Nietzsche (ᛣ 1900–2020): System Virtue-Signaling vs. the Great Replacement

Friederich Nietzsche (1844–1900) on his deathbed

To each his own Nietzsche. With this sentence one could start yet another discussion on this famous and famed thinker. Given the staggering number of works about him it is essential to raise the question: which Nietzsche should one read first? Should one read Nietzsche’s own prose first, or should one first read works by other authors who have written about him? And which work and by which author? The problem is all the more serious as there are no two works, no two authors among tens of thousands that are in agreement on the same interpretation of Nietzsche’s ideas. Of course, the same remark could be leveled against my own interpretations of Nietzsche. My understanding, interpretation and choice of words regarding Nietzsche’s thoughts may be different from those of other authors who claim to be his best interpreters. Consequently, I may be accused of using interpretations that may not be shared by Nietzsche or his countless interpreters.

What needs to be highlighted, however, is the link established by Nietzsche between Christian values ​​and their secular offshoots used now by the ruling class in the West as a legal and psychological basis for the arrival of non-European migrants into Europe. The System, through its sermons about human rights, whose ideological origins go back to early Christianity, is quite successful in destroying European peoples and cultures.

Aside from being an influential philosopher Nietzsche was also a philologist who understood well the subtleties of political language. Therefore, one should first single out some of his words and find out their conceptual equivalents in the French and in the English languages today, especially in the realm of higher education and high-level political rhetoric. One must keep in mind that his denunciations of Christian morality are contrasted with his praise of combative virtues of the old Greco-Roman “virtù” stripped of any modern “(moralinfreie Tugend) [i]. Nietzsche invented the word “moraline” in order to combat the excessive moralizing of the Church and the ruling class of this time. Strangely enough the word “moraline” is never used today in the modern German language, having also no adequate substitute in the English language. The great  German-American connoisseur and  translator of Nietzsche, H.L. Mencken translated “moralinfreie Tugend ” as “free of moral acid.” By contrast, modern French nationalists, when deriding the fake news of the modern System, often resort to the original German “moraline.” In the USA, however, this word could be substituted by its conceptual equivalent of  “virtue-signalling.”

When transposed into our own language Nietzsche’s words read like a harsh condemnation of the modern System with its invocations of words such as “humanity,” “peace” and “tolerance.” The goal of the System is to force citizens of European extraction to become prey to perpetual feelings of guilt. This is how Nietzsche predicted the modern unfolding of the System hundred and thirty years ago:

Almost everywhere in Europe today, there is a morbid over-sensitivity and susceptibility to pain, as well as an excessive amount of complaining and an increased tenderness that wants to dress itself up as something higher, using religion as well as bits and pieces of philosophy— there is a real cult of suffering. [ii]

In addition to his denunciation of Christian morality Nietzsche levels harsh criticism against Christian providentialism which manifests itself today in the gregarious spirit of mass democracy. Of course, the System needs to sugarcoat modern, secularized versions of Christian teachings in the mystique of human rights, in the myth of multiculturalism, in the decrees on race-mixing, and in the usage of politically correct verbiage. Pity for those who failed, for lowlifes, for criminals, including illegal Third World migrants in search of a better life in Europe, has become a mandatory vogue in political and media outlets. Professor Pierre Chassard, who could be ranked as first among French “New Right” interpreters of Nietzsche, defines Nietzsche’s criticism of Christian providentialism: “The wretched of the Earth, who are nailed to the cross, may be the only fortune tellers. Life misfits may be the elect of heaven. Only they are the good guys and others are the bad guys.”[iii] The list of self-engineered misfits could grow longer if one were to add numerous White politicians and academics burdened by self-hate and choosing therefore to become purveyors of the dogma of interchangeability of peoples, races, and genders. Such a self-hating behavior, of which Nietzsche was the first critic, is today the trademark of the System.

One could start with the expression “the great replacement.” This wording, coined by the writer Renaud Camus, is deemed unworthy by the System.[iv] Nonetheless, although Camus’ book is very useful, its title may be subject to misunderstanding. Instead of the expression “the great replacement,” one is tempted to use a more specific expression: “the great invasion.” However, even the term “invasion” harks back to the notion of the political of the previous centuries when its use was generally accompanied by an armed conflict—which is not the case for the time being with the floods of non-Europeans who are being adorned by the Western media with the sentimental title “refugees.” Understandably, the System and its scribes must avoid the usage of the terms “invasion” or “replacement,” preferring instead the romantic expressions such as “cultural enrichment” or “diversity”—terms which went global after having first appeared in the American language in the 80s of the previous century. Moreover, even if one were to agree on the label “invasion” when describing Afro-Asian migrants on their way to Europe, the choice of this word would take us far off into the field of polemology, a subject that can be tackled only in passing.

According to Nietzsche the moralization of politics leads to chaos which he labels with the word “democracy.” It is incumbent therefore upon his readers to study the effects of democracy peddled globally by the System if one was to grasp the incoming tide of chaos. To that effect it suffices to listen to the hypermoralistic language of the ruling class in order to realize that the true goal of their political experiments—dubbed “democracy” and “diversity”—is nothing else but a gigantic hoax. The outpouring of hypermoralistic narratives among Euro-American leaders, other than serving as a legal smokescreen for humanitarian actions on behalf of non-European migrants, also functions as a grand cover up for the repression against independent thinkers.

