CONSENT FACTORY ESSAYS, VOL. III (2020-2021)

“C.J. Hopkins is our modern Jeremiah. No other prophet has described the strategies or predicted the perils of the emerging totalitarianism with such persistence and eloquence.” – Robert F. Kennedy, Jr.

“C.J. Hopkins’ essays over the past two years represent some of the most searing (and therefore satisfying) chronicles of life in – and against – the locked-down, masked-up, triple vaxxed madhouse of New Normal insanity. They remind us of the twisted mandates we were forced to endure, and offer a stark warning of what GloboCap has in store next.” – Max Blumenthal

CONSENT FACTORY ESSAYS, VOL. II (2018-2019)

“C.J. Hopkins is the modern Western version of a Samizdat writer, i.e. a forbidden wit who loudly says things that are obvious but Not Spoken Of in officialdom. Probably this is not a profitable life choice, but it is a hilarious enterprise, and his furious columns have increasingly become required reading as ‘normal’ media discourse strays further and further from reality. He has also become an expert forecaster. When it comes to predicting dystopian developments in the Trump years, his essays tend to be at least two years ahead of most American commentators.” – Matt Taibbi

CONSENT FACTORY ESSAYS, VOL. I (2016-2017)

“A collection of darkly satirical essays that skewer the numbskullery of Trump, his hapless political opponents, and the boneheaded warriors of the corporate media who flounder hopelessly in the president’s turbulent wake … the most incisive chronicle of the reign of the 45th President and Buffoon-in-Chief of the United States of America.” – Tony Sutton, ColdType

“If you are ready to leave the matrix, Hopkins can help guide you out, laughing all the way, yet appreciating the real risks and many of the important issues before us.” — Catherine Austin Fitts

ZONE 23 (a novel)

“Zone 23 is a witty, nasty, erudite, Pynchonesque narrative …” — V. N. Alexander, Dactyl Review

“C. J. Hopkins imagines a future far more worrying and far more woke — and with far sleeker corporate boosterism — than any mere Huxlean or Orwellian or Bradburian dystopia.” — John Siman, Naked Capitalism

“It’s a brilliant dystopian satire worthy of a place alongside Orwell’s 1984 and Huxley’s Brave New World.” — Vaughn Treude, Steampunk Desperado

HORSE COUNTRY (stage play)

“Sharp, brilliant, intense, fast-moving, made for the moment we live in.” — Joyce McMillan, The Scotsman

“A feral ferris-wheel of comedy, confusion, contradiction, obfuscation and bent-out-of-shape straight talking that leaps out of the room at you and harnesses you to its mischievous mindset.” — Alan Chadwick, Metro

“A brilliant (and hilarious) critique of the emptiness of American life and the meaninglessness of the popular culture that attempts to fill the void.” — Kate Taylor, Toronto Globe & Mail

SCREWMACHINE/EYECANDY (stage play)

“As a metaphor for the unaccountable, bullying, shape-changing and fear-mongering face of power in our increasingly media-driven consumer democracies, it could hardly be more potent.” — Joyce McMillan, The Scotsman

“A blistering revelation … Hopkins’ body of work owes a huge debt to the absurdists and so manages to blast beyond the merely political or allegorical to the existential.” — Trav S.D., Time Out New York

THE EXTREMISTS (stage play)

“A dark satire that playfully mocks the essential absurdity of the talking-head culture.” — Atlanta Journal Constitution

“Funny, fast-paced and intentionally patronising, this show will have you laughing out loud at its insightful and highly satirical look into the American attitude towards terrorism …” — The Skinny

“A gripping satire, which spills into sinister weirdness.” — Esther Slevogt, Tageszeitung Berlin