What was the greatest artwork of the twentieth century? Some would choose a painting by Picasso or Rothko, a sculpture by Brancusi or Epstein, an installation by Kapoor or Weiwei. Not me. I don’t like any of those artists and I don’t like the ugly art that is so characteristic of the twentieth century. No, I would choose something by General Dynamics. For me, the greatest artwork of the twentieth century was an aircraft called the F-16 Fighting Falcon.
The greatest artwork of the 20th century: a General Dynamics F-16 Flying Falcon (Wikipedia)
The defense company General Dynamics didn’t intend the F-16 to be a work of art, but that’s what it turned out to be. It literally embodies something that was driven out of officially approved art during the twentieth century by circles of critics, academics, and art dealers dominated by Jews. What was that something? Simple: it was beauty. The F-16 is an extraordinarily beautiful aircraft. You can see that even when it’s sitting stationary on a runway. But its beauty comes fully alive only when it leaps aloft and flies. The F-16 is very good at flying. Flight is itself a beautiful thing, allowing a privileged few to “slip the surly bonds of earth” and enter a new realm full of new possibilities. Humans must have dreamt of flying since far into prehistory. “Birds do it, bees do it, bats and butterflies do it — why can’t we do it?” That question must have been asked many times in many languages down the millennia. The answer, of course, is that flight is very difficult. Birds, bees, bats, and butterflies all evolved to do. Humans got there indirectly, using their extraordinary brains.
Knights of the air
But it wasn’t all humans who could have done that. You can marvel at the F-16 not just for its mechanical and acrobatic beauty, but also for reasons that must remain unspoken in the modern world. The F-16 is a glorious embodiment of White male genius, a kind of metallic and mechanical flower on the tree of Western civilization. Flowers are beautiful, but they can’t exist in isolation. Nor could the F-16. If you were writing a full history of its creation, you’d have to include not just the team of White men at General Dynamics that designed it and built it and got it into the air, but also the teams of White men and the individual White male geniuses who invented or mastered all the things that went into its creation: metals, fuels, electricity, the mechanics and mathematics of flight, the jet engine, computing, and so on.
And a fighter-plane like the F-16 doesn’t just preserve the beauty that has been driven out of modern art: it also preserves the chivalry that has been driven out of modern warfare. “Chivalry” is related to the French cheval, “horse,” because the code of chivalry was forged by White horsemen acting as individuals, not as a horde. A single knight rode a single horse and relied on his individual skill and courage to triumph in battle. An F-16 pilot is a knight of the air riding a mechanical steed. But what would happen if any mainstream figure today tried to celebrate the F-16 in those terms? “This beautiful aircraft is a glorious embodiment of White male genius and gallantry!” The shrieks of outrage would be deafening and the mainstream figure would immediately cease to be mainstream. Such a person would be driven out of decent society for espousing “white supremacism.”
Slaughtering goyim by the multi-million
In other words, they would be punished for speaking the truth. White men have indeed been supreme in achievement and endeavour during the modern age. Indeed, they created the modern age. Without them, humans would not have perfected flight and there would be no F-16. But I think that White men have achieved so much partly because they’re not obsessed with themselves and with advancing their own interests. Instead, they’re obsessed with what’s out there in reality: everything from sub-atomic particles to protozoa to blue whales to the Universe as a whole. But the exotropism of White men — their orientation outward and away from themselves — is what renders them vulnerable to the endotropism, or inward orientation, of other groups.
That’s why I find it so ironic and appropriate that the F-16, that glorious embodiment of White male genius, is scheduled to enter the Ukraine war, that ugly embodiment of Jewish malevolence and meddling (not to mention a major component of the Israeli Air Force as a result of American largesse). White male genius and the beauty it creates have been co-opted to serve the interests of a group that’s isn’t merely selfish but also actively hostile to White men. Jews are highly endotropic: they’re obsessed with themselves and with advancing their own interests. And with punishing their enemies.
The Ukraine war is part of a much bigger and longer war that Jews have waged against the great White Christian civilization of Russia, which they envy and resent both for its achievements and for its resistance to their predation and parasitism. When Jews came to power in that part of the world after the Bolshevik Revolution, they slaughtered goyim by the multi-million. One not-so-notorious episode of Jewish revenge was the Holodomor, the deliberate slaughter-by-starvation of millions of Ukrainians in the 1930s.
