Hagger’s works contain 111 innovations

These throw light on the originality of his method and oeuvre

In his literary works his innovations include:

1. reviving the Preface in selections and collections of poems after it had fallen into disuse since Wordsworth and Shelley (Selected Poems: A Metaphysical’s Way of Fire);
2. presenting a new Universalist, neo-Baroque approach in his poems (Collected Poems, Classical Odes, Overlord and Armageddon);
3. writing the first poetic epics in English since Paradise Lost (Overlord and Armageddon);
4. writing the first epic poems based on contemporary history (Overlord and Armageddon);
5. writing the first two national epic poems completed since Homer (Overlord and Armageddon);
6. writing the first two British poetic epics with American heroes, qualifying both works as American as well as British epics (Overlord and Armageddon);
7. writing the first four-books-of-odes since the Roman Horace and French Ronsard (Classical Odes);
8. writing the first work to contrast and reconcile in depth both insular British Eurosceptical and pro-European views in verse (Classical Odes);
9. writing the first substantial poetic treatment of the main European historical sites and the heritage of the European civilisation (Classical Odes);
10. catching the tension between emerging from nation-statehood into membership of the regional European Union (Classical Odes);
11. writing more poems/poetic lines than Wordsworth or Tennyson, the first poet since the 19th century to do so (Collected Poems, Classical Odes, Overlord and Armageddon);
12. mounting a new revival of verse plays (Collected Verse Plays);
13. seeing Cromwell’s revolution as being funded by Jews in Amsterdam (The Rise of Oliver Cromwell in Collected Verse Plays);
14. devising a new form of miniature stories (Collected Stories, The First Dazzling Chill of Winter and The Still Brimming Twilit River);
15. devising a new literary form for short stories: dissimilar images yoked together (Collected Stories and The First Dazzling Chill of Winter);
16. writing the first collection of more than 1,000 short stories (Collected Stories);
17. writing the first mystical autobiography to see life as a progress along the Mystic Way (A Mystic Way);
18. writing a new form of objective narrative memoir or literary travelogue, eliminating personal detail to focus on a country objectively in narrative (The Last Tourist in Iran and The Libyan Revolution);
19. seeing Persian carvings at Persepolis as the source of Pheidias’s carvings and Persia as the true source of Western civilisation (The Last Tourist in Iran);
20. writing a new form of personal memoir on Epping Forest that includes objective narrative (A View of Epping Forest);
21. writing the first statement of the fundamental theme of world literature (A New Philosophy of Literature);
22. tracing the direction of the universal fundamental literary theme for the first time (A New Philosophy of Literature);
23. writing the first statement of the Universalist tradition in literature (A New Philosophy of Literature);
24. writing the first Selected Poems and Selected Stories to reflect the fundamental theme of world literature in an author’s work (Selected Poems: Quest for the One and Selected Stories: Follies and Vices of the Modern Elizabethan Age);
25. writing the first autobiography to narrate a detailed account of life as a British intelligence agent (My Double Life 1: This Dark Wood);
26. describing intelligence work from within, and alongside details of, a mystic life for the first time (My Double Life 1: This Dark Wood);
27. writing the first autobiography to present more than 40 books within seven disciplines as expressions of the unified vision (My Double Life 2: A Rainbow over the Hills);
28. writing the first autobiography to describe the emergence of a new philosophy in seven disciplines (My Double Life 2: A Rainbow over the Hills);
29. writing the first autobiography to describe 93 documented experiences of the metaphysical Light (My Double Life 1: This Dark Wood and My Double Life 2: A Rainbow over the Hills);
30. writing the first autobiography to narrate a life as a succession of episodes with pairs of opposites (My Double Life 1: This Dark Wood and My Double Life 2: A Rainbow over the Hills);
31. seeing a new structure of the self as entwined spirals containing memories of episodes that like the opposing scales of a spruce cone contain pairs of opposites (My Double Life 1: This Dark Wood);
32. writing the first masque in English literature since Empson’s (The Dream of Europa);
33. writing the first masque to celebrate 70 years of peace in Europe (The Dream of Europa);
34. writing the first masque to focus on the UK’s post-Brexit global role (King Charles the Wise);
35. writing the first poems about England within the visionary tradition of Blake (Visions of England);
36. writing the first satirical poems on Brexit (Fools’ Paradise and Fools’ Gold);
37. writing political social satire in the tradition of Dryden (Fools’ Paradise and Fools’ Gold);
38. writing the first poems on English exceptionalism (Fools’ Paradise and Fools’ Gold);
39. compiling for the first time two volumes of an author’s letters selected to throw light on his works (Selected Letters and Selected Letters 2);
40. reviving Pope’s tradition of a poet editing his own letters (Selected Letters and Selected Letters 2);
41. reviving pageant entertainments after 1661 (The Coronation of King Charles);
42. linking the six-hundred-year-old iambic pentameter to pageant entertainments (The Coronation of King Charles); writing the first masque to have God of the One as a character (The Coronation of King Charles);
43. writing the first masque to have God of the One as a character (The Coronation of King Charles);
44. characterising God of the One as the Light (The Coronation of King Charles);
45. writing the first masque to get inside the mind of God of the One and describe the divine design of human beings (The Coronation of King Charles);
46. writing a trilogy of masques (The Dream of Europa, King Charles the Wise and The Coronation of King Charles);
47. writing Prefaces that can be collected as essays with sideways allusions (Collected Prefaces);
48. compiling for the first time a volume of an author’s collected Prefaces to his works (Collected Prefaces);
49. symbolising the traditions and influences that have shaped the works of writers and thinkers as a tree (The Tree of Tradition);
50. satirising like Swift the seeming purposelessness of work in three reports claiming to be written during the building of the Great Pyramid (The Building of the Great Pyramid);
51. for the first time anthologising the Baroque tradition (which combines classical and Romantic approaches, sense and spirit) in selections from the author’s own 50 poetic volumes (A Baroque Vision);
52. writing poems that see unity behind all differences and a “lopped branch” (The Oak Tree and the Branch);
53. writing poems rooted in the Tudor time (The Tapestry in The Oak Tree and the Branch);
54. writing poems about a new plague in the poet’s Arcadia (A Plague in Arcadia in The Oak Tree and the Branch);
55. writing poems that deal with the metaphysical “oval cloud” (An Oval Cloud in The Oak Tree and the Branch);
56. writing poems that engage with and then withdraw from the court (Court Poems: More Royal Classical Odes in The Oak Tree and the Branch);
57. writing a sequence of 169 sonnets on heroic endurance (Agony within Arcady in The Oak Tree and the Branch);
58. writing 567 sonnets and 421 classical odes, more sonnets and odes than any other poet in any country ever;
59. writing short stories about the worst aspect of the human condition (The Still Brimming Twilit River);
60. writing stories on old age that brim with forward-looking intent (The Still Brimming Twilit River); and
61. writing 1,425 stories that catch the unity of the universe and the Age (The Still Brimming Twilit River).

