Radix Journal

Radix Journal

A radical journal

Tag: Identity

Nostalgia, Nationalism & Woody Allen

Nostalgia is the great opium den of Nationalist circles where many bright and energetic minds in dissident politics go to escape modernity and embark on a quest of contemplation and…

Nostalgia is the great opium den of Nationalist circles where many bright and energetic minds in dissident politics go to escape modernity and embark on a quest of contemplation and yearning for what “could have been”. Is this something that can be fully separated from radicals in our movement? Maybe not completely, however, just like the addict in the opium den, so too, are nationalists being consumed in reverie over any time period that they never lived in, and in place of progression is a great wheat field image induced stagnation that breeds depression and resentment.

Third position ideas do require reflection on our past, which can justifiably create immense admiration, but if only for the purpose of moving forward. Jewish Filmmaker Woody Allen, seems to understand the negative effects of nostalgia and seemingly gifts us with his 2011 film, Midnight In Paris. A film that displays how this trance-like state of yearning for the past can seriously complicate your present. The only problem is Allen, I feel, is speaking to a very specific audience and that audience is us. Thus, he is careful to not encourage us too much and, as you will read below, I believe he has a more nefarious purpose for this messaging.


OVERVIEW OF MIDNIGHT IN PARIS

 Midnight in Paris, written and directed by Woody Allen, is a quirky tale of a screenwriter seemingly at an impasse. Gil Pender (Owen Wilson), is vacationing in Paris with his fiancee, Inez (Rachel McAdams) and her parents John and Helen. As we can see right off the bat, Gil and Inez couldn’t be more different than one another. Gil is very lackadaisical while Inez is explicitly high maintenance and intense. Inez’s parents have nothing but disdain for Gil and his ostensibly aloof and unserious personality. Gil is almost finished with his first novel about a man working in a nostalgia shop. Inez is not impressed or encouraging with this novel and wishes he would stick to screenwriting due to to his success in Hollywood. Inez is also annoyed at Gils’ insistence that they should live in Paris indefinitely due to his nostalgic euphoria over the Paris of the 1920’s.

Paul, who is a friend of Inez, and his wife happen to be in Paris at the same time as them. She admits to Gil she had a “crush” on Paul in college to which a clearly jealous Gil describes him as “Pedantic” and “Pseudo-intellectual”. Inez is clearly infatuated with Paul while Gil cannot stand him. Paul is a very dapper man who speaks with confidence and with every chance he gets, he tries to be the smartest man in the room. Even when he is contradicted by a tour guide about the artist Rodin and his tryst with his wife and mistress, Paul will not relent and keeps insisting he is right (and as the viewer can find out if they look into the life of Rodin, the tour guide was correct).

Gil and Inez have a night of drinking with Paul and his wife until Gil opts for a walk around the city of Paris alone to take the city it all in while Inez leaves with Paul and his wife in a taxi. Gil stops on his walk to figure out where he is exactly and as soon as the clock strikes midnight, a 1920’s vehicle pulls up in front of Gil. The passengers, also dressed from the 20’s, invite him to join them. It is at this point Gil is transported back in time to what he sees as the Golden Age of Paris. The 1920’s. This allows for an entertaining list of famous characters from the time to enter the plot such as Ernest Hemingway, Salvador Dali, Luis Bunuel, Cole Porter, F. Scott Fitzgerald, and more.

Every night Gil transports himself back in time to meet all these artistic giants of the 20th century while his wife spends her time with Paul and, supposedly, his wife. After Hemingway brings Gil to Gertrude Stein’s flat so that he may have his novel analyzed, he meets Adriana (Marianne Cotillard). They have an instant connection and Gil becomes conflicted with this new flame that he has in the past and his current fiancee.

After visiting an Antique vendor in the present day, he finds Adriana’s diary where she has written a passage about her love for Gil. This encourages him to go back in time once more so that they may communicate their feelings for one another. They do so,and as they kiss at midnight, a horse drawn carriage pulls up in front of them and a well dressed couple invites them in. They are then transported to the 1890’s which is the true Golden Age, according to Adriana. After she is offered a job to make costumes for the theater, she decides to stay but Gil cannot. He realizes that everybody is bored with the age in which they live and they won’t find their meaning by going back. He decides the present is where he should remain and they choose to part.

Once in the present, Gil realizes Inez may be cheating on him with Paul (a discovery made by Hemingway after he reads Gil’s novel; Gertrude Stein then relates to Gil that Hemingway could not believe the protagonist did not see his fiancee was having an affair right before his eyes with “the pedantic one”) and when he confronts her, she admits to doing so but that he needs to just “get over it”. Gil seems rather pleased and takes this moment to tell her he will stay in Paris and they are not right for one another. In the end, we see Gil walking, yet again, through the city of Paris and at midnight he bumps into a young beautiful antique vendor he met earlier in the film. They walk off together through the streets, in the rain, which is where Gil always felt happiest.


WOODY ALLEN & THE ARYAN

 What does this film mean, and more importantly, what does it mean for nationalists? In a way, Allen is giving an honest critique of reactionary thought. Not living in the now and spending ones time only in the past can produce untold unhappiness in the present. Gil is frustrated with how he is presently living. He dreams of a before time when to him everything was great. We see this many a time in politics. For a typical Republican, perhaps it’s America in the 50’s. To some 1930s Europe. To others medieval times and there are even those that believe that in the days of cavemen things were far more ideal. Which ever time one finds themselves pining for, Allen is telling the viewer that it is the present we should be focused in but how exactly is he portraying the present?

The film opens with a series of static shots that appear almost like paintings to display the very best of Paris. Throughout the film, the city is always ever present as another character in the story. While indeed very inspiring and breathtaking, it is obvious Woody Allen has only picked very select parts of the city. What we know of Paris today is that it is a shell of its former self. Even in 2011, during the films release, migrant hell holes burrowed their way into the city along with the trash that covers the streets. Culture in Paris is waning and the very best parts of the city are only preserved for the sake of tourism and not for the French soul. I doubt Allen is ignorant to any this. Quite the opposite. I believe this was a calculated decision on his part to ensure that we don’t spend much time in the past but to also accept our present as being more than sufficient, therefore we have no need to look to our future. As Nationalists, we are inspired by our past which Allen is more than aware, and as I’ve stated before we take elements from our Golden Age (whenever that may be) so that we may apply it to our lives in order to create a different future than the one that has been currently decided for us. Allen is careful to not encourage us too much. He wants you to stay forever in the present and to imprison your passion within the confines of a “this is good enough” type of attitude.

How do we know Allen is speaking to us? Some subtle clues in his body of work, as well as Midnight in Paris specifically, give us an indication of who he is speaking to. One of the ways we can find these clues is through name recognition which you can learn through the work of Mark Brahmin and his work in Jewish Esoteric Moralization also known as JEM. Many Jewish filmmakers pick very specific names in order to indicate who is an “Aryan” and who is a “Jew”. Gil can be translated to a few different meanings. Foolish, simpleton, and happy (which can hint at a happiness out of ignorance) are among those meanings which makes sense when you view this blonde and blue eyed character in the film. JEM often portrays the Aryan figure as gullible and generally oblivious.

It’s not that Gil is an ignorant man by any means it is more that he is a bit unaware of his surroundings and can be easily manipulated. Two women in his life that are Jewish signifiers, Inez (Who’s father is a Jewish figure named John who is also a neocon) and Adriana (meaning black, which is a Jewish signifier), merely have Gil around for their temporary entertainment. Adriana, for example, writes in her diary that her reasons for loving Gil are that he is “naive and unassuming”. Paul Bates, being short for Bartholomew which is a Jewish signifier, even cuckolds Gil. The Jewish figure steals the Aryans woman away from him.

