The Arts and Culture

Dragged Across Concrete (2019) and the Art of Cinematic Trolling

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The author writes at Logical Meme and @Logicalmeme.
9125 words

Since the 1960s, there have been sporadic reactions in film against emergent liberal hegemonies in culture. In the early 1970s, when the social changes borne of the countercultural 1960s were, in very short order, becoming the mainstream culture and translating into the disastrous social policies of that era, there were occasional sympathetic depictions from Hollywood which channeled White discontent and a growing White male anxiety — for example, Dirty Harry (1971), The French Connection (1971), Death Wish (1974), and Taxi Driver (1976) — but by the 1990s, articulation of this anxiety (which, as a sociological phenomenon became hardened, not softened, through decades of collective experience) was largely expressed, ironically, through unsympathetically depicted characters — for example, Falling Down (1993) and American History X (1998)[1].

Since this time, the Hollywood filmmaking pipeline has become thematically constricted by a radical surge of political correctness and leftwing, agenda-driven depictions of race and racial conflict. Unspoken rules ensure that any film dealing with race ultimately settles on the side of predictable, leftwing, social justice platitudes. (Various Oscar-winning films of recent years attest to this.) As such, when it comes to subjects such as racial conflict, the effects of mass immigration, or the plight of Whites in America, there is simply no diversity of opinion coming out of Tinseltown. Creatively, this has led to a metastasizing sameness, a bland and boring creative funk, to mainstream films that touch upon such subjects.

In terms of the sociology of filmmaking, the significance of Mel Gibson’s The Passion of the Christ (2004) was to demonstrate — in stark, jaw-dropping, financial terms — the profound imbalance between the demand for ‘conservative’ films and the sparse supply of such films coming out of a leftwing, Jewish-dominated Hollywood system. Passion was independently produced and distributed by Gibson’s Icon Productions, going on to earn over $600 million worldwide, and currently stands as the highest-grossing R-rated movie in history. (The film also confronted strong rebuke and charges of anti-Semitism from prominent Jewish individuals and organizations.) Gibson’s next film Apocalypto (2006), also produced by Icon Productions, depicted violent, genocidal, tribal conflict in sixteenth century Mexico, and alluded to the eclipse and decline of Mayan civilization, emphasized in the film’s penultimate scene of Spanish Christian conquistadors arriving by ship to the jungle’s coast, with the indigenous locals looking on in awe. (Not surprisingly, Apocalypto was castigated in some quarters for harboring racist and colonialist apologetics.) Read more

M. R. James and Saki: Two Literary Greats and their Anti-Semitism

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Megalomaniacs dream of ruling the world. Philosophers dream of understanding it — ideally from an armchair. Armchair-understanding is what I’m going to attempt in this article. After all, armchairs are good places for reading. I want to take two short stories by famous English writers and use them to address an important question: Do Jews seek to control gentile societies for their own ends?

Serpents and Waspes

This is also a dangerous question. Any Westerner who answers it in the affirmative will certainly lose his reputation and might lose his income and liberty too. These negative consequences prove the wickedness of the proposition, of course, and not its truth. Or do they? The writers M.R. James (1862–1936) and Saki, born Hector Hugh Munro (1870–1916), might have said otherwise. Each of them was responsible for poisoning the well of English literature with doses of anti-Semitism, which is sometimes called the Longest Hatred.

Painting by Burne-Jones for “The Prioress’s Tale”

It’s called that with good reason: the well had already been poisoned for centuries when those two writers were born. Geoffrey Chaucer (c. 1342–1400) is known as the “Father of English Literature” and was the author of The Canterbury Tales, which dates from about 1380. He wrote in “The Prioress’s Tale” of a pious Christian child ritually murdered by Jews at the instigation of “the serpent Sathanas,/That hath in Jewes herte his waspes nest … .” (see modern version) In the tale, a miracle reveals the crime to the grieving mother and the Jews responsible are hanged. Chaucer concludes his hate-narrative with a prayer to “yonge Hugh of Lyncoln, slayn also/With cursed Jewes.” Read more

Review of “The Bent Pyramid” By Tito Perdue

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The Bent Pyramid
By Tito Perdue
Arktos Media, 2018
128 Pages

Audio version of this review:

Isolated high on Old Hag Mountain in North Carolina lies an enormous library and research institute known as The Ark. The Ark is peopled with elitist, reactionary, revolutionary-minded scholars, scientists, and rich eccentrics, each fascinating in his own idiosyncratic way. Among them there’s a chemist, a botanist, a “well-known and highly controversial historian and litterateur,” a youthful mathematics prodigy, a brilliant if depressive astrophysicist, a French neo-Jungian psychologist, two bioengineers, two Latin translators, a former professor with doctorates in more than one of the social sciences, a Triassic paleontologist, an ophthalmologist with a penchant for Plato, and quite a few others.