In Bismarck’s Germany at the end of the nineteenth century, Nietzsche did not need to confront mass migratory inflows of non-Europeans. Much earlier, however, he had grasped the origins and the global dynamics of the hypermoralistic mindset that had already taken root among politicians and intellectuals of his time—either in its liberal version or in its crypto-communist form. That early bourgeoning hypermoralistic endeavor, whose goal was the creation of the best of all worlds, or the shining communist futures, was bound to lead, a hundred years after Nietzsche’s death, to multicultural chaos observed today.

It is pointless to scorn migrants, the majority of whom are Muslim non-Europeans, without however deciphering moralistic, globalist, altruistic and ecumenical ideas that have been peddled around by the Church over the last two thousand years. It was Nietzsche’s merit to be the first to grasp that all our current political concepts, all abnormalities in the liberal system are just secular derivatives of Christian thought, “where(by) this morality is increasingly apparent in every political and social institution; the democratic movement is the heir to Christianity.”[v]

In the System today, which claims to be the best, any criticism of parliamentary democracy, or multiculturalism, let alone of miscegenation, is bound to enter the framework of the penal code or the demonology of its mainstream media executioners. While on the one hand the System prides itself on being tolerant, claiming to extend unrestricted voice even to its critics, while hiding behind the words of tolerance, diversity and humanism, on the other, it exerts total control of its population—a phenomenon hitherto unseen in the entire history of the West. From the point of view of modern languages, from the point of view of the notion of the political, the System is succeeding in reversing real European values and replacing them with surreal ones. Within the framework of these new moralizing and ecumenical values, described by Nietzsche and transposed now into the modern System, it can be expected that non-European masses entering Europe, will describe themselves as “poor refugees.” Incidentally, the term “refugees” is not of their choice; it is being bestowed on them by the System and its sycophant media.

This is how professor Alfred Baeumler, one of Nietzsche’s disciples in the first part of the twentieth century and later to become a high-ranking academic in National Socialist Germany, depicts the nihilistic message inherent in the language of liberal democracy in Europe between the two wars.

Nihilism, chaos, is the inevitable consequence of the belief in harmony without struggle, a belief in indiscriminate (gegensatzlos) order. True order only arises from the power relationship spawned by the will to power … . Only chaos is inhumane. The rule of tolerance and moral ideas, of reason and of compassion, in short of “humanity,” always leads to inhumanity. [vi]

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Doubling down on his exotic Doppelganger

As a follow-up to such hypermoralistic endeavors conducted by the System one can observe its politicians being more and more inclined toward splitting their own selves — a process which they subsequently project on non-European migrants who are cherished now as the beacon of progress and innocence. Such a process of White self-denial is especially visible in Germany, a country which in 1945 was forced to remake its identity. As an illustration of German split-mindedness or “dopplengaegertum,” one could mention several authors of fantastic tales at the beginning of the nineteenth century who, by indirection, best predicted the fractured identity of Europeans and especially the German people two hundred years later. A good example is the famous horror story writer E. T. A. Hoffmann and his novella The Sand Man. [vii] The main character of his tale falls in love with a machine which resembles an attractive woman he had previously fabricated in his self-delusional mind. Toward the end of the tale the imaginary woman-automaton pushes the unfortunate hero to suicide. Today, we are witnessing a similar mechanical and suicidal fixation by great many German and European politicians, who, as a rule, must pretend to be enamored with fictitious and exotic Third World migrant imagery, and who are overjoyed at the thought of demolishing their own identity and replacing it with the newly borrowed make-believe Afro-Asian identity. This time around, however, men of the System are not only being themselves physically replaced by real Afro-Asian migrants; they themselves yearn to replace their original White identity by non-White surreal supra-identity.

One can provide some crass examples of such a mimetic Double while studying European politicians and their penitential pilgrimages to the holy places of world politics, namely Washington, Brussels and Tel Aviv. The Germans, however, must perform an  additional station of the cross by paying a penitential visit to Israel and recite a diplomatic chorus of mea culpa sermons. Two years ago, when German Chancellor Merkel visited Israel, she declared that “being aware of this responsibility (the Nazi crimes against the Jews, N.A.) is part of our national identity.”[viii] Without its Double, that is, without the forceful embrace of the Other, who was once either denied or colonized, the System and its do-gooders could not survive.

In the same vein, European politicians and intellectuals imagine themselves to be morally obliged to double down on their moralizing fervor on behalf of non-Europeans, assuming that they will thus better eliminate any external suspicion of their alleged neo-fascist or right-wing feelings, or better shed the label of their post-colonial crypto-nostalgia. Naturally, one could argue a lot about the benefits of this new doppelgangertum of European politicians, which has resulted in increased self-hatred, self-censorship and hypertrophy of false morals toward exotic strangers. Nietzsche grasped well this self-castrating mindset which has become today the main guideline of ​​the System.