While there are several symbols and other names that we can delve into, the point is that Allen is giving, in my opinion, a direct message to the “goy”. Jews are very fearful of an inspired Aryan people which may lead to uprisings as we have seen in the past. Since film is possibly the most versatile art form in history, it would behoove one such as Woody Allen to not only entertain his audience but to also influence them in a way that he feels benefits him through subversive means.


CONCLUSION

Nostalgia, while being quite natural, can be a trap. Gil experienced this well enough. While its aroma can be alluring, it has been the great motivator of inaction among Nationalists currently. I cannot emphasize enough that we can, and should, look to days gone by to find inspiration and ideas that we can use or even update to create a future. But A movement must have vision. Vision requires forward thinking. There is no return to tradition and Nostalgia is by no means meant to be our end goal.

Midnight in Paris interested me because on one hand Woody Allen is acting as if he is giving us good advice on this matter. On the other hand, making sure we are stopped in our tracks. This is one of many ways our opposition tries to control us. The film is well done, entertaining, and quite funny. With that being said, Allen wishes to make you feel like you are progressing while in reality keeping you in a perpetual hamster wheel. It is all too Caducean. We need to spot this effect in every aspect of our lives. We need to break free of not only the prison our opposition has created for us but the one that we, as nationalists, construct for ourselves. Move forward. Not backward.

 

No Comments on Nostalgia, Nationalism & Woody Allen

Why I Can’t Stand St. Patrick’s Day

I’ve always instinctively disliked St. Patrick’s Day. Growing up in the ‘80s and ‘90s, I was inured to the multicultural calendar of ethnic holidays I didn’t resonate with or understand….

I’ve always instinctively disliked St. Patrick’s Day. Growing up in the ‘80s and ‘90s, I was inured to the multicultural calendar of ethnic holidays I didn’t resonate with or understand. But no one ever expected me to actually celebrate Rosh Hashanah—or wear T-shirts that read “I’ve got a little Jewish in me” or pinch anyone not donning a yarmulke. At one point, I started wearing Orange on March 17 . . . though the message was seemingly lost on most everyone I encountered.

3 Comments on Why I Can’t Stand St. Patrick’s Day

Displacement from Within

What Turner documents is not just a ‘displacement’ of Britain’s indigenous population by foreigners, but, more important, its debasement of those, who have inherited the land and cultural institutions of their ancestors. Martin walks like a man on a tightrope between the void of today’s West and the transcendence of participating in true art.

It’s an oft-repeated cliché among the so-called alternative Right to say that while Britain once ruled a third of the globe, today it barely controls the streets of London. Those hit the hardest by Britain’s transformation (or, more accurately, deformation) is the working class—once the backbone of British industry and patriotism. Today, fed on the twin somas of sports and what little popular culture has to offer, the working class languishes in a post-industrial dystopia.

Derek Turner’s novella Displacement is a portrait of this Britain—a Britain of displaced workers, alienated elites, and a growing non-native population. It takes place alongside other social novels in the history of the British isles from Disraeli and Dickens to Orwell. But what separates Displacement from many works in this tradition is its non-didactic and honest portrayal of those whom it depicts.

Displacement’s protagonist, Martin Hacklitt, is the forgotten man of today’s Britain—an intelligent youth of poetic disposition, who finds his release from the drudgery and baseness of everyday life through practicing parkour in the streets of London. Parkour, or free running, is a sport that attempts to replicate natural obstacles. Using tall buildings, walls, and other bits of today’s urban jungle, its participants seek to bend their bodies to the world around them and find a sense of liberation from their banal lives below. At least this is how those ‘French books’ Martin reads on the subject describe it.

Martin, a quintessential Englishman, balks at the heady prose and philosophizing of the French parkour books he reads, and sees in it a way to keep fit. Outside parkour along with his poetry, Martin’s other main concern is his love for his on-and-off-again girlfriend Kate. They began dating in high school, where Martin stood up for himself to a gang of bullies. However, by the time of the events described in the novella, the two had grown apart.

Martin is eventually given celebrity status by a chance photograph depicting him performing parkour acts, with the tabloids referring to him as the ‘London leaper’. Who he is quickly takes on an ideological dimension, with left-wing presses seeing in him some exotic, rogue outsider, whereas the conservative media describe him as an enemy to public order.

Kate, recognizing Martin from pictures in the tabloids, contacts him and hopes to set up an interview with a posh, that is, upper class, journalist. Kate’s swift return to Martin—learning of his his celebrity status—will have most Radix readers instantly reminded of hypergamy and the work of F. Roger Devlin, as it should. One of the strengths of Displacement is its chilly realism. Indeed, nowhere is that more apparent than here. For instance, Martin’s inner monologue upon meeting Kate again after a long lull is reminiscent of many one would find in the sort of true-life ‘beta’ stories in the so-called ‘manosphere’:

“Martin tries to take her hand and she withdraws it, but not abruptly. He will try again soon. It feels weird not touching her when she is so close. They always touched, held. But if she feels the same she is disguising it well. She looks so poised, he marvels, yet the speed with which she has rattled out her news shows she’s nervous. As so often over the intervening three-and-a-quarter years, he wonders how many boyfriends she’s had, and hates them all. But he cannot ask her that yet.”

Many readers, especially young men, will recognize some of the same thoughts that have gone through their minds in the context of today’s feminized and deracinated society. But Kate is no villain—merely misguided and far too drawn by the pull of our age. Turner holds his vitriol for the real antagonist of the story—the liberal journalist Seb.

Seb seeks to write a story on the London leaper. For him, journeying to working-class Deptford is akin to traveling to an exotic Caribbean island. He is constantly taken aback by the boorish behavior of Martin’s football-hooligan brother and his staunch old-Labour, old-Britain father, who is constantly trying to hijack Seb’s interview. In addition, he is attracted to Kate and hopes to use this project to get closer to her.

However, when the story is published, it is more or less a hatchet job. Martin’s working-class background is viewed through the gaze of contempt by Britain’s ‘Guardianista’ cultural class. To Seb, the final version of the article was not meant to be this stereotyped, and, exasperated, he tries to excuse his less-than-positive story on Martin’s roots to Kate:

“I knew it! I knew it didn’t do you justice – I mean that it didn’t do Martin justice. But I only had very limited space. You know how it works!”

Indeed, this language should sound quite familiar. One only has to look at Jared Taylor’s recent run-in with the New Yorker to find another journalist, who hoped that he captured his ‘complex subject’.

Seb eventually attempts to buy off Martin’s loyalty by inviting him to edit a volume of Postmodernist poetry, the theme of which is outsider work edited by outsiders. In doing this, Martin is unwittingly making a deal with the devil, compromising who he is to be taken in by the cultural establishment that rules Britain and, indeed, the entire West. His football-hooligan brother says it best:

“Funny, ain’t it really – by having these published all you poetry plonkers become insiders, don’t you?”

Martin’s brother hits the nail on the head for many bright, poor whites, who go on to be educated at Oxford and Cambridge in the U.K., or the Ivy League schools in the U.S., or who achieve some status of cultural distinction by the current ‘Apes of God’, as Wyndham Lewis called the modern cultural classes.

What Turner documents is not just a ‘displacement’ of Britain’s indigenous population by foreigners, but, more important, its debasement of those, who have inherited the land and cultural institutions of their ancestors. Martin walks like a man on a tightrope between the void of today’s West and the transcendence of participating in true art.

In the end, we see him compromised, but through his portrait, we also note an all-too-familiar tale of what happens to bright young boys from traditional working class today. Displacement gives those of us, who self-describe as Identitarian and thus find ourselves in the political fringes, a moving literary look into the heart of our forgotten people.

