Kook Science

Stanislav Szukalski: Zermatic

Stanislav Szukalski's signature

“I CLAIM THE WORLD!” is the title of a thirty-nine volume history of Man from the Global Deluge through the modern age. It tells of the Protong, the original language of Man, and the source of universal symbols that we all speak through. It tells of the Yetinsyny, the Sons of Yeti, who have brought Man to a degraded state from their ancient nobility, who fiercely resent Men and lust for Women, but who may be redeemed by their study of Art and Science. It tells how we came from Rapa Nui (Easter Island), and how Man and the Yetinsyny have spread across the world. It is the story of Zermatism, and it was authored by the great Polish artist Stanislav Szukalski.

Zermatism was not crafted as a story to accompany Stanislav Szukalski’s copious illustration, painting and sculpture, and Szukalski did not intend for his work to be treated as a grand fiction. Zermatism is a universal science, attempting to show the interrelated nature of all arts and histories, linking all human culture to a common source. The fact that this science points to inbreeding between humans and Yeti as a source of social conflict, or speculates that heat causes gravity, or that the Zermatic Protong is essentially Polish, may surely seem to make the work preposterous, but, as ever, it may not be entirely without value, even as a mad science.

We at the Kook Science Resistance have compiled the following article on Szukalski and Zermatism for your study, and we leave it to you to judge the truth for yourself . . .

The Genesis

Stanislav Szukalski is Zermatic.

“Thus, when I say about myself that I am a genius, it is not self-praise, but a statement to describe a type of mind that: whatever it does in any field, it does well. A mind that peruses in many fields will comprehend better, and many things more, than one that is absorbed in only one. It becomes a universal mind.”

Stanislav Szukalski, “Anthropolitical Motivations” (1979) [1]

To call Stanislav Szukalski an art prodigy could be considered an understatement: at the age of six, he whittled a near-perfect figure from a pencil, a feat that attracted the attention of local media. Soon after, despite his young age, he applied and was accepted to the Fine Arts Academy in Krakow. As a prize student, he would win several awards for his art; as a rebellious youth, he was briefly expelled for questioning his professors.

Concluding his studies in Poland, Szukalski emigrated to the United States, settling in Chicago to study at the Chicago Art Institute. Here he found his place in the local art community, positioning himself as a top painter and sculptor in modernist circles. As early as 1923, he was hailed by the Chicago Literary Times as “the answer to the pin wheel modernism of the decade,” and from these early successes came highly regarded European exhibitions and, on his return home, increasing influence in the Polish art world.

As his influence increased, so to did his bravado: in 1928, he was considered the most controversial artist in Poland, a result of his unrelenting, blistering attacks on the academic and cultural elites of Kraków. Szukalski capitalised on this notoriety by forming Szczep Rogate Serce (the Tribe of the Horned Heart) to promote his vision of a greater Polish culture and a political union of Slavic nations to be called Neuropa.

However, despite his vehemently pro-Polish positions, Szukalski returned to America and spent the first half of the 1930s living in California, electing to create his art and direct his followers from abroad. This distance proved no hindrance to him, as his artistic output increased substantially, matching pace with the growing extravagance of his visions.

It was not until 1935, to a climate of intensive cultural clashing in Europe, that he would return to Poland, forming a studio in Katowice, Silesia, under the patronage of voivode Michał Grażyński, to produce new artworks for local government and the esteemed Silesian Museum. This period would be the peak of his fame and influence, as only four years later, in 1939, Poland was invaded by Germany, the Museum (and his life’s work) destroyed by Nazi forces, the artist himself forced to flee to America.

Having returned to Southern California, Szukalski and his family lived a life of poverty, the artist unable to show his now lost works, and, increasingly, unable to do much more than irritate gallery owners with his bombastic pronouncements and criticisms of other artists.

Infrequently he would find work designing scenery for film or drafting maps for aerospace companies, but, largely, he became more and more preoccupied with studying and developing new theories of human history, seeking to find origins of place names, symbols, languages, and mythologies. Through the remainder of his life, Szukalski would create tens of thousands of drawings and design sculpture in support of this new, universal science, a science he called Zermatism.

Yetinsyny State of Mind

“When the Secondary Globe (the lavaic ocean bottoms) began to submerge in the beginning of the last Farsolar Epoch, the global seas were forced to glide off the Primary (Geologic) Globe. The soil of all the lands that were re-emerging was washed off by the departing seas and the water of the globe became very muddy.”