With respect to this entire kind of priestly medication, the “guilty” kind, any word of criticism is too much. … One should at least be clear about the expression “be of use.” If by this one intends to express that such a system of treatment has improved man, then I will not contradict: I only add what “improve” means for me — the same as “tamed,” “ weakened,” “discouraged,” “sophisticated,” “pampered,” “emasculated” (hence always the same as injured).[ix]

The search for the mimicked Double, observed among Western rulers, has reached by now pathological proportions. EU politicians must double down on their benevolence towards Afro-Asian migrants in order to better rid themselves of possible charges of would-be anti-Semitism or of being guilt-free for their colonialist and racialist past. In the majority of cases, however, such mimetic behavior is the natural consequence of the Allied re-education since 1945, the aim of which was and still is the creation of new European species.

In this essay on Nietzsche one cannot dispense with the name of the German anthropologist Arnold Gehlen who wrote that “the hypertrophy of morality occurs when we accept each human being in his humaneness only, and provide him in this capacity with the highest rank of existence.”[x] Gehlen was perhaps the best connoisseur of Nietzsche during the cold war era, despite the fact that his analyses of the pathology of self-induced hypermoralism of German politicians had earned him lots of enemies on the Left and a great deal of ire among Frankfurt School reeducators. The moral hypertrophy of the early postwar System he describes is now being duplicated by European and US rulers and their “fake news” servicemen, both attempting to silence any voice of White dissent.

Neither is the Catholic Church and the papists the world over lagging behind. The most recent in the line of the moraline combat is Pope Francis with his sermons on the rights of immigrants and with his homilies that “migrants are the symbol of all those excluded from the globalized society .”[xi] When listening to Pope’s urbi and orbi, it is worth studying the reaction of would-be Afro-Asian migrants. Despite their modest IQ, they are not stupid. They know that they have powerful allies, not only in anti-fascist circles but also among the high Catholic clergy, both in the United States and in Europe.

Surely, George Soros and a host of left-leaning NGOs can be criticized for facilitating the flooding of the West by African and Asian migrants. However, the fact remains that African and Asian migrants follow only the unilateral welcoming calls from European politicians whose words had the prior blessing of the Pope and the high Catholic clergy. The latter is always diligent when mobilizing for migrants shelters or “sanctuary cities” – a gesture which only redoubles migrants’ appetite.[xii] In fact, the Church operates today as a sort of a counter-power vis-à-vis the actual legal power in place, which in any case is very lax with regard to migrants’ arrivals.

Beyond the moralizing phrases about the benefits of multiculturalism and miscegenation propagated by the System and the Church, the iron laws of biology and heredity cannot be ignored. In the years to come the states of the European Union will be exposed to multireligious and multiracial conflicts among and between new non-European migrants, conflicts of great magnitude and long duration. By their obsessive politics of self-denial, European countries, with Germany at the helm, will hardly be able to cope not just with the great replacement, but also with internal conflicts between diverse ingroups of non-European migrants themselves. Contrary to a wide misconception among EU leaders and many academics, racial intolerance and xenophobia is by no means the privilege of White nationalists. Racial pride and racial exclusiveness are by no means the monopoly of the White European stock. Low-level conflicts between and among nationals of Asian origin and nationals of sub-Saharan origin now residing in the West, will have a bright future. Worse, side by side with various moralizing social justice warriors and anti-fascist squads, the System won’t be able to persuade migrants to embrace the same liberal ukases, the same legal standards, the same scholastic tests, nor the same Western political concepts. Liberal rules and regulations, when forced upon non-White migrants, will always remain unacceptable to them. Thus, in the name of “diversity” the System keeps destroying not only the identity of European peoples, but also the identity of non-European newcomers.

Sooner or later multicultural states break up and terminate their trajectory in civil wars. Also, within the great replacement overhaul underway now, interracial wars among non-European migrants will be aggravated by large demographic changes. In addition, these hybrid civil wars looming large in the West now, will be accompanied by an increase in victimhood narratives by different tribes and ethnicities residing in Europe, each claiming, of course, the first place on the victimhood list. Mutual distrust, followed by the decline in civic solidarity and the dissolution of political order will become the order of the day. The hypermoralizing and masochistic antics of White politicians, among whom the German politicians are doing the surplus overbidding, are the logical outcome of the culture of guilt inherited from the fascist, colonial, Ustasha or National Socialist past. Following the incessant incantations by the System of “mea culpa, mea maxima culpa” – what would Nietzsche now say about our fatality? Long ago his answer was clear enough: ” There will come a day when my name will recall the memory of something formidable — a crisis the like of which has never been known on earth.”[xiii]

 


Notes

[i] Friedrich Nietzsche, The Antichrist (transl. Henry L Mencken) (LA: The Noontide Press: 1997) p. 43.

[ii] Friedrich Nietzsche, Beyond Good and Evil (trans. Judith Norman), (Trinity University Press: 2002), p. 174.

https://www.holybooks.com/wp-content/uploads/Nietzsche-Beyond-Good-and-Evil.pdf

[iii] Pierre Chassard, La philosophie de l’histoire dans la philosophie de Nietzsche (Paris: éd. GRECE, 1975), p.78.