No Comments on Displacement from Within

Subverting Thor

How can you pervert a perversion?  The Marvel version of Thor has about as much to with Germanic heathenry as the screeching crone Madonna has to do with the Theotokos.  The entire history of the character is an insult to the old European belief system, and was intended as such.  But the recent controversy over Marvel’s “Thor” being transformed into a woman shows that even bastardized Western symbols have to be subverted, as modern culture is unable to create something original and admirable. 

How can you pervert a perversion?  The Marvel version of Thor has about as much to with Germanic heathenry as the screeching crone Madonna has to do with the TheotokosThe entire history of the character is an insult to the old European belief system, and was intended as such.  But the recent controversy over Marvel’s “Thor” being transformed into a woman shows that even bastardized Western symbols have to be subverted, as modern culture is unable to create something original and admirable.

The Thor of the comics was not simply the God of Thunder put into a fictional universe so he can fight Galactus or Absorbing Man.  Thor has a dual identity within the Marvel mythos as he is sometimes Dr. Donald Blake, a physical weakling.  Odin forced Thor into this identity in order to teach him a lesson about humility and become “worthy” of wielding Mjolnir.

The latest Marvel movies, which inform how most people think of the character today, dismissed the dual identity premise.  Even when he is not wielding Mjolnir and stripped of his divine power, the movie character is still a highly effective warrior capable of, in Agent Coulson’s phrase, “making some of the most highly trained professionals in the world look like a bunch of minimum wage mall cops.”

At the same time, they have kept the larger idea of breaking the proud Thor and turning him into a soldier for egalitarianism (and mysterious multinational government agencies).  Thor’s highbrow speech and noble lineage is a punch line, and Thor only becomes “worthy” when he tells Loki to stop being like Hitler and sacrifices himself to make the world safe for Natalie Portman.

But while the movie Thor is perverted, he’s still a dull reflection of the actual Thor, a greater Western archetype of strength.  More importantly, the character always thinks of himself as Thor, even when he’s lost his supernatural powers.  The subversion is one of ideology, not identity – Thor’s strength and character is “broken,” rebuilt, and then used to save democratic man (or woman, in Portman’s case).  It’s simply the cinematic version of Seal Team Six going through hell so their daughters can be like Miley Cyrus.

In contrast, the comic book divorces Thor’s essential characteristics from the character itself.  Stan Lee pictured Thor in his true form as “looking like Vikings of old, with the flowing beards, horned helmets, and battle clubs.”  But Thor’s consciousness is somewhat divided.  While “Blake” is always “Thor,” his status as one of the Aesir is something conditional, rather than something that he just is.  Thus, as recent apologists for Thor’s sex change argue, Thor in the comics is not always a mighty Norse god–sometimes he’s just a man—or even a frog.  Like the word Christ, Thor is apparently less a name than a title.

Thus, Marvel can say, “This is not She-Thor. This is not Lady Thor. This is not Thorita. This is THOR. This is the THOR of the Marvel Universe. But it’s unlike any Thor we’ve ever seen before.”  But it’s not really.  It’s just transferring the personification of power into a more politically correct vehicle.  In the Marvel Universe, Thor isn’t really the hero or even really Thor – Mjolnir and the power it contains is.  After all, the weapon is inscribed, “Whomsoever wields this hammer, if he [or she apparently] be worthy, shall possess the power of Thor.”

Within Marvel’s announcement there is a representation of the “Unworthy Thor” stripped of power, who looks like some kind of archaeo-futurist barbarian borne of the collective unconscious of the New Right.  Maybe he just got tired of fighting to make the world safe for Tumblr.

As with all actions of this type, there is a financial motivation.  Marvel says it will “speak directly to an audience that long was not the target for super hero comic books in America: women and girls.”  But as Time magazine points out, even young boys don’t buy much in the way of comic books these days, let alone girls.  While there might be a slight uptick in female readers, a “gimmick” like a sex or race change  gets the niche market of comic book fans–mostly “middle-aged men”–to make sure they pick up the latest issue.

The female Thor accordingly corresponds to the cover girl aesthetics of “strong” female characters—who don’t exactly resemble female powerlifters and couldn’t put up 225 on a squat rack, let alone duel a frost giant.  Fictional portrayals of “strong” women like Buffy the Vampire Slayer or Lara Croft are mostly designed to appeal to men by combining cover girl aesthetics with masculine actions.  This of course is prompting criticism that we must have feminine superheroes who defeat enemies through “feminine” abilities.  (Like what?  Posting selfies featuring handwritten slogans about tolerance?)

But there is also an ideological motivation.  Comic book heroes–especially those “born in Lower East Side at some point between 1938-1944”–have often reflected the a dual fantasy of subversion and assimilation, with Superman as the obvious example.  He is alien–yet he is also the ultimate representation of the American nation.  Yet as America herself has become passé and unacceptably tied to a European past, superheroes have had to renounce ties to the historic nation and even to their own racial identity in order to remain “heroes.”   

To facilitate this, we get the racial transformation of various characters, such as Nick Fury morphing from a World War II soldier (albeit one who led a “racially integrated elite unit”) into Samuel L. Jackson in both print and film.  Similarly, comic books today are less telling stories than about beating the correct political ideology into a dumbed down audience.  Therefore, Archie will soon die taking a bullet fir
ed by a fanatical gun rights supporter at his gay friend, who is “married” to a black man.  Soviet propaganda looks like a model of subtlety in contrast.

What never seems to catch on is the actual creation of heroes that don’t owe something either to a past White identity or Western archetype.  Those that are created come off like unintentional comedy, like “Black Panther”–and he’s probably the best of the lot.  He hails from the “technologically advanced” nation of Wakanda, menaced by the evil quasi-Afrikaner nation of Azania and its evil champions (like “Voortrekker.”)  The defining characteristics of affirmative action heroes–indeed their only characteristics–are that they are black, have a vagina, or practice one of the sexual fetishes that our society has deemed worthy of celebration.

Therefore, we are constantly hectored that existing heroes of comics and the screen must be made black–we need a black Batman or a black James Bond.  By doing this, we will somehow convince minorities of various sorts that they too can be universally appealing heroes.

After all, Black Panther represents… being black.

And, Wonder Woman represents… being a woman.

So to get around this, we’ll transform characters with greater appeal.  Archie was supposed to be about wholesome Americana… so we’ll make it about homosexuality and gun control.

Captain America represents patriotism… so we’ll make him black.

Batman represents justice… so the good Republicans at the Wall Street Journal tell us we “need” to make him black soon too.

It is a cultural form of the cargo cult role playing which has led to such historic spectacles like Faustin I of Haiti aping Napoleon by putting a cardboard crown on his head, or America collectively pretending that Maya Angelou’s sub-literate nursery rhyme at a Presidential Inaugural was really a poem.

But Thor is a special case.  The deity Thor is perhaps is most important personage of the indigenous European religious tradition, and certainly the most popular god among ordinary people of the pre-Christian age.  Rather than identifying Odin as the symbolic champion of the old ways, John Lindow in Norse Mythology notes that medieval Scandinavian sources portray “the conversion as a struggle between Thor and Christ.”  During the period of uneasy coexistence between Christians and pagans, believers in the Old Gods would wear Thor’s hammer pendants around their necks–a practice continued by heathens today (and, for that matter, some metal fans).

Therefore, Thor is culturally specific in a way that Superman or Batman isn’t.  Putting him in a comic book is bad enough, as the character is based on a deity that was once the dominant figure for Germanic civilization and who understood and pictured their gods in highly specific ways.  One imagines that the adventures of “Moses” calling on God to drown a mugger in Greenwich Village or “Muhammad” using a friendly jinn to trick Dr. Octopus might be seen as distasteful (although hilarious).

