Translated from the German and with an Introduction by Tom Sunic

Friedrich Georg Jünger (1898-1977)

Introduction: Titans, Gods and Pagans by Tom Sunic

Below is my translation of several passages from the last two chapters from Friedrich Georg Jünger’s little known book, Die Titanen, 1943, 1944 (The Titans). Only the subtitles are mine. F.G. Jünger was the younger brother of Ernst Jünger who wrote extensively about ancient Greek gods and goddesses. His studies on the meaning of Prometheism and Titanism are unavoidable for obtaining a better understanding of the devastating effects of the modern belief in progress and the role of “high-tech” in our postmodern societies. Outside the German-speaking countries, F.G. Jünger’s literary work remains largely unknown, although he had a decisive influence on his renowned brother, the essayist Ernst Jünger. Some parts of F.G Jünger’s other book, Griechische Götter (1943) (Greek Gods), with a similar, if not same topic, and containing also some passages from Die Titanen, were recently translated into French (Les Titans et les dieux, 2013).

In the footsteps of Friedrich Nietzsche and along with hundreds of German philosophers, novelists, poets and scientists, such as M. Heidegger, O. Spengler, C. Schmitt, L. Clauss, Gottfried Benn, etc., whose work became the object of criminalization by cultural Bolsheviks and by the Frankfurt School in the aftermath of WWII, F. G. Jünger can also be tentatively put in the category of “cultural conservative revolutionaries” who characterized the political, spiritual and cultural climate in Europe between the two world wars.

Ancient European myths, legends and folk tales are often derided by some scholars, including some Christian theologians who claim to see in them gross reenactments of European barbarism, superstition and sexual promiscuity. However, if a reader or a researcher immerses himself in the symbolism of the European myths, let alone if he tries to decipher the allegorical meaning of diverse creatures in the myths, such as for instance the scenes from the Orphic rituals, the hellhole of Tartarus, or the carnage in the Nibelungen saga, or the final divine battle in Ragnarök, then those mythical scenes take on an entirely different meaning. After all, in our modern so-called enlightened and freedom-loving liberal societies, citizens are also entangled in a profusion of bizarre infra-political myths, in a myriad of weird hagiographic tales, especially those dealing with World War II vicitmhoods, as well as countless trans-political, multicultural hoaxes enforced under penalty of law. Therefore, understanding the ancient European myths means, first and foremost, reading between the lines and strengthening one’s sense of the metaphor. Read more

Mjolnir website: http://www.mjolnir-magazine.com

It must be self-evident to all those who consider themselves in some way politically right-wing that the left has achieved cultural hegemony throughout the Occidental world. Virtually every film, every television series, every soap opera, every song, every theatre or radio play, every novel, short story, poem, comic, graphic novel and cartoon is used to carry and push Marxist and neo-Marxist ideology to ever further extremes. How many songs have you heard that urge our youth to reject their parents? How many films have you seen where miscegenation is normalised and those against it demonised? How many soap operas promote ‘alternative sexualities’ and promiscuity?

Think of all the films and TV series that urge us to dissolve national borders and build to a one-world government. In the series Star Trek and its series of films and spin-offs, we have not only a world government, but an intergalactic federation too. Gene Roddenberry himself said that he was creating ‘morality plays’. Think of the recent trend in disaster films such as 2012, The Day After Tomorrow and Armageddon, where disaster is on a global scale. Global disasters call for global solutions and such trifling things as national borders are seen as ridiculous in view of such cataclysmic events.

Indeed, cultural Marxism is now all-pervasive. Most people believe cultural Marxism is synonymous with political correctness. But it is more than that. Cultural Marxism, after the ‘work’ of Antonio Gramsci, is about getting Marxist and neo-Marxist ideas ingrained in the public consciousness and even subconsciousness via subversion of the national culture. One way is to imprint Marxist ideology on cultural texts for public reception. Thus, the more texts are received and absorbed by the public, the more sympathetic to Marxist ideas they become.

Certainly, this is the core assumption behind the Reader Response and Reception Theories of the Konstanzer Schule, where a neo-Marxist system of value is placed upon a text, a text being deemed more culturally valuable the further it normalises a pseudo-morality that posits itself against traditionalist reader expectations.

Mjolnir is a major step in the cultural fightback against this tidal wave of propaganda. Our enemies have vast financial resources at their disposal and can therefore invest in all the arts – especially that latterly invented form of Gesamtkunstwerk so conducive to indoctrinating the masses: film. We have no such means at our disposal, yet classical art forms are not beyond our means: graphic art, plastic art and literature. Mjolnir is a print magazine set up to collate and showcase the illiberal Eurocentric arts. Read more

Go to Part 1.

From Bauhaus to Our House, a critique of modern architecture, can be considered a companion volume to Painted Word. Wolfe charges modern architecture with causing “sensory deprivation” due to “the whiteness & lightness & leanness & cleanness & bareness & spareness of it all.”[1] Beyond aesthetic criticism, Bauhaus again makes explicit the link between modernism in the arts and left-wing politics. And once again a turning point in the U.S. was the Second World War. After the war the American elites were “willing to accept that glass of ice water in the face, that bracing slap across the mouth, that reprimand for the fat on one’s bourgeois soul, known as modern architecture.”[2]

The Bauhaus in the title refers to the Bauhaus School founded in 1919 in Weimar, Germany by Walter Gropius. This school, according to Wolfe, was the genesis of modern architecture. Ludwig Mies (van der Rohe, “less is more”) taught at Bauhaus. With the ascension of National Socialism, both Gropius and Mies left Germany for the U.S.

Is there a racial angle to Bauhaus? Author and racial theorist Wilmot Robertson used to say, “There’s a racial angle to every story in twentieth-century America.”

The heirs of the Bauhaus were very concerned with post-war worker housing in America. There was a housing shortage after the war so it was a legitimate issue, but the Left completely misread their clientele. Wolfe points out that public housing became known as “the projects,” and workers avoided them as if they “had a smell. The workers — if by workers we mean people who have jobs — headed out instead to the suburbs.”[3]A dramatic example of this phenomenon was seen in St. Louis where post-war working and middle-class Whites left the city as “a vast worker housing project called Pruitt-Igoe” was being built. There is no explicit mention of race (perhaps none was needed), but Wolfe notes that Pruitt-Igoe “filled up mainly with recent migrants from the rural South … where the population density was fifteen to twenty folks per square mile; [and] one rarely got more than ten feet off the ground except by climbing a tree.”[4] It took just seventeen years for the tenants to destroy P-I. The city demolished the dilapidated buildings in July, 1972. Wolfe calls Pruitt-Igoe and other similar projects “American monuments to 1920s Middle European worker housing.”[5] It turns out that people are not interchangeable cogs after all. Read more