Stanislav Szukalski, “Behold!!! the Protong” (1989)

To Szukalski, all our recorded history begins anew in the mud and the murk, our faces stained by the residues of the waters we swam to emerge from. These “Flood Scumlines” became the tribal markings of our ancient ancestors, differing from culture to culture as owing to different currents and means of swimming, but all ultimately of the same oceanic source.

Once we had emerged from the water, we had to rebuild, and so we did, duplicating as best our fragmented nations were able the artifices and practices of the mother culture at Easter Island. It is from here that, as the world dried and settled, humanity again dispersed out across the globe.

The word Zermatism is derived from the name of Swiss town of Zermatt, the place from whence the Sarmati, nomadic forefathers of the Poles, advanced into Europe, and then Poland, to found Warsaw. Poland would be one of the elect of the new nations, the few who would stand against a new deluge and threat, maintaining and cherishing the true traditions of mankind.

The new threat came not in the form of massive planetary change, but as a great conflict— the new threat came from the Manapes, the Yeti, the Sasquatch, who had also survived the Deluge, and now came to ravage the nascent Human civilizations and pollute the pure Human bloodlines.

The World is Yetis

Stanislav Szukalski's illustration of Sasquatch, or 'Sa Z Gładz' (Protong, meaning 'Here From Destroyed')

The Yeti of the Himalayas do not exist in isolation— their legend is spread far, across cultural lines, taking on different names in each: the European Woodwose, the Mongolian Almas, the Siberian Chuchunya, the Chinese Yeren, the Japanese Hibagon, the Amazonian Mapinguari, the American Sasquatch (or Bigfoot), the Nuk-luk of the Canadian North. They exist in all cultures, these wild, hairy creatures of great strength and power.

The modern cryptozoologist will explain that the Yeti or their equivalents are reclusive and even peaceful, only causing harm when their territory is encroached upon. Zermatism, on the other hand, tells us that the ancient Yeti were hostile raiders of human villages, killers of men and rapers of women; and that, contrary to Darwin and modern biology, from the sexual predations were born a mutant subrace, a degraded species of animal that Szukalski called the Yetinsyny [2], the Sons of Yeti.

Today, you might be hard-pressed to recognise the a-human Yetinsyny among us, but, according to Zermatic theory, they have frequently positioned themselves as our cruelest leaders, be they the ancient emperors and tyrants, the medieval conquerors and kings, the Nazis, the Bolsheviks. It seems that where ever the children of the Yeti find themselves able to take the reins of power from Man, violence and imperial ambition follow.

For Szukalski, a highly visual thinker, it was readily apparent which physical characteristics would reveal a Yetinsyny: long upper lips; sharply angled, undercut noses; a certain squatness or roundness in physique; a short apeoid tail. And, always accompanying these physical quirks, are the inescapable mental characteristics: unforgiving hatred of man, owing partly to rejection on the basis of their biology; an inborn need to dominate and possess; an almost uniform inclination to Communism; a desire to cause violence and provoke terror.

However, despite the horrors that seem to follow them, there is hope for the Yetinsyny, as there is hope for all, that the burden of biology can be overcome. In his 1979 essay, “Anthropolitical Motivations”, Szukalski argues that “instead of ostracizing every Yetinsyny in every country, that they may not concoct from one of their political philosophers, Karl Marx, Mao tse Tung, Nietzsche, Bakunin, Kropotkin, or other haters of humanity, encourage them to partake in the arts: creative Art, applied arts, literature, in medicine and all forms of engineering. […] Why then will they excel in the above branches of creative contribution? Because, as frightfully inferiority-obsessed males and females who NEVER get beautiful human women and men into their beds, they persistently dream of the IMPOSSIBLE. To endure their mental hardships they develop extraordinary patience and such perfect IMAGINATION that almost anything they dream of, they are capable of contriving. Thus, patience and imagination, together with their ANIMAL vitality, make them capable to contribute miracles of inventions in every sphere of interest. They are the nibelungs, the little pixies, the fairies of the legends of every country.”

Memory Lane (Beholding!!! da Protong)

'Heritage', 1955, sculpture by Stanislav Szukalski

“And the LORD said, Behold, the people is one, and they have all one language; and this they begin to do: and now nothing will be restrained from them, which they have imagined to do.”

The Bible, Genesis 11:6 (KJV)

“In the Hebrew ‘GENESIS’ it is reported that, after the creation of the world, there was ‘ONE LANGUAGE AND ONE SPEECH IN THE WORLD’. I have discovered that language, naming it in Polish, MACIMOWA (Motherspeech), and in English, PROTONG.”