But even if the point to “lighten up” is graciously conceded, Stan Lee pictured Thor along the lines of the romanticized image we have of Vikings of the late heathen period. He wrote him as part of that.  He therefore fits in a certain context that represents a group of people that once existed.  The comic book hero’s adventures and changes have to be limited by what makes sense with the character.  The usual objection that “anything is possible” because fictional heroes are in a world of magic misses the point–the character is based in a specific cultural context and is indeed defined by it.

Moreover, even in fictional universes, magic and supernatural occurrences have rules and context.  A Song Of Ice and Fire has magic, but Ned Stark’s severed head can’t simply start flying around in the middle of the story any more than the wildlings can breach the Wall with an Abrams tank.  Even within the Marvel universe, Thor can’t be a woman and remain Thor just as Cat-Woman can’t be a man and remain Cat-Woman.

Thor’s sex change is political and is defined by its creators as such.  The reason is that to have a white (indeed Nordic) male character associated with the Germanic past and traditional masculine virtues is simply impermissible.  Even in the most bastardized, degraded, perverted form, the existence of a white male Thor in pop culture is an insult to everything our culture is telling young boys to be.  The Marvel Thor has to be a woman – and it has to be a different race next.

Political correctness can only achieve popular appeal through subverting symbols that already appeal to mass constituencies because any new symbols will appeal pathetic by comparison.  And certainly European cultural symbols, even in their most debauched form, are superior to affirmative action culture.  Most Americans, especially children, instinctively sense this.  After all, “social justice man” is hardly something to appeal to the imagination of a typical seven year old.

To be fair, shapeshifting and even gender bending is nothing new even within the lore of European religion.  Loki is, after all, the mother of Sleipnir, having transformed into a female horse as part of a ruse against a giant.  However, while the shapeshifting, androgynous Loki helps various gods (including Thor) on several adventures, he is also the father of monstrous beings who will ultimately unleash chaos and the destruction of the gods.  In this we see the understanding that perversity and chaos, even if used for temporary advantage, further a process of degeneration and final destruction.  Loki is a deeply perverted character, although not an entirely “evil” one in the Christian sense.

Interestingly, there is a story in the lore where Thor must pretend to be a woman–the Þrymskviða.  Assisted by Loki, Thor must disguise himself as Freyja and attend “her” wedding in order to reclaim his stolen hammer.  The giants recognize something is amiss (like when the “bride” eats an entire ox) but Loki comes up with one hilarious excuse after another.  One can imagine our ancestors roaring around a fire hearing this light-hearted tale.

Of course, the reason Þrymskviða is funny is because European religion and Germanic Christianity had a sense of social norms and hierarchy as serving a necessary function.  Bending gender roles on occasion could be used for humorous effect or perhaps in extraordinary occasions (like the “shield-maidens” of legend).  However, it would be absurd to take “pride” in the idea that you are subverting a norm and deriving worth from it–the louder someone boasts of their pride, often the less they have to be proud of.

But America can’t admit that.  “We are all created equal” after all.  So even gods, symbols of gods, and even the fictional heroes of less degenerate times need to be twisted in order to make people feel better about themselves.  In the end, the value of such symbols are frittered away and become objects of indifference or even scorn–arguably, what is happening to American patriotism and identity today.

What Marvel is doing to Thor is part of this.  We should be glad because even though young boys swinging a plastic Mjölnir is better than nothing, such actions ultimately postpone the inevitable.  European cultural symbols, practices, and even gods need to become the source of a vital living Tradition, not objects of exploitation used to propel the elaborate practical joke we call American culture.

Besides, Thor is a red bearded war god, not a socialist teddy bear.  The existence of Marvel’s she-Thor may make it a bit easier for Europeans to start looking into the distinctions and rediscover the living well of Tradition media companies have been leeching from for years.

Yes, it’s an insult.  But we should laugh at how utterly pathetic it is that people feel compelled to act this way in order to feel moral.

And we should remember the end of the Þrymskviða.  Thor gets his hammer back and deals with the situation as the God of Thunder usually does–by using it to slaughter all of his enemies.

There can be these games for a while, and comics’ new world begins, where nonwhites are paid for existing, and transqueers don’t pay for their sins. But as surely as Water will wet us, the sons of Europe will learn–and The Gods of the Copybook Headings, or the Gods of the North will return.

No Comments on Subverting Thor

Big Hate

A typical murderer drawn to the racist forum Stormfront.org is a frustrated, unemployed, white adult male living with his mother or an estranged spouse or girlfriend. She is the sole…

A typical murderer drawn to the racist forum Stormfront.org is a frustrated, unemployed, white adult male living with his mother or an estranged spouse or girlfriend. She is the sole provider in the household.

Forensic psychologists call him a “wound collector.” Instead of building his resume, seeking employment or further education, he projects his grievances on society and searches the Internet for an excuse or an explanation unrelated to his behavior or the choices he has made in life.

His escalation follows a predictable trajectory …

Thus read the opening lines of a report on Stormfront.com, penned by the Southern Poverty Law Center’s “Intelligence Director,” Heidi Beirich. Since its founding in 1971, the SPLC has amassed some $250 million in assets. Perhaps the SPLC could best fulfill its titular mission by giving away this hoard to impoverished Southerners? Whatever the case, if we are to learn anything from the Center’s fundraising operation, it is the necessity of giving potential donors a sense of having an enemy—an enemy to hate and fear, but also one that warms donors’ tummies with feelings of social and moral superiority.

Whenever I read paragraphs like these, I tend to think not of the specter of dangerous Nazi losers but of potential SPLC donors …

A typical donor drawn to the South Poverty Law is a frustrated, retired white female living alone or with an estranged husband. She exists on a pension in a rent-controlled urban apartment.

Forensic psychologists call her a “wound collector.” Instead of building her resume, seeking employment or further education, she projects her grievances on society and searches the Internet for an excuse or an explanation unrelated to her behavior or the choices she has made in life.

Her escalation follows a predictable trajectory …

While SPLC reports have gone beyond parody, the New York Times has just published a study on the online forum Stormfront that was refreshingly novel and honest (up to a point). First, the report utilizes the techniques of data aggregation (“Big Data”); secondly, its author, Seth Stephens-Davidowitz, presents a much more realistic portrayal of the types of people who are attracted to White Nationalism. (After reading his piece, Heidi’s report seems more like a description of the villain in her favorite Lifetime Original Movie.)

The essay begins:

VIKINGMAIDEN88 is 26 years old. She enjoys reading history and writing poetry. Her signature quote is from Shakespeare. She was impressed when the dialect quiz in The New York Times correctly identified where she was from: Tacoma and Spokane, Wash. “Completely spot on,” she wrote, followed by a smiling green emoji.

I gleaned all this from her profile and posts on Stormfront.org, America’s most popular online hate site.

I recently analyzed tens of thousands of the site’s profiles, in which registered members can enter their location, birth date, interests and other information. Call it Big Hatred meets Big Data.

It’s easy to scoff at a username like “Vikingmaiden88,” but it’d be wrong to do so. To grow up in America over the past half century is, for millions of White people, to grow up in a culture-less, history-less No Man’s Land of suburbia and shopping malls. To identify one’s self with a heroic “viking” past and to use an archaic term like “maiden” indicates, among things, that this young woman has an imagination.