[iv] Renaud Camus, Le Grand Remplacement (Paris: éditions David Reinharc, 2011).

[v] Nietzsche, Beyond Good and Evil, p. 90.

[vi] Alfred Baeumler, Nietzsche; der Philosoph und Politiker (Leipzig; Reclam, 1931), p. 72-73.

[vii] E.T.A.Hoffmann, The Sandman (Translated by C. Moncrieff). (Surey: Alma Classics, 2012). https://almabooks.com/wp-content/uploads/2016/10/The-Sandman-Excerpt.pdf

[viii] The Times of Israel, « Merkel : la mémoire des crimes nazis « inséparable » de l’identité allemande  ,” December 6, 2019. https://fr.timesofisrael.com/la-chanceliere-allemande-angela-merkel-a-auschwitz-pour-la-premiere-fois/

[ix] Friederich Nietzsche, On the Genealogy of Morality (Transl. Maudemarie Clark and Alan Swenson), Hackett Publishing Co. Inc., 1998) p. 109.

[x] Arnold Gehlen, Moral und Hypermoral (Frankfurt: Athenäum 1969), p. 143.

[xi] Le Monde, « Le pape François : « Les migrants sont le symbole de tous les exclus de la société globalisée » » July 8, 2019. https://www.lemonde.fr/afrique/article/2019/07/08/le-pape-francois-les-migrants-sont-le-symbole-de-tous-les-exclus-de-la-societe-globalisee_5486931_3212.html.

[xii] Cf. T. Sunic, « Non-White Migrants and the Catholic Church: The Politics of Penitence, » The Occidental Observer, April, 2017. https://www.theoccidentalobserver.net/2017/04/29/non-white-migrants-and-the-catholic-church-the-politics-of-penitence/

[xiii] Friedrich Nietzsche, Ecce Homo, “Why I am a Fatality” (Transl. A Ludovici), ( London: TN Foulis, 1911), p. 131. http://www.gutenberg.org/files/52190/52190-h/52190-h.htm#WHY_I_AM_A_FATALITY

The Coronavirus Silver Linings Playbook

Greetings fellow anthropoids! Having received the day’s talking points from CNN, I will dutifully refrain from calling the viral scourge of the globe “Chinese.” I do not know if it is appropriate to cite the origin of the saying/curse “May you live in interesting times,” so I will not, but interesting times these are, at least in some ways. In others it’s banality as usual. While the kabuki theater (more appropriately bukkake theater in these post-Jussie Smollett Days of the Rainbow) continues as Joe Biden and Bernie Sanders compete to see who can debase themselves more for their Island of Misfit Toys electorate, as one side tries to shove more visas[1] into any coronavirus relief package and the other abortions, as the UNHCR and IOM continued to greenlight the re-settling of “refugees” from coronavirus-stricken regions into what’s left of your neighborhood up until March 17th, it was business as usual. Keep those borders wider than Jussie Smollett’s…never mind.

In all seriousness, though, this epidemic has exposed just how fragile the neo-liberal globalist system is. Thousands have died, thousands more will die, and millions are out of work. The response, or more appropriately lack thereof, by our leaders shows exactly what they are willing to risk in order for the status quo to be maintained. Already, the UNHCR came out and admitted that there were at least ten confirmed coronavirus cases among “refugees” and asylum seekers in Germany, prompting nameless aid officials to worry that “this might undermine future support for taking refugees.” I should think so, but our support for this project has never been required. Things will resume as they were once the crisis is over.

Or will they?

Most of the ramifications of the virus are mere accelerations of what was on the horizon. It is a black swan event, but one which has been lurking for some time. This was inevitable in some fashion. Imagine if it had happened ten years down the line when 100% of our pharmaceuticals rather than 95% of ibuprofen, 70% of acetaminophen, and 80% of antibiotics are made in China. There’s one silver lining, and another is that regular people are seeing firsthand just how untenable the neo-liberal system is, and where the priorities of the ruling class truly are. Many probably did not realize just how suicidally-dependent we are on Chinese manufacturing. On some level, perhaps, but walk into any grocery store (hypothetically speaking, I hope you are all well-stocked up by now) and you will see the effects already. All things considered and with apologies to those affected, this is really just a ripple compared to what could have happened, or what may yet come.

Do you think the latest batch of gender-queer “refugees” from parts unknown[2] have appropriately prepared themselves for any kind of disruption with canned goods, extra toilet paper, bottled water, a bug-out bag, and the like? Or the rest of the wonderful “diversity” we are so enriched with? Hardly. Guess what happens next?

Ominously, several municipalities have discussed banning the sale of guns, ammunition, and gasoline in any container other than a vehicle gasoline tank. Mayor Deborah Frank Feinen of Champaign, Illinois, signatory of the Champaign-Urbana Chapter of Bend the Arc Jewish Action’s pledge to Reject White Nationalism, already granted herself these powers and others, powers including the ability to prohibit entry into and out of the city, direct the shut-off of water, gas, and power, and “take possession of private property and obtain full title to same.”