Stanislav Szukalski, “Open Letter to Pope John Paul II”

In the Biblical story of the Tower of Babel, the descendants of Noah all spoke one language, all shared one culture, until “the Lord [confounded] the language of all the earth”. While Zermatism does not agree with the specifics (or the fact of divine revelation) found in the Bible, it does agree that man once shared a single root language, and presents the Protong as that original language of Man, a language whose structure is best represented in the modern Polish tongue.

Just as the Hebrews are the chosen people of the Bible, the Poles it appears are the chosen people of Zermatism.

Szukalski explains the isolation of the Polish language in Europe specifically as being the result of the corruption in the genetic lines of the greater portion of the once almost exclusively Polish population of Europe. The greater German and Russian nations were, in theory, originally Polish “who had once been conquered by Hunanized Germans and Russians”. [3]

One might now wonder if this theory is not entirely East-Eurocentric, and, in failing to account for other world languages, could be easily discredited. NO! says the Zermatic theory: the influence of the Protong can be easily found in every language, [4] specifically when looking at local mythologies. By way of basic example, it points to the Halkomelem word “sásq’ets” (from which we derive the word Sasquatch) as coming from the Protong “Sa Z Gładz” (“Here From Destroyed”, referring to the Deluged continent), the Egyptian “Bes” from “Bez” (“Run”, as in “run away from this midget rapist”), and the Latin “Ilium” (the Greek city of Troy) as an almost perfectly Protong word meaning “Mire Remembered”.

Having seen just some of the evidence, it may seem to the reader that the availability of a comprehensive dictionary of the Protong is almost a criminal oversight, especially given the incredible value such a tool would have to students of history and linguistics. Whether this is a case of the public ignoring or simply being oblivious to a lucrative avenue of research, or a matter of this being a suppression of the truth by Yetinsyny forces, is left to your own judgement.


'Yeti', Dr. Hal Robins

Today, outside the fans of Szukalski’s art and pockets of the Bigfoot research community, the theory of Zermatism finds little credit and less support, but there are some who have incorporated the basic ideas of Szukalski’s science into their own work. Notable among these are the Dobbsians, a Messianic, apocalyptic splinter of the Catholic Judeo-Erisian faith.

Unlike Szukalski, the Dobbsians assert that the lineage of the Yetinsyny are the true geniuses of the human world, and that being a son of Yeti brings with it great power, or “slack”. They find no fault in the ancient Yeti, and, instead, argue the Yeti were superior to early humans— a point speculated on, albeit briefly, by Szukalski himself in his studies of the physical form of the North American Bigfoot.

The fact that the Dobbsians are presently the ones carrying the torch of Zermatic theory forward may give any scientific mind cause for pause, especially in light of the fact that their hardline, fundamentalist theological positions are utterly contrary to the methods of true Science. Indeed, it must be said that in order for Zermatism to find real grounding, it must be preserved against the intrusions of the fringe religious, and brought firmly back to the domain of scientific inquiry.

It Ain’t Hard to Tell

In closing, we at the Kook Science Resistance can only stress that, while thoroughly supported by exhaustive documentation, Zermatism is at risk of being forgotten, and that, as Kook Scientists, you have a duty to your craft to protect this science from being lost. If it so interests you, the following literature is readily available to begin your personal research: “Behold!!! the Protong”, “Inner Portraits”, and “Struggle: The Art of Szukalski”

With some effort and a little luck, we may all yet see the day that Zermatism is proven out, and taught alongside the theories of Rifean MOR, Dianetics and Time Cube.

Sto Lat, Zermatia! Sto Lat!

All who eagerly perceive the as yet unnamed are Vagabonds.

  1. Stanislav Szukalski, “Anthropolitical Motivations” (1979)

    Online: Wyszukana antropologia polityczna (English)
    Print: Rants and Incendiary Tracts: Voices of Desperate Illumination 1558-Present (Amok Press, 1989)

  2. Yetinsyny (sons of Yeti) specifically refers to the males of the species, while Yetidoch refers to the females, or daughters of Yeti. In addition to Yeti and their sons raping female women, certain men were apparently inclined toward copulating with female Yeti and Yetidoch.
  3. “Struggle: The Art of Szukalski”, page 57
  4. Uninitiated researchers may feel some trepidation at the arduous task of studying a new language to confirm these findings, so, to ease your mind and introduce you to the basics, we can suggest you review this simple dictionary of the Protong language to begin your own research into the correspondences and correlations between modern languages and the root Protong.