Over the past year, according to Quantcast, roughly 200,000 to 400,000 Americans visited the site every month. A recent Southern Poverty Law Center report linked nearly 100 murders in the past five years to registered Stormfront members. [Emphasis added]

The SPLC is quite good at linking

Of the 100 “linked” killings in the past five years, 77 were perpetrated by one man, Anders Breivik, who posted a few times on Stormfront in 2008, three years before launching his attack in Norway. Two other people on the SPLC’s list murdered multiple victims. This leaves 15 people who have committed heinous crimes and can be “linked” to Stormfront.

Stormfront has some 286,000 registered members (according to the SPLC), which means that it has a murder “linkage” of .005%. I wonder what kind of “linkage” rate we could come up with by examining, say, people who uploaded a video to World Star Hiphop?

More importantly, in her report, Beirich doesn’t bother to apply the most basic principle of analysis: Did these 15 individuals commit murders because of Stormfront, in spite of Stormfront, or regardless of Stormfront? Being that so many of the “linked” murderers killed family members, I would assume that “in spite of” and “regardless of” are the most likely options. But that ain’t good for fundraising.

Anyway, the superior Times report continues:

Stormfront members tend to be young, at least according to self-reported birth dates. The most common age at which people join the site is 19. And four times more 19-year-olds sign up than 40-year-olds. Internet and social network users lean young, but not nearly that young.

The Angry Young Man is one “hate” trope, but generally racialism is thought to be an affliction of the old—those who haven’t been fully reconstructed by modern education or exposed to the bounteous goodness of “diversity.”

Reading the Times’s piece, I wondered how many Stormfront members were radicalized by listening to the “Americanist” platitudes of their Baby Boomer parents, either of the “World’s Great Democracy” or “Here, You Can Live Your Dreams” variety?

Profiles do not have a field for gender. But I looked at all the posts and complete profiles of a random sample of American users, and it turns out that you can work out the gender of most of the membership: I estimate that about 30 percent of Stormfront members are female.

Quite remarkable. Mainstream religion is majority female; the inverse of this trend is that “fringe” movement are overwhelmingly male. I would have guessed that Stormfront’s membership was at least 90% male.

Stephens-Davidowitz also suggests that Stormfront membership rates might reveal something about America’s regional makeup.

The states with the most members per capita are Montana, Alaska and Idaho. These states tend to be overwhelmingly white. Does this mean that growing up with little diversity fosters hate?

Probably not. Since those states have a higher proportion of non-Jewish white people, they have more potential members for a group that attacks Jews and nonwhites. The percentage of Stormfront’s target audience that joins is actually higher in areas with more minorities. This is particularly true when you look at Stormfront’s members who are 18 and younger and therefore do not themselves choose where they live.

Among this age group, California, a state with one of the largest minority populations, has a membership rate 25 percent higher than the national average.

One of the most popular social groups on the site is “In Support of Anti-Semitism.” The percentage of members who join this group is positively correlated with a state’s Jewish population. New York, the state with the highest Jewish population, has above-average per capita membership in this group.

One of liberalism’s most unlikely fantasies is that as Whites are exposed to more “diversity,” they will become less racially conscious. A realistic understanding of human nature leads one to the opposite conclusion, as does this study.

That said, it doesn’t follow that an absence of racial diversity will lead to an absence of White racial consciousness, as the popularity of Stormfront in the Mountain West makes clear.

Interestingly, Montana and Minnesota are both overwhelmingly White (indeed, both are ethnically Germanic and Scandinavian), yet the percentages of the populations interested in Stormfront are starkly different. How to explain this? Is it the spirit of the Wild West vs. Minnesota Nice? Is this the result of selective migration? Is Stormfront membership a limited measure of racial consciousness, as different expressions are at play in Minnesota?

Political developments certainly play a role [in the popularity of Stormfront]. The day that saw the biggest single increase in membership in Stormfront’s history, by far, was Nov. 5, 2008, the day after Barack Obama was elected president.

In the fall of 2008, I was at a private meeting of like-minded individuals in which the upcoming election was discussed. Most of the conversation centered around how disappointing John McCain was as the “conservative” option. Louis Andrews, my predecessor as Director of NPI, cut through the crap. It was Obama who, through his very person, would signify to average Americans that they have been dispossessed in their own land; it is thus Obama (not any “conservative”) who would raise consciousness among our people. Louis was right.

Stephens-Davidowitz digs deeper into the habits of Stormfronters.

The top reported interest of Stormfront members is “reading.” Most notably, Stormfront users are news and political junkies. One interesting data point here is the popularity of The New York Times among Stormfront users. According to the economists Matthew Gentzkow and Jesse M. Shapiro, when you compare Stormfront users to people who go to the Yahoo News site, it turns out that the Stormfront crowd is twice as likely to visit nytimes.com.

Perhaps it was my own naïveté, but I would have imagined white nationalists’ inhabiting a different universe from that of my friends and me. Instead, they have long threads praising “Breaking Bad” and discussing the comparative merits of online dating sites, like Plenty of Fish and OkCupid.

Return to VikingMaiden88. When you read her 189 posts since joining the site, she often seems like a perfectly nice and intelligent young woman.

But she also has a lot of hatred. She praises a store for having “100% white employees.” She says the media is promoting a “Jewish agenda.” And she says she finds Asians “repulsive physically, socially, religiously, etc.”

Why do some people feel this way? And what is to be done about it? I have pored over data of an unprecedented breadth and depth, thanks to our new digital era. And I can honestly offer the following answer: I have no idea.

A young man with a PhD from Harvard, who’s a contributing opinion writer at America’s liberal paper of record, is at a loss for words!?

His silence speak volumes. Having rejected all possible sociological and economic explanations, Stephens-Davidowitz is left with a sneaking suspicion that racial consciousness is natural and rational.

No Comments on Big Hate

Patriot Games

Nations are defined through war.  Phony nations are defined through phony war – namely sports.  And in a time devoid of meaning, a corporate spectacle with flags is the closest the modern world can come to providing most people with a sense of identity. 

Nations are defined through war.  Phony nations are defined through phony war – namely sports.  And in a time devoid of meaning, a corporate spectacle with flags is the closest the modern world can come to providing most people with a sense of identity.

Most nations are less a creation of peoples than a creation of armies.  The multinational, multilingual monarchies of the Middle Ages slowly transitioned into the national armies unleashed by the French Revolution, who were gathered by conscription to spill the “impure blood” of the foreigners. “Us” and “Them” were determined on the battlefield.

However, the postwar world saw the end of “blood and soil” nationalism in the West. Nations transformed into units of economic competition, vaguely linked by international finance and watery doctrines of “human rights.” Mass immigration further complicates the process, as citizenship no longer reveals anything about a person’s race, religion, cultural heritage, or even language.

Yet nationalism persists – largely because we have nothing else to fall back on. Race is socially unacceptable and religion (at least Christianity) is dead as an organizing force for society. And so even as it is unimaginable that European youth will soon be drafted and sent forth to fight for their country, a rudimentary patriotism is still required to link the masses in the developed world together in a more or less orderly fashion. The flag and some vague concept of “values” usually serves, but underneath, the ghosts of Blut und Boden still linger. And this needs an outlet.

Enter the World Cup. The players sing the anthem of their fatherlands, echoed by hundreds of thousands of screaming fans.  Fans dress in their national colors. The game itself has a kind of mythic quality (outside the United States anyway), as fans will casually speak of games that took place decades ago or even refer to a single incident (like Maradona’s “Hand of God” goal). Rivalries, heroes, and cultures develop in a dull echo of the warlike past.

Absent war, concepts such as “national honor” are identified with the outcome of soccer games.  Sometimes, it is almost equivalent to war, with Argentina’s victory over England in 1986 interpreted as “revenge” for the Falkland Islands.