And what about when the State Department agrees to begin greenlighting more “refugees’” entry into the country on April 7th, as they’ve promised? Fuel to the fire? We obviously don’t have work or resources for millions of people already here, and there will continue to be less, so what’s going to happen next? And will these people be appropriately screened? Of course not. Officially the flow is temporarily stopped, but there are a number of end-arounds, ranging from just walking over the border to the refugee privatization aspect I discussed with the state of Maine.

Anyone still harboring any illusions about Donald Trump needs to read the following. He led off his March 19th press conference on the measures being taken to combat the spread of the coronavirus by celebrating the return of “New Hampshire man” Amer Fakhoury from Lebanon to receive medical care for his stage 4 lymphoma. It’s not like our medical professionals have other things to worry about, right? Oh, and by the way, Fakhoury collaborated with Israel during their occupation of southern Lebanon.

In late January and February, after assuring constituents that the coronavirus was nothing to worry about and after receiving a private briefing on the situation, Senators Richard Burr and Kelly Loeffler offloaded stocks at this crucial time, well before the current crisis point. Burr co-authored a piece for Fox News on February 7th stating that, “the United States today is better prepared than ever before to face emerging public health threats, like the coronavirus.” The kinds of stocks are especially damning, such as Senate Intelligence Committee Chairman Burr’s dumping of $150,000 worth of shares of Wyndham Hotels and Resorts, which has lost two-thirds of its value, according to ProPublica, and $100,000 of shares of Extended Stay America. All told Burr is alleged to have sold off as much as $1.72 million in stocks. In addition to allegedly offloading stocks to the tune of up to $3.1 million, Loeffler or her husband Jeff Sprecher (Chairman of the New York Stock Exchange) also purchased stocks on February 7th for Citrix, a company that provides remote working software and technologies. Shortly after the January 24th full-Senate briefing, Dianne Feinstein, James Inhofe, and David Perdue all sold off large amounts of stock; Feinstein is alleged to have sold off up to $6 million in stocks from late January to mid-February. Perdue not only offloaded stocks in Caesars Entertainment but also loaded up on $245,000 in Pfizer stock.

So the government, on either side of the aisle, is genuinely an occupation government, depraved beyond all redemption and yes, we know this, but millions more are seeing it plain as day in the most obvious fashion imaginable. And the Dissident Right, led by the work of people like Tom Kawczynski and his incredible Coronavirus Central podcast, has been at the forefront of providing people with reliable unbiased information, which enhances our credibility immeasurably and is an obvious conduit to the truths we speak and write on other topics people have been so conditioned to ignore or even be afraid of. We could extend this on a much larger scale to the role Tucker Carlson is playing every night; no, he’s not Kevin MacDonald, Andrew Joyce, or Brenton Sanderson, but he is the most visible and accessible gateway to our ideas.

I won’t pretend the coronavirus is a good thing, but I am trying to find the silver linings in this situation. Obviously it would be preferable if one day there was a mass awakening to the decadent self-interest of our ruling class, of the subversion and dismantling of our country, but that was never and is never going to happen like some revelation. Perhaps this is the closest thing, and the conditions are such that we had better take advantage of it. There was always going to be collateral damage—just be safe and make sure that damage isn’t you, take care of your family and friends, and keep on fighting the good fight so one day we will never have to find ourselves in such a vulnerable position with criminally-negligent and downright hostile rulers like this again.


[1] In this instance, it would be the EB-5 “immigrant investor” visa; in 2014, more than 85% of the over 10,000 EB-5 visas issued were for Chinese nationals according to a study by real estate services firm Savills Studley. Under the Lindsey Graham proposed “addition,” the amount required for investment would be halved and the visas issued increased to 75,000 from around 10,000 per year.

[2] I use this as an example one, to continue the theme of sorts, but two, I have on good authority this is the latest golden ticket lie asylum-seekers and “refugees” have been coached-up to use, that of “fear of persecution for gender identity or sexuality.”

How COVID-19 Will Test the West

“If trouble comes when you least expect it, then maybe the thing to do is to always expect it.”
      Cormac McCarthy, The Road

Writing anything about COVID-19 at this moment is a daunting task since the situation is evolving so rapidly, and in so many different locations. Information contained in this piece could be thoroughly outpaced by transformative events by the time it reaches publication, or even by the time I finish up and click “save.” There is also a glut of information online right now, some of it reliable and fascinating, and some of it misleading and counterproductive. Everywhere there is a mixture of growing apprehension, clashing opinion, and outright confusion. If the Johns Hopkins Coronavirus Resource Center’s interactive map is accurate, there are currently 284,566 cases of COVID-19 worldwide, a figure that is growing. The “true” number of infections, that includes asymptomatic carriers, will be much higher. Beginning on February 24th, an accelerating number of new transmissions emerged outside China, primarily in Italy which currently has over 47,021 cases. At time of writing, France and Germany are also experiencing rapid increases in affected persons, together totaling over 33,000 cases, and Spain is on the brink of a national lockdown with over 25,374. Almost every European country has now been affected, and COVID-19 is now spreading in the United States, Canada, South Africa, New Zealand, and Australia. How will it test the West?