Hagger’s innovations in his historical works include:

1. presenting a new Universalist view of world history as indivisible (The Fire and the Stones, The Light of Civilization and The Rise and Fall of Civilizations);
2. making the first identification of a common inspiration for all civilisations (The Light of Civilization);
3. presenting a new 61-stage rising/falling pattern of civilisations (The Fire and the Stones and The Rise and Fall of Civilizations);
4. discovering a new law of history – Ted Hughes wrote (see Letters of Ted Hughes) that Hagger has discovered “a genuine historical pattern and law” (The Light of Civilization and The Rise and Fall of Civilizations);
5. presenting the first grand unified theory of history and religion (The Light of Civilization and The Rise and Fall of Civilizations);
6. discovering the 1966 Chinese Cultural Revolution during a visit to China (Awakening to the Light);
7. anticipating the course of European history (‘The European Resurgence’, 1976);
8. suggesting that ancient Persia inspired classical Greek art/Pheidias (The Last Tourist in Iran);
9. giving the first eyewitness description of the attempted coup/revolution in Libya that immediately preceded Gaddafi’s coup/revolution (The Libyan Revolution);
10. writing the first major study of the influence of secret organisations on Western history through its main revolutions (The Secret History of the West);
11. providing a new explanation for the impact of secret societies on post-Renaissance history (The Secret History of the West and The Syndicate);
12. providing a new explanation for all post-1453 revolutions with a four-part revolutionary dynamic (The Secret History of the West);
13. presenting an entirely new view of the English Civil War and the Dutch role in the death of Charles I (The Secret History of the West);
14. providing a new explanation for the history of Epping Forest in a ‘whole sweep’ view of its evolution and places (A View of Epping Forest); and
15. presenting a new view of the conflict in world culture in terms of entrenched metaphysical and secular approaches (The Secret American Destiny).