Germany’s crushing 7-1 defeat of Brazil (with the Netherlands putting the boot in 3-0 in the third place game yesterday) is seen as a national disgrace in the host country. Pictures of Brazilian fans giving rise to guttural cries of despair and horror could be mistaken for something coming out of Gaza.

Of course, these nationalist impulses are smoothly sublimated into the global governing census.  The stadium is festooned with appeals to “Say No To Racism.” FIFA investigates fans for chants that cross the line into politically incorrect territory. And frankly, it’s a good thing they did not see the danger of “offensive” WWII humor on Twitter during Brazil vs. Germany – though the Parasitic Class is whining about that now too.

Many of the players from historic European nations are non-White. Some of the players on the American team have almost casual connections to the United States, and even the coach is a German who formerly represented his real country both as a player and as a coach. As with professional sports in America, most players have nothing to do with the community they are ostensibly representing racially, culturally, or even geographically. The pageantry and patriotism of a World Cup is equivalent to the usual penalty in the Beautiful Game – it’s a big showy fake.

The flag waving is consciously used as a way to reconcile the White West to making peace with demographic dispossession, and the need for “us” to “win” is used as justification to dilute identity. The tactic has already been used successfully with rugby in South Africa and college football in the American South.

After France won the World Cup in 1998, the heavily non-White team was used as an argument to promote more immigration into the Republic and portrayed as a triumph of assimilation. Today, American politicians such as Nancy Pelosi argue that we need immigrants – because otherwise, we would have a terrible soccer team.  And reporters attack the – as of yet –unassimilated nations of Eastern Europe where players still have something to do with the country, and their fans haven’t learned that patriotism is supposed to be ironic.

Faux patriotism is even used to keep countries together.  Spain’s World Cup victory in 2010 presented a problem for Catalonians who wanted independence.  Belgium, the soulless husk at the center of the European Union, uses its soccer team as a club to beat Flemish nationalists and promote the continued existence of the phony kingdom.  And the reason Brazil has been hit so hard by its soccer defeat is because soccer was all they had to show to the rest of the world.  The country is the very exemplar of the multiracial nightmare White advocates have been warning against for decades, plagued with crushing social divisions, crime and inequality.  No wonder they care so much about kicking a ball around.

And yet, even people who should know better fall for the appeal of faux nationalist pageantry.  Websites from around the racialist right rejoiced at the German defeat of Brazil, as if the Bundesrepublik of Merkel was still the Fatherland of Bismarck, or as if winning the game meant that Turks would have to leave.  White racialists can even tell themselves that soccer possesses a more “White” and European sensibility than American basketball, and therefore give themselves approval to identify with certain teams.

Despite it all, faux nationalism tells us something, speaking to the deep roots of identity that can’t be explained, defended, or even described—only felt.  It means something that Mexican-Americans still can’t bring themselves to root for the American team.  It means something that Algerians in France riot after the Algerian team plays a game, even with the historic prominence of Algerians on the French team.  And it means something that many Europeans, especially Germans, feel it is permissible to be proud of their ethnicity in a sporting context—although they are ashamed of it in other circumstances.  Indeed, already the opinion monitors are cautioning people that Brazil feeling “national humiliation” because of a soccer loss is only a short jump away from countries adopting fascism, or something

Nationalism remains.  The old symbols still speak to the hearts of the masses.  What they mean to different people will always be fought and argued over but they have not lost their power.  The World Cup is a safety valve and a corporate scam – but it is also an expression of a force that is not yet spent.

This is a problem for a Dissident Right which is already moving beyond the old borders and identities of the past.  The Dissident Right in America has practically reached an intellectual consensus on an un-American position, from those who think the American Revolution was a mistake to White advocates pursuing the Sorelian vision of the ethnostate.  European Identitarians are working hard to transcend the national rivalries of the past.  And secession movements, in many cases supported by right wingers, are challenging the very existence of some of the most established and prominent countries in the world –from the United Kingdom to Italy.

However, most people opposed to the status quo are still nationalists, fighting to defend a romanticized past based on an already existing national institution.  The Americans opposing their own government in Murietta, CA wave the Stars and Stripes or even the flags of the military.  Parties like UKIP and the National Front pledge to defend the UK and France from a grasping European Union.  And Eastern European nations such as Hungary or Poland still have strong patriotic movements with mass constituencies that define their goals in terms of national independence, rather than some sweeping ideological revolution in the West.

Sports fandom is often expression of that peculiarly pathetic race cuckoldry that many White males seem comfortable with.  And it’s easy to simply say “Don’t watch the World Cup.”  But the faux nationalism of the World Cup is as much a reflection of the suppressed identity of the European peoples of the world as a perversion of it.  And it reflects the political and emotional reality that God may be dead in a historical sense, but the Nation lives.

Unfortunately, the nation-state of the modern West is as much an enemy of White people as a political expression.  We are supposed to believe that a country is somehow still the same even if the entire population is replaced – so long as the new population waves the same flag.  Yet at a gut level, one senses that people know what it is to be a real German, a real Frenchman…and even, (with apologies to Hulk Hogan) a real American.

The problem we face goes beyond either surrendering to soccer hysteria or congratulating ourselves for ignoring decadent mass culture.  It is about whether the Dissident Right can somehow build off populist patriotism and transform it into a true ethnonationalism, or whether the nations themselves should be discarded as reactionary debris obstructing the development of a new vision.  The former is largely the approach taken during the past six decades of failure.  But the latter, although more intellectually compelling, is likely to produce a “movement” with no resonance among the larger population.

The answer may be found in your own reaction over the last few weeks.  When you see a crowd overwhelmingly of your own race, waving the flag of your country, you may feel pride.  You may feel sickening disgust, knowing how your country is being betrayed, or how it betrayed you.  Or you may, like me, feel some kind of combination.  But the Dissident Right needs to make sense of that confusion because it’s not words or even philosophies that govern the world, but symbols and identity.

Their power is terrible.  Despite despising the values of the Bundesrepublik, despite raging at the weakness of the Last Men of the former Fatherland, despite my disgust for the whole politically correct spectacle… I can’t help but cheer for Die Mannschaft.  And hate myself for it.

And that’s not the worst of it.  I’m glad Team USA didn’t make it to the finals.  Because if they did, I know I’d be pulling for them even more.

No Comments on Patriot Games

STIHIE: The Criminal Heartthrob of the Future

This is the new face of crime in America–and women love it unfortunately.

This is the new face of crime in America–and women love it unfortunately.

If you can tell what race the man in the mughshot, Jeremy Meeks, is, you should win some sort of prize. Or you probably shouldn’t.

His lack of any racial identity is incredibly offputting and his face would’ve fit perfectly in National Geographic’s alien faces of Monoculture special.

He’s got blue eyes, but brownish skin. Some of his facial features are White, some of them seem Black (the teardrop murder tattoo right under his eye shows off his Black side).

While female desire for criminal sociopaths is no new phenomenon, the more troubling fact is that so many White women fell for the looks of a criminal super Mulatto.

Meeks was arrested on felony weapons charges and has admitted his teardrop tattoo was probably received for committing a murder.

Whatever his actual race, he unsurprisingly has a blonde-haired wife.

So this is how it ends indeed.

No Comments on STIHIE: The Criminal Heartthrob of the Future

Derek Turner’s Sea Changes

As far as anti-establishment contemporary fiction goes, Derek Turner’s Sea Changes is among the best one is likely to read in English today. In tone, it is clearly a satire;…

As far as anti-establishment contemporary fiction goes, Derek Turner’s Sea Changes is among the best one is likely to read in English today. In tone, it is clearly a satire; in sensibility, it is clearly traditionalist; but in sentiment, it has the added virtues of temperance and compassion, qualities that steer this novel clear of the vices that have afflicted others dealing with immigration and the tone and character of modern race relations—Jean Raspail’s The Camp of the Saints comes to mind—which have usually been vehicles for sublimated spleen. Perhaps the reason is that this novel was aimed at a mainstream audience, and not at fellow outsiders looking for a wink and a nod.

