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Jewish Partisan Warfare During WWII

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The recurring theme of Jewish suffering during World War II in 1990s movies (Schindler’s List) has gradually shifted to the image of the outsmarting Jew (The Counterfeiters, 2008) and even the resisting Jew (Defiance, 2008). This shift of focus has not been to the benefit of the image of the Jewish victim, because it exposes Jewish crimes as well. The main character in The Counterfeiters is a petty criminal who is willing to work for the German war effort, but the movie “Defiance” has opened up the historical Pandora’s box of Jewish partisan violence and collaboration with the Soviets.

The Bielsky Brothers

The Bielski Brothers

The true story of the Bielski brothers, on which the movie Defiance is based, is actually more interesting than the movie. In the 1930s the Bielski family were grocers and millers (N. Tec, Defiance: The Bielski Partisans, Oxford University Press 1993) in what was then a border town between Poland and the Soviet-Union and now is situated in Belarus. When the Soviet-Union invaded Poland in 1939 on the basis of the Molotov-Ribbentrop Pact, the Bielski family collaborated with the communist occupiers as the Polish newspaper Gazeta Wyborcza (Jan. 6, 2009) points out. This resulted in a breach with the predominantly Roman-Catholic Polish population, which saw the Soviets as the oppressors of the Polish language, culture and religion. Ten of thousands Polish officers and intelligentsia were executed and hundreds of thousands ordinary Poles were deported to forced labour camps in Siberia as a direct result of Soviet occupation between 1939 and 1941. Read more

A Dissident Meditation on Jewish Identity: A Review of Gilad Atzmon’s “The Wandering Who?”

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Gilad Atzmon, The Wandering Who? A Study of Jewish Identity Politics (Winchester, UK and Washington, DC: Zer0 Books, 2011, 202 pp.)

Gilad Atzmon is one of those rarest of all birds—the sort of person who would be called a “self-hating Jew” by Jewish activists. Except that he doesn’t really hate himself and really doesn’t have much of a Jewish identity at all. He is an honest leftist who happens to be of Jewish origin; or perhaps one should label him a liberal devoted to the values of the Enlightenment,  without the typical Jewish blinders. Although he has a few blinders of his own, he sees quite clearly the incompatibility of Zionism with post-Enlightenment Western civilization.

For Atzmon, Zionism is all about Judaism as racial identity politics, ethnic cleansing, and manipulating Western governments via the Israel Lobby. As a child growing up in Israel, “supremacy was brewed into our souls, we gazed at the world through racist, chauvinistic binoculars. And we felt no shame about it either” (p. 2). He began his journey of embracing the West as a result of immersion in jazz. Eventually, “I somehow already yearned to become a Goy or at least to be surrounded by Goyim” (p. 7).

For Atzmon, the racialism so fundamental to Zionism is an aberration from Judaism the religion. He has no problem with people who “regard themselves as human beings that happen to be of Jewish origin.” The problem arises with “those who put their Jewish-ness over and above all other traits” (p. 16). This sort of Jewish essentialism was central to Zionism from the beginning, often with strong racialist overtones. Quoting Vladimir Jabotinsky, the father of the Israeli right:

A Jew brought up among Germans may assume German customs, German words. He may be wholly imbued with that German fluid but the nucleus of his spiritual structure will always remain Jewish because his blood, his body, his physical racial type are Jewish. Read more

National Suicide: Review of Pat Buchanan’s “Suicide of a Superpower”

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Pat Buchanan, Suicide of a Superpower (New York: Thomas Dunne, 2011, 496pp.).

Pat Buchanan takes the gloves off in his new book.

During a question and answer session after his Bradley Lecture on “the State of White America,” author Charles Murray called on Sam Kazman, general counsel of the Competitive Enterprise Institute. He prefaced his question with this dictum, “there will always be an America, it just may not be in the United States.”

The sentiment captures the sweeping transformation of American society since the mid-1960s — a society that was largely European (in values, population, culture, and folkways) now is on a demographic trajectory to become a majority-minority cesspool by 2050 with the White population declining to minority status.

An apt description of American society isn’t merely the metaphorical “salad bowl” replacing the “melting pot” — the lettuce is a vanishing ingredient!

The quintessential dilemma that seems to be on the minds of more and more Middle Americans is the question Pat Buchanan poses in the preface of his latest book: “What happened to the country we grew up in?” It is a question weighing heavily on the minds of Midwesterners and other citizens as they see their communities rapidly becoming Third World sinkholes.

The question is one that preoccupies Buchanan in Suicide of a Superpower. It is indisputably his boldest and most passionate assessment of our nation’s fate — an America vanishing before our eyes.

As Buchanan notes, the nation of our forefathers will be unrecognizable to future generations of Americans. It is, as he puts it, a country that lost a nation. Read more

Extreme Sports as a Context of Implicit Whiteness

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A reader sent along this video of Jeb Corliss, an extreme athlete, flying through the Alps.

httpv://www.youtube.com/watch?v=TWfph3iNC-k

Here’s extreme surfer Laird Hamilton surfing waves so big that he has to be towed into the path of the wave.

httpv://www.youtube.com/watch?v=pYQQtxb8wv0&feature=related

Corliss and Hamilton are White, and being White seems to be part of a pattern for extreme athletes. The reader also sent a link for Revolt of the White Athlete: Race, Media, and the Emergence of  Extreme Athletes in Amerca (2007), an academic book on the phenomenon which is predictably bogged down with words like ‘interrogate’ (as in “interrogating the racial, gender, and nationalistic aspects of Generation X discourse) and using ‘privilege’ as a verb (as in a complaint about a scholar who [Gasp!] “implicitly privileged the contributions, perspectives and interests of white men over and against all others”).