Relations with China

Early speculation on COVID-19, especially in dissident circles, orbited conspiracy theories that the virus was engineered, and that it was either deployed by the United States or was an accidental leak from Wuhan’s Institute of Virology. In recent days, the former theory has been eagerly taken up by the Chinese themselves, with the added detail that COVID-19 may have been unleashed by visiting American soldiers during the Military World Games, which were staged in Wuhan in October 19-27, 2019. According to epidemiologist Michael Osterholm, in the course of a very interesting interview with Joe Rogan, it’s possible to date the origins of human COVID-19 through a process much like carbon dating, and scientists now have data suggesting COVID-19 became active in humans for the first time in mid-November 2019. Ron Unz has asked:

How would Americans react if 300 PRC officers had visited Chicago, and immediately afterwards, a deadly new plague broke out in that city, with a major risk of spreading throughout the country? Isn’t it also rather suspicious that Iran has been hit so hard? So the two countries in the world most subject to current American hostility just tend to be especially “unlucky.” It hit China just before Lunar New Year, the absolutely worst possible time, and the epicenter was Wuhan, a key transport hub. It really seems an *astonishing* coincidence that 300 American military servicemen had been visiting Wuhan just prior to the outbreak, at a peak of international tension.

Other than timing of course, there seems to be little or no evidence that this was a bioweapon attack. Most obviously, one would assume that any attempted bioweapon attack by the United States on China would be much more covert than what has been suggested (a deliberate release by a very public group of soldiers). Also, while we know that SARS-like viruses based on bat coronavirus can be developed in the lab, the genome of COVID-19 has also been examined countless times with the result that there are now over 300 papers on MedRXiv concerning the structure, nature, and origins of the virus. None of these papers have highlighted anything suggesting an artificial origin of any aspect of COVID-19.

Conspiracy theories on the origins of COVID-19 are of course a very convenient and useful tool for the Chinese government, because they deflect attention from the fact the outbreak can easily be attributed to bad government, and to Communism itself. I find the idea that the virus originated in a Wuhan “wild food” market to be utterly compelling (see this documentary by 60 Minutes Australia, and this short piece by Vox), and this has direct consequences for perceptions of Chinese Communism. The consumption of “exotic” foods is itself a legacy of the Great Chinese Famine 1959–1961, after which the government permitted private farming but failed to prevent the monopoly by big companies of the rearing of conventional livestock. The peasantry, priced out of the market, resorted in large numbers to the farming of wild animals, especially, in the initial stages, the farming of turtles. Since this curbed starvation to some extent, the government backed these initiatives, and then in 1988 made the encouragement of domestication and breeding of wildlife an explicit aspect of law. Wildlife farming became an industry overnight. Bears, snakes, rodents, lizards, and bats began to be mass-produced for human consumption, and sold in mass markets in many of the country’s largest cities. In these markets, multiple species, alive and dead, are stacked in cages on top of one another, with the animals soaked in cocktails of urine and excrement—each cage a petri dish for the development new diseases, especially respiratory diseases, with the potential to jump to humans from myriad mammals. Together with its failure to take decisive preventative action in January 2020, and absent conspiracy theory speculation, the origin tale of COVID-19 is ultimately an indictment of Chinese politics and culture.

How that indictment will impact relations between the West and China remains to be seen. The Carnegie Endowment for International Peace have speculated that while mutual suspicion between the Chinese and the United States will remain high, the coronavirus outbreak will have no meaningful impact on trade between the two countries, and may in fact help de-escalate some prior economic tensions and involve the suspension of tariffs. In the longer term, however, COVID-19 has accelerated discussion about the need to become more independent from China in the production of goods. Several multinational corporations with supply chains based in China, having already considered diversifying their supply chains because of the U.S.-China trade war, are now likely to further their plans. Apple, for example, intends to move some manufacturing of its products (including AirPods and Apple Watches) to Taiwan due to the coronavirus. In Washington, members of Congress have used the outbreak to call for scaling back U.S. reliance on China, especially for prescription drugs, medical supplies, and other critical resources. Since Europe (Germany in particular) is the world’s largest manufacturer of drugs and medicines, we are likely to see a gradual decoupling of the United States from Chinese production, and a greater integration of European-American trade. Brexit Britain, until recently seen by the Chinese as having great potential for a lucrative trade and investment deal, may now present more of a cold house than previously thought. The EU, already resistant to increased Chinese economic influence, is also likely to dig its heels even deeper in the face of Chinese approaches. Some of the lasting challenges of COVID-19 will be how the West can distance itself from economic dependence on Chinese manufacturing, what impact this will have in both the shorter and longer term, and how the Chinese will respond.

Migrant Pressures

The first European outbreaks of COVID-19 fatefully coincided with an aggressive two-week operation by Turkey on its border with Greece, involving the movement of thousands of Syrian and African migrants. Beginning in late February, the Turkish government announced it would no longer stop migrants trying to reach Europe, and then drove thousands to the Greek border, live-streaming the process to encourage more to follow. The move was widely understood as an attempt to force European support for Turkey’s military campaign in northern Syria, and also as an attempt to extort more money from the EU. Although the effort now appears to have concluded with Turkey backtracking in the face of Greek resilience, Europe continues to have this metaphorical human “pistol” pressed to the side of its head.

