Fœdero Plagiary

With a lot of help from my friends, I now have a sister site called Fœdero Plagiary, which is dedicated to the plagiarism of Federal Vision martyr Steven “Machen” Wilkins, who did not limit his literary theft to the booklet Southern Slavery As It Was (1996).

Now, blogging on this particular subject is a huge undertaking because of the heavy graphics and massive bandwidth involved. But I have the finest graphic artist in the area who has committed a couple of hours a week to helping expose the fraud — and as you will see the amount of fraud is staggering, because ol’ “Machen” Wilkins struggled getting through a single page of his books without lifting large blocks of text from other men’s works.

And if I may take from Beelzeblog’s words, “But I can assure you that it will not occur without a running color commentary from me. After Steven “Machen” Wilkins steals his text, we are all going to watch the replay a hundred times, including the tape of Beelzeblog condemning the sin of plagiarism, and I am going to be John Madden, drawing x’s and o’s all over that thing. And I will have some particularly ripe comments to go with it. It is a subject worthy of my peculiar talents.”

For tonight, however, suffice to say that in 1997 George Grant of Cumberland House Publishing, Inc., commissioned Steven Wilkins to write a biography of Robert E. Lee. Wilkins titled his book Call of Duty: The Sterling Nobility of Robert E. Lee; however, he borrowed more words than he wrote, to put it nicely.

Our premier post is taken entirely from Wilkins’ opening chapter — “Prologue” — and as you will see it establishes the pattern for the rest of the book. In this chapter Wilkins took from Lee: The Last Years, by Charles Bracelen Flood (New York: Houghton Mifflin Company, 1981) and Personal Reminiscences of General Robert E. Lee by J. William Jones (New York: D. Appleton, 1875), but by no means did he limit himself to these two resources.

Indeed, as we scan the book one page at a time, you will see that Wilkins took large chunks from R. E. Lee (Douglas Freeman, New York: Charles Scribner’s Sons, 1935), which won the Pulitzer Prize. But the bottom line is that Wilkins essentially plagiarized the whole thing. How “noble” of him.

Thank you.


PS: If DaFedSez is still out there, I invite you to apply your peculiar talent to this subject as well.