Anatoly’s Anglo: the obviously Jewish Melinda Simmons, British ambassador to Ukraine
I feared that another tragedy was about to be inflicted on Ukraine by Jewish malevolence when I saw a photo in 2021 of Melinda Simmons, the new British ambassador to Ukraine. Sadly, I was right. The great Judeo-Christian transhumanist Anatoly Karlin identified Ms Simmons at the Unz Review as an “Anglo,” but that’s because truth and transhumanism don’t always mix. The photo revealed Melinda Simmons to be ugly, ill-dressed, and unshapely in a characteristically Jewish way. And yes, she’s definitely Jewish: the Jewish Chronicle sardonically called her “Our woman in Kyiv” (a British ambassador is traditionally called “our man in X,” but it’s reasonable to think that the Chronicle meant that Simmons was working for Jewish interests).
Ugly faces in high places
Ukraine is famous for the beauty of its women, so it’s again appropriate and ironic that Clown World chose an ogress like Simmons as one of its ambassadors there. Indeed, Jewish News boasted of how her appointment “completes a unique triumvirate, with Ukraine now having a Jewish ambassador from the UK, Prime Minister and President.” With Jews in such high places, it’s not surprising that Ukraine was about to be brought very low. Russia was finally pushed too far by the repeated provocations of Clown World, as the Jew-dominated West is so well-named, and invaded Ukraine in February 2022.
Ugly faces in high places: British ambassador Melinda Simmons greets Ukraine president Volodymyr Zelensky
I would call this a triumph of Jewish barbarism in a region that was once proverbial as a land of barbarians. In the classical world, the Scythians were known as savages who lived outside civilization. Modern Ukraine was part of the Scythian homeland. But although the Scythians were barbarians, they weren’t barbarous. They could appreciate and create beauty, as we can see in the gorgeous Scythian jewelry that been dug up by archaeologists. Their craftsmen worked in gold because gold is beautiful, durable, and malleable, taking fine details that would never tarnish or corrode. That’s why we can marvel at the beauty of Scythian art millennia later, when beauty has been driven out of art by the same Jewish tribe that has dragged part of the ancient Scythian homeland into bloody and barbarous war.
Barbarians but not barbarous: some Scythian artwork in glorious gold
Some repulsive modern art by Jean Dubuffet, Dhotel nuance d’abricot (1947)
But the war in Ukraine has not gone the way that Jewish neo-cons wanted it to and expected it would. Despite the highly expensive war-tech supplied by Clown World to Ukraine and the repeated predictions of Russian exhaustion or collapse, the evil Christian tyrant Vladimir Putin seems to be in a much better position than the heroic Jewish freedom-fighter Volodymyr Zelensky. Having put his playing-piano-with-his-penis comedy behind him, Zelensky began calling long ago for the West to supply Ukraine with aircraft. Back then, even Joe Biden didn’t think this would be a good idea. Now Clown World changed its minds and F-16s are reported to be on their way (along with other advanced American military technology such as HIMARS artillery and the Patriot missile defense system). If so, some very beautiful White aircraft will be put to some very ugly Jewish ends.
Bond of blood, not mishmash of migrants
It’s a classic case of co-option and coercion. Jews could never have created the F-16 on their own. After all, they could never have created Western civilization and the Industrial Revolution on their own. But who needs to create when you can co-opt and coerce? As Kevin MacDonald has exhaustively documented, the Jews who emigrated to the great White nation of America in the nineteenth and early twentieth centuries had everything they needed to subvert and subdue their White gentile hosts: ethnocentrism, intelligence, psychological intensity, and aggression. One major triumph of Jewish subversion was the recasting of America as a “nation of immigrants.”
This is a complete contradiction in terms. As its etymology suggests, a nation — from nasci, Latin for “to be born” — is a bond of blood, not a mishmash of migrants. America is no longer a true nation and no longer serves the interests of the Whites who created it. Instead, America serves the interests of Jews. That’s why beautiful F-16s will be sent to Ukraine at the behest of ugly Jews like Melinda Simmons. It’s yet another example of how Clown World can co-opt, coerce, and corrupt, but can’t create. That’s presently its strength. Sooner or later, it will become a fatal weakness.
Appendix: Some Winged Words
I quoted above a little of a famous poem by the American aviator and poet John Gillespie Magee (1922–41). Here’s the rest of the poem, which Magee wrote in the year of his death after flying to 33,000 feet in another beautiful aircraft called the Spitfire:
Oh! I have slipped the surly bonds of Earth
And danced the skies on laughter-silvered wings;
Sunward I’ve climbed, and joined the tumbling mirth
Of sun-split clouds, — and done a hundred things
You have not dreamed of — wheeled and soared and swung
High in the sunlit silence. Hov’ring there,
I’ve chased the shouting wind along, and flung
My eager craft through footless halls of air…
Up, up the long, delirious burning blue
I’ve topped the wind-swept heights with easy grace
Where never lark, or ever eagle flew —
And, while with silent, lifting mind I’ve trod
The high untrespassed sanctity of space,
Put out my hand, and touched the face of God.