In his focus on American and contemporary global history his innovations include:

1. providing a new explanation for the founding of America (The Secret Founding of America);
2. providing the first detailed coverage of the élitist attempt to form a world government and break the mould of rising/falling civilisations (The Syndicate);
3. using the name “The Syndicate” to denote the network of families and commercial firms that runs the world (The Syndicate);
4. detailing America’s ambition to export the American dream to all humankind (The Secret American Dream);
5. probing of the future political, military, commercial, ethical, and philosophical role of the world’s biggest superpower (The Secret American Dream); and
6. pioneering the identification of Bartholomew Gosnold as the founder of America and via a lecture in Richmond, Virginia advising American archaeologist Bill Kelso where to unearth Gosnold’s skeleton (The Secret Founding of America).

In his focus on international politics and statecraft his innovations include:

1. proposing a partial, supranational World State that would replace the United Nations, abolish war, poverty, disease and famine and control the Syndicate (The World Government and The Secret American Dream);
2. presenting a unified global culture based on seven disciplines (The Secret American Destiny);
3. presenting supranationalism as being able to save the world from a Third World War (Peace for our Time);
4. presenting an authoritative introduction to a new World State, the United Federation of the World (World State);
5. writing the first world constitution for a World State in 145 Articles (World Constitution);
6. writing the first account of Covid as originating in American research (The Fall of the West);
7. writing the first work on the fall of the West (The Fall of the West); and
8. writing the first work on the coming multipolar New World Order (The Golden Phoenix).

Hagger’s innovations in his philosophical works include:

1. returning Western philosophy to its Presocratic roots (The New Philosophy of Universalism);
2. detailing the significance in philosophy of the Light reported by mystics (The Fire and the Stones, The Universe and the Light and The New Philosophy of Universalism);
3. stating a new Universalist philosophy of the universe (The Universe and the Light and The New Philosophy of Universalism);
4. proposing a new law of order (The New Philosophy of Universalism);
5. proposing a detailed blueprint for a new World State as an expression of political Universalism (The World Government);
6. calling for a new Metaphysical Revolution (The Universe and the Light, The One and the Many and The New Philosophy of Universalism);
7. calling for a new revolution in thought and culture (The One and the Many  and The New Philosophy of Universalism);
8. describing the experience of the infinite in terms of an astronaut-surfer on the edge of our expanding universe (The New Philosophy of Universalism);
9. predicting a new science of photonology and biophotonology (The New Philosophy of Universalism);
10. proposing a detailed blueprint for a new World State as an expression of political Universalism (The World Government);
11. relating Universalism and a coming New World Order to a journey to Jordan and Moses’ view of the promised land from Mt Nebo, and Egypt (The Promised Land);
12. setting out the first-ever Theory of Everything (The Algorithm of Creation);
13. for the first time expressing the algorithm of creation as a formula, 0 = +A + -A = 0 (The Algorithm of Creation); and
14. for the first time anthologising the essence of Universalism’s view of the unity of the universe and humankind in selections from 25 of the author’s own prose works (The Essentials of Universalism).

His presentation of Universalism as one outlook within different disciplines is innovatory. He has established an original and alternative interdisciplinary approach in seven fields:

1. Mystical Universalism, in personal growth and transformation which leads to a perception of the unity of the universe;
2. Literary Universalism, combining sense and spirit, Classicism and Romanticism both in content and method, perceiving all the world’s literature as a unity;
3. Philosophical Universalism (which extends to the philosophy of science), investigating the order and unity of the universe;
4. Historical Universalism, perceiving all world history as a unity via the patterns of 25 civilisations;
5. Political Universalism, focusing (in international politics and statecraft) on the world unity of a coming World State that would control the Syndicate;
6. Religious Universalism, identifying the common essence of all religions in comparative religion; and
7. Cultural Universalism, identifying a unified world culture.

Hagger’s literary, historical, political and philosophical works are interconnected through his Universalist approach. They interlock like pieces of a jigsaw puzzle which combine to show a picture. Like a jigsaw piece, an individual work can take on added meaning when it is slotted into, and related to, his complete oeuvre. Thus, particular poems, stories and verse plays can be connected to particular chapters in his historical, political and philosophical works which deepen their background. When it is finally finished, his ambitious oeuvre promises to present a picture of almost every aspect of the Age, Western civilisation and its roots.