Sea Changes tells the story of Ibraham Nassouf, a young Iraqi. Desiring to escape the poverty and limited prospects of existence in his native Basra, he sets sights on emigrating to England, dreaming of the sort of life he had seen in Western media and magazines; his very grim and unpleasant journey, however, ends badly, for, having paid, along with dozens of others, a gang of human traffickers to take him to Britain, the latter decide to throw their human cargo into the sea and spray it with bullets after being challenged by a British coastal patrol. Ibraham is the only survivor, but he is washed on the beach along with forty or so of his fellow migrants, mostly African. The discovery, the suggestion that the migrants may have been murdered by local racists, and the throwaway remarks of a stolid farmer who finds himself in front of a television camera, being asked for comment by a reporter hyper-attuned to the racial angle, triggers a noisy media event, which dominates and is the raison d’être of the story.

Unusually, sympathy is with Ibraham, despite the fact that he funded his migration journey with money he earned working for a gangster in Basra. In a serio-comical fashion, at once caricaturesque and sophisticated, Turner skilfully conveys the squalor, uncertainties, precariety, mentality, and transient relationships involved in a journey of this nature. At each stage, Ibraham is reliant on a shady link in a long chain of sleazy, crooked, callous types who, while outwardly amiable, well-wishing, and occasionally hospitable, nevertheless make a living, or supplement their income, by fleecing the immigrants passing through. Ibraham is portrayed exactly as migrants are portrayed in Western media: a well-meaning, somewhat childlike, hard-working poor devil escaping war or poverty, and willing to go through hell for a better life in a rich Western country. Similar treatment is accorded to the Mediterranean countries of Europe forced to deal with the ever-rising tide of Third World migrants: the latter are seen by the authorities as pests, to be moved around and put out of sight in processing centres, where they languish in boredom and inactivity, but where they learn about rights they never imagined they had. It is a shadowy, confusing, and unforgiving world, constantly in flux, where every human is both predator and prey. What is worse, once Ibraham arrives at his destination, England, that paradise of the North Atlantic, it turns out his troubles have only just begun, for he becomes the ball in what is for him a confusing game of political football, in which he, the migrant of colour, is manipulated as a tool by the white English who, while appearing incredibly kind and helpful to him, are in fact completely self-absorbed and do not give a hoot about him. Eventually, he attains his dream—after some difficulty, he is allowed to remain in the United Kingdom—and he is even given permission to import his family. But life in London proves a tremendous disappointment, and we leave him living in bleak accommodation, jobless, with embarrassing flatmates, and in the throes of alienation, living in—but not part of—a culture he neither understands nor any longer wishes to understand. Looking back, life in Iraq, difficult as it was, at least offered community, friendships, and meaning. The process of migration proves destructive.

The closest to villain in the novel is John Leyden, a handsome Left-leaning journalist replete with fine phrases and crusading zeal, yet also egotistical, vain, shallow, arrogant, hypocritical, infantile, and spoilt rotten to the core. The reader does not end up hating him, however; rather, he comes across as a buffoon—a cog of the system he helps maintain. In the end, we are left to wonder about his motivations, for he is clearly not psychologically healthy or normal, despite his polished façade and professional success. His main antagonist is another journalist, Albert Norman, an old, grizzled, jaded, fat, wealthy, peppery, recalcitrant reactionary, whose politically incorrect column is both popular—indeed, it is the only thing levitating the circulation numbers in an otherwise modernising (=flagging) newspaper—and the last bastion of sense in a world gone mad. Along with Ibraham, Norman is Turner’s vehicle for some of his commentary on modern Britain, but, though almost heroic, he is ultimately an object of pity, for he is eventually defeated by the forces of ‘progress’ and even comes to realise his own futility. These two characters constitute the poles between which we find an array of depressingly familiar types: the thriving ethnic activist, the anti-racist thug, the Gerry Gables of this world, the ‘modernised’ offspring of rural parents, the cynical politicians, the semi-illiterate socialists, and, of course, the equally opportunistic, but far less skilled, anti-establishment politician. The latter, incidentally, a Nick Griffin analogue, has a seat in Parliament, until his party is banned in a swell of righteous fervour. Though stereotypes, all appear as three-dimensional characters, neither wholly good nor wholly evil, and indeed very human. All are, nevertheless, cogs in a machine.

Turner’s assessment of the situation is, therefore, that the problem is not the malfeasance of particular individuals, though some are more contemptible than others: everyone is implicated in some fashion, knowingly or unknowingly, actively or passively, whatever their individual reasons, however sensible their course of action may seem in the circumstances. The problem is systemic. And what sustains the system, in this case, is not the media, nor the politicians, nor any particular ethnic group, since they are all part of it: it is the idea that equality as the highest good—the highest expression of moral enlightenment. This is not explicitly stated in the novel; the latter is very focused on how British society today thinks about race and immigration. Yet, it is obvious, or it should be, that, in a type of society in which ethics possess singular importance, as is the case in Western societies, despite the corruption of modern times, what drives the tone and character of race relations today, and the debate on immigration, is the ethics of egalitarianism. That is what drives all the chatter, all the policies, all the decisions, all the actions and reactions despised by the type of reader who will read these lines. Without it, there would be no Sea Changes, nor a need for it. This is what, in my opinion, is most admirable about this novel, and why it is, to date, the most serious treatment of today’s cultural malaise, despite its satirical tone and occasional incursion into outright caricature. This is the only illustration I have seen in fiction of the way egalitarianism produces unfair, unjust, invidious, and unhappy outcomes. Something worth pondering.

There are, of course, some minor niggles, stemming from this being Turner’s first effort at fiction. I was distracted by the presence of superfluous adverbs, for example, a common mistake not made by more experienced writers of fiction, and not tolerated by professional editors at large mainstream publishers. And I am not a big fan of the front cover and general layout, which I think undersells the content. The book is, indeed, far better than it looks. Yet, this aside, Turner’s prose is elegant, effective, and rich with beautiful metaphor and well-crafted phrases. It is consistently good all the way through, and there is no sagging in the narrative, despite the predictable unfolding of events; it is, in fact, a page-turner, which sails along at a leisurely pace. Above all, Turner is to be commended for having successfully negotiated, with humour, sensitivity, and insight, a topic given to hysterics (on both sides), making the case against egalitarianism for readers of any political persuasion, radical and conformist alike.

No Comments on Derek Turner’s Sea Changes

‘Rape Culture Isn’t About Sex, It’s About Power’

Rape culture is a lot like racism. Maybe they should just call it “rapism.” It’s an abstract “evil” that a certain group, in this case women, reserves the right to identify and use to manipulate another group, in this case men, into increasingly defensive and impotent positions. As long as they can keep men apologizing, they can keep controlling them.

Our forefathers understood the truth about women.

The truth is that women actually like sex. Without the coercive discipline of patriarchs, women would have sex all the time–like the frisky matriarchs of the Bonobo world.

Men have always known that women like to feel good, too.

As Nietzsche observed, man is only a means for women and the end is always a child. However, this is an ultimate, often subconscious cause. More proximate causes include pleasure and affirmation.

If females had ever really run things, I’m not sure what their version of female “honor” would be, or if there would even be one. Always and everywhere, female honor has meant chastity–and female chastity was clearly a male invention.