These “geniuses or near geniuses” dwell far from the madding mob of degenerates that occupy anti-White multiracial America. They are “people devoted heart and soul to excelsior things.”

When, for instance, the newly arrived ophthalmologist (divorced, recently retired at 57, and world-weary) is asked why he wishes to spend his remaining years haunting the magnificent library, he answers simply:

“I want to think. I want to think, and then I want to die.”

The Ark is indeed a place to think, a place to dream, to engineer technological marvels and discover scientific wonders; a place to write great works and translate newly-discovered ancient texts. It is a haven for those who long to instaurate Western Civilisation and turn the world around.

“To think is to be blamed,” however. And for the thought criminals who inhabit The Ark—White, traditional, heterosexual males—to think is to be persecuted. Read more

Neovictorian reviews “Love in the Age of Dispossession” by Loretta Malakie

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Love in the Age of Dispossession
Loretta Malakie

This is a deceptive book.

Oh, it delivers what it promises, and more, but in the beginning there’s a little essay about the decline of rural America, farm country (in this case, Upstate New York) and Le Grande Remplacement. Then for a while it plays at being a Generation X teen romance. A high school Goth girl is sitting on a park bench in a small town in Upstate New York: “It’s 1993, and when a boy loved a girl he made her a mixtape.”

Catherine “Kitty” Burnes is an Irish-Catholic wannabe rebel who’s been accepted at Ivy League schools, but there’s a sense that Something Is Not Right with her world. The first part of the novel subtly hints at the coming troubles, the emptying and degradation of small town America and the great White die-off that would follow. But on first reading you might think it’s something else, an almost photo-realistic description of one young American woman’s life, upwardly mobile, out of the sticks and away from the hicks and on to New York City, the vibrancy and the multiculturalism and the thousand different ethnic restaurants. The media ecology around her—and us—relentlessly tells us this is what we want, the pinnacle: Freedom! Freedom from, from neighbors who know your business, your stupid high school friends and limits on your “self-expression” and, most of all, freedom to have sex when you want, with whom you want, without pain or fear or guilt. By the time Kitty arrives to live as an adult in New York, the relentless propaganda for Erica Jong’s Zipless Fuck is well into its second generation. And instead of fulfillment, it delivers anomie.

The sequence of events here is a deadpan, devastating parody of what Cosmopolitan and Sex and the City and a score of network comedies have sold to rest of America as The Good Life: Kitty goes to Cornell, Kitty goes to Europe (though we read only the barest details of her time there), Kitty goes to New York City, Kitty goes to law school and clerks for a federal judge. And none of it satisfies or fulfills or brings any real happiness, because she’s detached, from her people and her nature as a woman. She knows something is wrong. Always something is missing.

It’s tribe that’s missing, the home ground, people who know you, knew you as a towheaded child and still see that sun-kissed hair when you pass them on the street as an adult, people who know what to expect from you. New York is the land of constant, wearing uncertainty, except for those for whom it is the home ground. Read more

Doubling Down on the Art of Dying Review of Tito Perdue’s novel, “Philip”

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Philip
Tito Perdue
Arktos, 2017

Each autobiographical novel conveys a writer’s hidden quest for his cryptic double. As a rule, the double always resides in the author’s close proximity. In the same vein a reader will fall in love with the author’s novel if he can detect in it bits and pieces of his own strayed-away double. In all of his novels Tito Perdue’s lead character, Lee Pefley, mirrors not just the author’s own feelings of gloom and doom, but also bears witness of what he sees as the unstoppable death of the West. Although the lead character is Purdue’s own double, he wisely avoids the personal pronouns ‘me’ or ‘I’, never indulging in his own hidden ego trips. Instead, Purdue uses a gallery of characters from everyday life—characters that an average reader can easily identify with. Surprisingly, in his latest novel, Philip, we do not meet much of Purdue’s double, i.e. his doppelganger Lee Pefley, although, toward the end of the novel, Lee does briefly show up, his main role being to berate Philip on ars moriendi—the art of dying.

The hero of the novel, Philip, who is past the age of 30, is a well-educated, well-groomed, and a good-looking Southerner. He holds the enviable position of a supervisor in a subdivision of a company dealing with international trade. Most of Philip’s employees are women who swoon each time he walks by their cubicles and who would be willing to strip naked in public in order to secure a romance with their boss. Philip, however, is not a womanizer; nor is he, despite his Southern charm, a sex-obsessed macho man. He is not after women; they are after him. Philip is quite content, however, with his choice—a rather aged New York hooker well-versed in the art of caring for his biological needs and who never ever bothers to investigate his hidden transcendental thoughts. Read more

Jewish Leftist Activism in Children’s Fiction

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“From the very beginning—that is, from the publication of the first book specifically for children — the intent was to mold and shape the mind to accepted standards of behavior.”
Saul Braun, The New York Times, June 7, 1970.