COVID-19 is going to aggravate the broader migrant problem. Already the clamor is growing that migrant camps on Europe’s borders should be evacuated on health grounds, with the migrants permitted to enter Europe. Doctors Without Borders (MSF) have argued that unhygienic and cramped living conditions mean COVID-19 can spread very fast, and that social distancing and hand washing are more difficult. While Europe bans mass gatherings, it’s been said that people in these camps have nowhere to go. Even within European countries, the outbreak has been associated with calls for amnesties and the opening of migrant detention centers. In the UK, lawyers and campaigners have called for hundreds immigration centers detainees to be released “because of fears they will contract coronavirus while locked up.”

The problem with such calls is that they all appear to present COVID-19 as a deadly plague slaughtering all in its path, rather than as something that afflicts the most seriously ill among the old and infirm. As is well known, the average age of Europe’s would-be migrants, particularly those from Syria, is somewhere around the late 20s. Given the known progression of COVID-19 in people in this age category, calls to permit mass influxes of masses of migrants purely because of the outbreak is tantamount to calling for open borders because potential immigrants might otherwise catch the common cold. Such calls are likely to ride the crest of a media-induced wave of panic, however, and the resolve of the West to resist further migrant flows will indeed be tested by twisted forms of moral blackmail in the weeks and months to come.

Life and Death under Liberalism

As stated in my review of Don DeLillo’s White Noise (1985), we live in a decaying society  that is in terror of death, and pathologically so. This pathology is rooted in mistaken beliefs that our civilization is dying from, or could imminently die from, disease epidemics, climate catastrophes etc., in the midst of willful and ignorant abdication of a future (via self-hate and industrialized abortion) in favor of mass immigration, consumerism, and instant gratification. Just as one has to confront death in order to truly live (or to become “authentic” in Heidegger’s philosophy), our society is in constant flight from death and thus inevitably collapses into inauthentic decay. COVID-19, while not as lethal as media coverage would suggest, is a reminder of our mortality and human fragility and will necessarily have a jarring effect on a Western liberalism that has become increasingly distant from the confrontation with death.

Life under liberal finance capitalism is largely one of illusion, in which the prospect of real death is pushed far into the distance, both psychologically and culturally. Postmodern Western liberal culture is largely one of perpetual adolescence, in which the primary virtues are acting according to one’s individual will, identifying oneself in a hyper-individualistic manner, and expressing these identities via conspicuous consumption and behavior. We do not “live towards” Death, with a sense of purpose and a feeling that we are part of a much grander civilizational trajectory. We do not understand that Death has shaped our historical path, and that it hangs over us in ways that should direct our actions in the present.

COVID-19, regardless of current confusion over its true mortality rate, is a corrective to illusions that “progressive” Man has overcome Nature and can shape the world according to the human image, and without consequences. Certainly throughout my own lifetime, I’ve grown accustomed to assertions that life expectancy will continue to increase, and that there will be an endless supply of innovations and social projects that will make the mechanics of life easier and more productive. One increasingly expects that one will live a long life, mostly in very good health. Such a sense of security can breed all kinds of arrogance and fantasies, including the recent perverse luxury of the delusion that one can simply decide to be this or that gender. This new virus, however, presents the possibility, both in itself and its inevitable heirs, that Death is much closer than we ever thought, and that for all our technological advancement and self-congratulation, Nature need only tweak one molecule, so small our naked eyes could never perceive it, and the grave opens before us. The Age of Fantasy is confronted with the ultimate reality.

How the West responds to this realization will be a further cultural challenge. We have grown equally accustomed to the idea that we have “advanced” morally as a society, and that we have overcome some of the more “brutish” aspects of human existence that we perceive in the past. But in a world of apparently increasing plenty, such notions can be hard to test. It’s always easy for a man with a full stomach to condemn the actions of the starving. The conceit of the full-bellied West that it has overcome and surpassed itself and its past will now be tested. I, of course, arise from a political and philosophical tradition that insists there is no shame in the past. I see little or no place for morality in the struggle for survival. And I also see the cracks already forming in the Western conceit. This society that is against “hate” and prides itself on “coming together” is already struggling to stop people rioting over toilet paper and bottled water. If civil order breaks down, will the proud feminists be seeking their own resources, or hoping for a strong man to protect them? If the death toll does rise dramatically, and if curfews and lockdowns are imposed and intensified, I ask: How well will your beloved multicultural societies respond? If resources become scarce and tensions rise, who will you trust? These tests are coming.

Economic and Political Fallout

Just days ago, JPMorgan projected that a recession will hit the US and European economies by July, with US GDP to shrink by 2% in the first quarter and 3% in the second, and Eurozone GDP to contract by 1.8% and 3.3% over the same periods. Sudden cessation of economic activity through quarantines, event cancellations, social distancing, and the almost complete shutdown of the tourist industry will have both immediate and longer term consequences for national economies and broader trade patterns. The mass closing of schools will expose pre-existing weaknesses in a modern system that sees women funneled en masse into the work place while their children are left in day cares or schools. According to numbers from the Bureau of Labor Statistics, more than 70 percent of American mothers with children under 18 work. Through the closing of schools alone, the impact of COVID-19 will almost certainly have the greatest impact on the role of women in the workplace since World War Two, with many forced to leave work and return to the home for an as yet undetermined amount of time. How this will impact the businesses or public entities employing these women remains to be seen, but it will undoubtedly cause significant difficulties and necessitate some level of infrastructural change.