Before modern contraception, the control of female sexuality was necessary to maintain order between men. If men are to be expected to care for children, they want to know which kids are theirs. A woman who cheats on a man undermines him and makes him look like a fool in front of other men. The virtue of female chastity–the ridiculous idea that a woman waits for and only wants intercourse with the man she’s been courted by or assigned to–was essentially constructed to protect the honor of men. The expectation of female chastity probably kept a lot of jealous men from killing other members of their own tribes. Men have always known that they wanted to have sex with many women, but they constructed social and legal institutions that forced them to control their own sexual urges, too. To maintain order and create stability in increasingly complex societies, men around the world dreamed up different versions of monogamous, or occasionally polygamous, marriage.

Women were trained to protect their honor–their chastity–above all things. They were scolded for lustful or adulterous thoughts that, it was rightly feared, might lead to misbehavior. In rigidly religious and socially complex bourgeois societies, they were discouraged from thinking of themselves as sexual creatures at all. Sex was something women were expected to simply “grin and bear” as a punishment for being born female.

Modern contraception, industrialization, globalism, and women’s suffrage changed the whole game. The lie of female chastity was exposed, and the institutions of marriage and the nuclear family collapsed. Male investment in civilization and order continues to decrease, and women–who are far better consumers and sedentary employees–have collectively reached a position which offers them the means to exert their own influence and tell their own lies about sex.

So they tell us about “rape culture.”

The violent rape of a woman is a brutal and visceral image that fills every man who loves his mother or his sisters with vengeful rage. Men may joke darkly about rape in the abstract, just as they may joke about murder or dismemberment in the abstract, but the actuality of violent rape is infuriating and repulsive to the majority of them. Men want to conquer the hearts and minds of women, but raping a woman of your own tribe is the act of a spurned, desperate man. A rapist is something that no right-minded man wants to be.

When anti-rape activists tell men they simply want to “teach men not to rape,” that sounds reasonable enough. When they say that there is a “culture of rape” that perpetuates rape, men are hesitant to disagree because they don’t want to be regarded as forgiving of rape or accessories to rape. It is precisely because most men are already against rape that women are able to use rape as a kind of personal holocaust. Anti-“rape culture” advocates are exploiting male disgust for rape and using it as a tool to silence criticism of women and exert control over men’s sexual behavior and conceptions of their own masculinity.

The women who claim that there is a culture of rape in America, as if there are somehow more rapes and rape is somehow more acceptable today than in the past or elsewhere, are not solely interested in preventing rape.

They surely know that the most brutal rapes–the nasty, violent rapes everyone imagines when they think of rape–are for the most part perpetrated by psychopaths and serial rapists who are immune to the influence of their college campus shaming sessions. Feminists also aren’t going to prevent Steel Reserve and Hot Pocket fueled trailer park rapes or underpass Joose rapes, because they have no more influence in these derelict zones than the mores of Victorian church ladies had in the backalleys of London. Given that the well-behaved college boys who make up their captive audience and potential mate selection are already against brutal rape, the ability of educational and Twitter campaigns aimed at ending “rape culture” to actually prevent violent rape will always be relatively minimal. A few frat boys will wait to make sure they got a clear “yes,” and the smart ones will record it for their own protection. But, for the most part, they weren’t the ones giving nice girls black eyes or broken jaws to begin with.

It is when feminists are asked how to end “rape culture” that they truly tip their hand. In a widely cited article in The Nation, the number one and number two ways to “empower men and women to change the status quo” were more concerned with changing masculinity, male identity and male sexuality than they were with preventing rape.

At the top of the list, the first “real problem” identified was “violent masculinity,” which is also known as “masculinity.” Violence has been a defining part of the male sex role and masculine identity throughout human evolution and for all of recorded history. The idea that violent masculinity is somehow a novel product of American society or even Western Civilization is one of the biggest lies feminists tell. If there truly are or have been cultures–not merely priesthoods or religious sects, but whole cultures–where the majority of men were not considered more violent than women, and I have never seen convincing evidence of this, then they are or have been exceedingly rare and anomalous. Male violence is a human norm and a human universal. Male violence is a central feature of both histories and myths concerning men all around the world, and the forms of entertainment that men and even very young boys choose freely continue to feature violent fantasy or simulated tribal warfare–as with team sports.

Just as men have always known or suspected that women also experienced carnal lust, women have always known or suspected that, for men, sex and violence are linked. The rush of dominating another man, or a beast, or the forces of nature is not so far away in the mind from the rush of sexually dominating a woman. All of our language about sex hints at the connection between sex and violence. There is no escaping the reality that the physical act of intercourse itself, as it is most often performed, involves a man violently pushing himself inside a woman in a wild, heightened, animalistic state of mind he rarely achieves in civilized life.

It’s not too much to ask to require men to make sure they have permission to engage in this ancient, ecstatic power play, since both men and women are having far more casual sex with far more partners than they were 100 years ago. But you don’t have to redefine masculinity to do that, since, as we all know, rape is already taboo.

Women are not stupid. They see this primal violence in male sexuality. They perceive their role it in it and it both excites and terrifies them, because they know that the delicate spirit of “equality” is exorcised in the frenzy of fornication.

Feminists taught the slogan that “rape is not about sex, it’s about power,” but only a few of them were willing to admit that sex is almost always about power, too.

Women are uncomfortable admitting that they enjoy the violent, dominant nature of male sexuality, especially in a political context. That they enjoy being dominated by men–at least in the bedroom, if only in the bedroom–is so politically volatile that it’s become an unspeakably dirty little secret for the new church ladies.

While it is true that women enjoy sex, they are also pragmatic and especially interested in safety and security. If there has been a “war of the sexes” raging throughout human history, men have almost always been the victors, precisely because they are bigger and stronger, more willing to take risks, and more inclined to be violent. Women see the potential for violence in men and they recognize that it is the greatest threat to the new order of society–their order. A majority of women in the developed world now have more political and economic power now than they ever have in human history, and this increase in status is utterly dependent on the continued pacification of men.

So they lie. They lie about male sexuality the way men lied about female sexuality.

They’re willing to trade satisfying sex for quasi-coital man-milking if it means holding on to their newfound political and economic power. They’re willing to use the tragedy of rape as a tool to cow men morally–to make normal, decent men prostrate themselves to prove they are not rapists or enablers of rape. As with “privilege,” men will always be guilty until proven innocent, and no matter what they do, no matter how they dishonor themselves, they will never be innocent enough. To release men from guilt is to relinquish power over them, and this power has already corrupted the hearts of the women who revel in it and gain from it.

Rape culture is a lot like racism. Maybe they should just call it “rapism.” It’s an abstract “evil” that a certain group, in this case women, reserves the right to identify and use to manipulate another group, in this case men, into increasingly defensive and impotent positions. As long as they can keep men apologizing, they can keep controlling them.

The continued success of feminism requires the ongoing construction of guilt cultures designed to mould men into a safer and more passive population. Corporate and banking interests want this, because ornery, violent groups of men unsupervised by women are a threat to established interests, property and supply chains. Pacified men also make better employees and consumers.

Feminists may merely be useful idiots to these bigger interests, but they are getting what they want out of the bargain for the time being. They want, as they have wanted for decades, to eliminate proscribed female gender roles and the ability of men to limit female behavior. They want men to “reimagine” a masculinity without violence or dominance. Masculinity without themes of violence or dominance may have no precedent, no history, and it may be completely at odds with physiology and human evolution, but male pacification is the key to female political and economic power.

These women are willing to do whatever they have to do to retain and gain that power, even if it means exploiting victims of rape to do it.

No Comments on ‘Rape Culture Isn’t About Sex, It’s About Power’

Type on the field below and hit Enter/Return to search