahl's books.

A 2013 paper entitled 'Masonic Motifs in Willy Wonka and the Chocolate Factory' stated:

"[T]here is more to this morality tale than meets the eye. My research shows that this story is far from being understood or completely unpacked: there are not only strong thematic parallels with Free Masonry, but also biographical details in Dahl’s life that show his own exposure to Masonry. I have used unpublished archival materials, including from the Dahl archives, to outline the remarkable parallels to Masonic ceremonies in the film and to explore possible Masonic influences in Dahl’s life during key moments when the story was inspired and written."

Although there's no definitive evidence that Dahl himself was a freemason, it would appear he was at the very least enormously influenced by masonry, and surrounded by others extremely likely to be high-ranking freemasons themselves.

He also attended a top private school, where many of his classmates were likely to be from masonic families and/or go on to be masons themselves. Dahl wrote about his experiences at the exclusive Repton school in his autobiography, Boy, and detailed the horrendous abuse he experienced, and witnessed, from both teachers and older boys.

What Dahl failed to detail is that he dealt out a fair amount of abuse himself, earning a reputation as a bully. He was known for picking on classmate Denton Welch, a frail and bespectacled boy, who went on to become a writer himself. Recollecting their schooldays, a classmate said:

 “Dahl would catch him and twist his arm behind his back until tears came. He also applied Chinese burns to the skin of Welch’s wrist. The rest of us stood and watched; we were all a little frightened of Dahl.”

As has been observed, it may well be the case that, for Roald Dahl, "the knowledge of cruelty displayed in his books may have come from his participation in it".

Certainly, Dahl possesses a rather unusual distinction amongst children's authors, in that he is known to have killed people.

Perhaps in a sane world, actual serial killers might be disqualified from the profession of writing for children, but naturally, not here in clown world... Here, they are vaunted and venerated, with their histories as spies, pornographers, and murderers simply glossed over.

In essence, it seems increasingly clear that "celebrated children's authors" are nothing more than further weapons in the worldwide plot, which is communist in nature, to undermine families and corrupt children. This is done by using occult programming and trauma-brainwashing techniques, as perfected by military intelligence in the first half of the twentieth century (note that Dahl, C.S. Lewis, and J.R.R. Tolkien all had military backgrounds).

These techniques are presented to children through the Trojan horse of books, because, while we all know too much screen-time is bad for a child, and that there are plenty of things on screens children shouldn't see, books are safe, right? I mean, books are special, sacred, even - children must be encouraged to read them as much as possible.

That's what we've all been carefully conditioned to believe, and that's why the ruling classes spend so much time and money sponsoring universal childhood literacy and making free books available everywhere.

It's the best way of getting into children's minds without parental interference.

"Parents and schoolteachers are the enemy", said Roald Dahl.

As mentioned earlier, the current series of Netflix' Stranger Things borrows heavily from the work of Dahl's contemporary, children's author, Madeleine L'Engle.

The villainous Vecna in Stranger Things explains why he targets children, and not adults, for his insidious abuse and mind-control, stating:

"Do you know why? Why I chose them to reshape the world? It's because they are weak. Weak in body and mind. Easily broken. Easily reshaped. Controlled. The perfect vessels."

I'm sure every subversive communist propagandist on earth - which appears to include every prominent children's author on earth - would vigorously agree.

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