This article is the product of research originally conducted for a recent article titled “Jews, Obscenity, and the Legal System.” Given the significant amount of material discovered and the uniqueness of the subject matter, I decided there was enough material for an article devoted to children’s literature. During research for the obscenity essay, I consulted the American Library Association’s list of “Top 100 Banned/Challenged Books: 2000–2009” with a view to assessing the nature and extent of the Jewish presence. The first fact to become apparent was a marked Jewish over-representation in the production of books deemed controversial or perverse by parents, schools, and other institutions. Jews are notoriously shy of the census, but are probably somewhere between the 2.2% of the U.S. population suggested by the Pew Research Center and a maximum of around 5%. Even accepting a grain of truth in the apologetic argument that Jews are disproportionately attracted to literary professions (to say nothing about motive), one might very generously expect a Jewish representation of around 10 books on the ALA’s list.

However, my biographical checks on all authors on the list, some of which were indeterminate, revealed that 22 books on the ALA’s list were penned by 17 Jewish writers.[1] Jews are thus significantly over-represented in producing contemporary literature deemed oppositional by the surrounding culture, and are even more radically over-represented when older, White-authored, entries such as The Adventures of Huckleberry Finn (now often opposed as ‘racist’) are taken out of consideration. Since the majority of entries on the list were children’s books, and taking into account my previous discoveries concerning Jewish manipulation of demand for ‘diverse books’ in the school system, it occurred to me that children’s literature is an important, but sometimes neglected, front in the cultural conflict we see played out daily. This article is therefore intended as a brief introduction to some of the most pertinent personalities and themes in the area of Jewish Leftist activism in children’s fiction.

A great deal of Jewish radical activism in the cultural sphere comes under the umbrella of the general relationship between Jews and the Left. This relationship can historically be understood as involving Jewish innovation of, or support for, social, cultural, and political causes likely to weaken the cultural structures of the host society and make it more amenable to Jewish interests. In the chapter titled “Jews and the Left” in The Culture of Critique (p. 50 )Kevin MacDonald cites Stanley Rothman and S. Robert Lichter, who remarked in their Roots of Radicalism: Jews, Christians, and the New Left (1982): “Whatever their situation…in almost every country about which we have information, a segment of the Jewish community played a very vital role in movements designed to undermine the existing order.” MacDonald argues that superficial divergences between Jewish religion and radical agendas are negated by the fact many ethnically Jewish radicals have persisted in adhering to a strong Jewish identity, and have often explicitly pursued Jewish interests. MacDonald writes (p. 51): “The hypothesis that Jewish radicalism is compatible with Judaism as a group evolutionary strategy implies that radical Jews continue to identify as Jews.”

I argue that the material presented in this essay should be seen firmly within the same theoretical framework proposed by MacDonald. For example, several of the Jewish writers under consideration here are homosexuals, radical socialists, and feminists. A common apologetic from “Jews on the Right,” is that such figures are anathema to Judaism, or that as adherents of the Reform movement etc., they are unrepresentative of “true Jews.” The contention here is that the situation is quite the opposite, and I stress that many of these writers are demonstrably committed to Jewish tradition and the Jewish group. Read more

“Envying the cruel falcon”: The Anti-Liberal Poetry of Robinson Jeffers Part Two of Two

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This America settles in the mould of its vulgarity, heavily thickening to empire “Shine, Perishing Republic”

Go to Part One.

Modern man’s spiritual and physical weakness, in the understanding of Jeffers, is not just a cause for despair, but is mortally dangerous. In “The Purse-Seine” (1938) the poet recalls watching sardines being gathered in by fishermen at night, and is reminded of this again one evening while looking over a city from a mountain-top. Like the sardines, he imagines the masses of weak and dependent people below being gathered in and controlled by an all-powerful government:

Lately I was looking from a night mountain-top
On a wide city, the colored splendor, galaxies of light:
how could I help but recall the seine-net
Gathering the luminous fish? I cannot tell you how
beautiful the city appeared, and a little terrible.
I thought, We have geared the machines and locked all together
into inter-dependence; we have built the great cities; now
There is no escape. We have gathered vast populations incapable
of free survival, insulated
From the strong earth, each person in himself helpless, on all
dependent. The circle is closed, and the net
Is being hauled in. They hardly feel the cords drawing, yet
they shine already. The inevitable mass-disasters
Will not come in our time nor in our children’s, but we
and our children
Must watch the net draw narrower, government take all
Powers — or revolution, and the new government
Take more than all, add to kept bodies kept souls — or anarchy,
the mass-disasters.

Read more