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

Literature: Harold Covington

Let us leave aside the political plausibility or post-historical veracity of Covington’s novels dealing with the war of White independence at the beginning of the 21st century in the Pacific Northwest. What needs to be singled out in Covington’s prose is his language, his ability to construct both real and surreal plots, and above all his skill to administer a good dose of empathy with his diverse characters.

And indeed there is a whole gallery of diverse characters in his novels — from disfranchised poor Whites from the South who were once victims of positive discrimination and who have now landed in the embattled Northwest, to ritzy and sold-out WASP politicians in DC, vying to be more Jewish than the Jews themselves. Each of his numerous characters is carefully situated in his own timeframe, each carrying his own clusters of conflicting memories, often haunting him for the rest of his life. Covington, as much as he dissects the mindset of his warring heroes does not just examine their self-proclaimed racial awareness, but focuses instead on their historical consciousness. The reader won’t find characters blaring “White power!” or sporting swastikas, or endlessly debating about the ominous Jews. The frequent monologues by his characters bear witness that their individual memories are seldom sweet. Even in a pristine environment of the Northwest Republic, residents are immersed in their own Shakespearean dilemmas of being vs. not being. In most cases the racial awareness of Covington’s characters is coupled with their reminiscences of the haunting times of bygone eras. Thus, in his latest novel Freedom’s Sons  depicting the nascent Northwest Republic, we come across a man who serves as one of the chiefs of the Northwest secret police. But this man has also a past; he is not just an empty White slate. His grandparents, back in the mid-20^th century had fled communist Czechoslovakia and settled in the city of Chicago – only to discover another form of paleo-communist aka liberal insanity. Their progeny, the future settlers in the Northwest, realized that in the land of the free and the home of the brave, they were not just subjects to the terror of affirmative action, but also victims of serial burglaries and rampant Black crime. Finally, after much procrastination they decided to move to the Northwest, encountering on their way both physical and psychological roadblocks which in many ways reflected the predicaments they had once encountered in communist Europe. Read more