The author is Kyle Kusz who was rewarded for his efforts by being nominated for the Multicultural Center Diversity Award at the University of Rhode Island where he teaches. Kusz notes that he was inspired to enter the field of cultural aspects of sports by taking a sport sociology class taught by Dr. Stephen Mosher at Ithaca college.

What we have here is a clear case of implicit Whiteness, but of course Kusz takes a typical cultural Marxist attitude towards his subject.

Extreme athletics is where “white everymen perform supra-normal athletic feats in high-risk sporting activities like BASE jumping and sky surfing. Extreme sports are also portrayed as sporting activities which have revived a sense of traditional American masculine values and pursuits: rugged individualism, conquering new frontiers, and achieving individual progress” (p. 63). Predictably, for Kusz, engaging in such sports by Whites is the politics of backlash and resentment that “attempt to deny the racialized privileges of whites while masking (and thus ensuring the reproduction of) asymmetrical relations of power in the present. [They are also an attempt] to reverse the minimal gains made by historically marginalized groups since the 1960s” (p. 69).

BASE jumper jumping off a building

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The Southern Point: Bardic Dynamic, Pt. 2

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Westward the Course of Empire Takes Its Way – Emanuel Leutze

“The study of literature is hero-worship. It is a refinement, or, if you will, a perversion of that primitive religion.”

Ezra Pound, from The Spirit of Romance

The Bardic Dynamic focuses on the magnetic relationship between a speaker and an audience and the communication of a fundamental series of ideas. Traditional examples of this can be found in the great epic poems of Western Civilization. Ezra Pound believed that before about 1750 or so, the quintessence of Western man could only be found in poetry (Pound, 31). The context of these older texts is often an address made by one who remembers to those who may have forgotten. The bard or poet was the “keeper of memories.” This is a very different conception than that which has developed in contemporary times with the hip-hop rapper and his thousand miles a minute ebonicspeak, backed with heavy bass beats or the coffee-house Ginsberg wanna-be railing against, well, against G.I. Joe Whitey, of course. Who else? Read more

Mark Rothko, Abstract Expressionism and the Decline of Western Art, Part 3

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Abstract Expressionism and the Culture of Critique

Abstract Expressionism was disproportionately a Jewish cultural phenomenon. It was a movement populated by legions of Jewish artists, intellectuals and critics. Prominent non-Jewish artists within the movement like Jackson Pollock and Robert Motherwell married Jewish women (Lee Krasner and Helen Frankenthaler). Willem de Kooning defied the trend, although he generally had to ingratiate himself with the overwhelmingly Jewish intellectual and cultural elite focused around the journal Partisan Review which was ‘dominated by editors and contributors with a Jewish ethnic identity and a deep alienation from American cultural and political institutions.’[i]

It was an art movement where the culture of critique of Jewish artists and intellectuals, frustrated that the post-war American prosperity based on Keynesian foundations had prevented the coming of socialism, turned inward and instead “proposed individualistic modes of liberation.” This mirrored the ideological shift that occurred among the New York Intellectuals generally who had “gradually evolved away from advocacy of socialist revolution toward a shared commitment to anti-nationalism and cosmopolitanism, ‘a broad and inclusive culture’ in which cultural differences were esteemed.”[ii] Doss notes how this ideological shift manifested itself among the post-war artists who became the Abstract Expressionists:

As full employment returned, New Deal programs were terminated — including federal support for the arts — the reformist spirit that had flourished in the 1930s dissipated. Corporate liberalism triumphed: together, big government and big business forged a planned economy and engineered a new social contract based on free market expansion… With New Deal dreams of reform in ruins, and the better “tomorrow” prophesied at the 1939-1940 New York World’s Fair having seemingly led only to the carnage of World War II, it is not surprising that post-war artists largely abandoned the art styles and political cultures associated with the Great Depression.[iii]

The avant-garde artists of the New York School instead embraced an “inherently ambiguous and unresolved, an open-ended modern art … which encouraged liberation through personal, autonomous ‘acts’ of expression.” The works of the Abstract Expressionists were “revolutionary attempts” to liberate the larger American culture “from the alienating conformity and pathological fears [especially of communism] that permeated the post-war era.”[iv] Rothko claimed that “after the Holocaust and the Atom Bomb you couldn’t paint figures without mutilating them.” His friend Barnett Newman remarked that if people only read his paintings properly “it would mean the end of all state capitalism and totalitarianism.”[v] Read more

Mark Rothko, Abstract Expressionism and the Decline of Western Art, Part 2

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Creating a new “American” Art

Before the rise of Abstract Expressionism, the American art scene after World War I was defined by two main currents. The first were what one might call the Regionalists (e.g. Grant Wood, Thomas Hart Benton and John Steuart Curry) who used their own signature styles to portray the virtues of the hard-working rural American population. In the second group were the artists of Social Realism (e.g. Ben Shahn and Diego Rivera), whose work reflected urban life during the Great Depression, and reflected a preoccupation with international socialism.

Neither of these two schools was interested in abstract art. Despite the leftwing view of the social realists, both groups held rather conservative attitudes on figurative representation. Yet, even as these two styles dominated, the artists of the nascent New York School “met frequently at the legendary Cedar Bar, where they discussed their radical theses. They argued endlessly about the problems of art, about how to effect a total break with the art of the past, about the mission of creating an abstract art that no longer had anything to do with conventional techniques and motifs.”[i]

Spring in the Country by Grant Wood (1941)

The Museum of Modern Art did not yet exist; the Metropolitan Museum tended to “look down its WASP patrician nose at modernism”; and the Whitney favoured exactly the kind of American painting young Rothko most despised: scenic, provincial, anecdotal, and conservative.[ii] For a Jewish outsider like Rothko, who in 1970 declared that he would never feel entirely at home in a land to which he had been transplanted against his will, urban America was his America.

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