The outbreak of COVID-19 is also projected to test Western healthcare provision to the limit. It’s been particularly interesting that the outbreak in Italy effectively broke the health system in Lombardy, widely regarded as one of the best in the world. Before the outbreak, it was remarked that:

The Lombardy healthcare system, characterised by quality and efficiency, is a model of reference both in Italy and worldwide. With the benefit of private partnerships in fact, it ensures its citizens and those who live in other regions or abroad have access to prime level health care with all the advantages of a public system. Lombardy has 56 University Departments of Medicine, 19 IRCCS (IRCCS means an institution devoted to excellence in clinical care and research) which represent 42% of the national total, 47 Institutes and 32 Research Centres. As a result, Lombardy and in particular Milan have always attracted the most renowned physicians in every field of expertise.

It took COVID-19 just four weeks to exhaust every hospital bed in Lombardy, force doctors out of retirement and medical students to graduate early, and provoke the creation of 500 triage tents outside hospitals nationwide. The different, and ever-politicized, healthcare systems of the United States and Great Britain are about to experience the most intensive test in their respective histories. One of the most outspoken figures from the medical profession on social media in recent days is Eugene Gu, who has made a point of attacking the profit-seeking nature of much of the American medical establishment. Gu has argued that American medicine is essentially a pyramid scheme that profits those at the top by artificially restricting the number of doctors produced by the system:

The medical school and residency system in the United States is completely broken compared to other countries. Now that we are in the middle of the coronavirus pandemic, we need to reflect upon an abusive system that hurts patients and seeks to make a few specialists filthy rich. Even before the coronavirus, we created a huge physician shortage by limiting spots in medical schools to inflate doctors’ salaries the same way De Beers fixes the diamond market. And we gutted primary care so that specialists like plastic surgeons and dermatologists can get rich. I took an oath to “first, do no harm.” I cannot just stand by and watch as the corrupt cesspool we call our American medical system fails our patients while a few doctors, insurance executives, and Big Pharma get filthy rich. Medicine should not be a for-profit industry.

Whether or not one agrees with Dr Gu’s perspective, the coming weeks and months will test both American for-profit medicine and Britain’s nationalized health system, and perhaps leave long term political legacies for both.

Political consequences will also inevitably result from the approaches of individual leaders to the crisis. Boris Johnson is risking his political future on a “herd immunity” strategy that is radically different from the course of action pursued by other leaders. It’s been criticized as involving the sacrifice of the older generation for a slightly prolonged period of economic normalcy and an entirely assumed future immunity among the young. Donald Trump, meanwhile, is quickly trying to move on from a highly dismissive initial response to the outbreak. In both cases, and throughout the West, moderately “conservative” populism based on the celebration of finance capitalism and token gestures on borders will be tested to the limit by increasing strains on all aspects of social, political, and economic life. Trump, in particular, has managed to squeeze a lot of political mileage out of the performance of the stock market. With stocks tumbling, and the American healthcare system pushed to the limit, it remains to be seen whether Trump’s drive to make gay sex legal in Africa will be enough to keep his voters happy.

In another return of the Real, of course, COVID-19 is doing more to close borders than any expression of political populism ever has. It was all well and good that “the world is a village” when this involved cheap and cheerful vacations, but all it took was a few houses in the throes of sickness for the rest of the villagers to wish there was somewhere they could escape to. The global village is in shutdown. All humans might be equally susceptible to this virus, but national borders, so often scorned until recently, now reveal they might have some uses after all – just one of them being the invaluable opportunity to seal and control a limited territory. How people grow accustomed to this renewed emphasis on border control may leave a lasting political legacy for the West also. In any case, we can only hope it will.

Conclusion

With events moving so quickly, I conclude with the oppressive sensation that I’ve written both too much and too little. The figures presented at the outset of this essay will be superfluous by the time this piece is published, but I do think some of the suggestions in the body will remain relevant for some time to come. I wish all our readers the best of luck and the best of health in the weeks and months to come. May globalism’s difficulty be the dissident’s opportunity.

 

 

 

 

 

 

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

Convergence by Jackson Pollock (1952)

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, critics, and patrons. Prominent gentile artists within the movement like Jackson Pollock and Robert Motherwell married Jewish women (Lee Krasner and Helen Frankenthaler). Willem de Kooning defied the trend — though had to ingratiate himself with the 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]

For Jewish writer Alain Rogier, it seems “hardly a coincidence that Jews made up a large percentage of the leading Abstract Expressionists.” It was an art movement where the culture of critique of Jewish artists, frustrated that the post-war American prosperity prevented the coming of international 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 (i.e. the multicultural project), ‘a broad and inclusive culture’ in which cultural differences were esteemed.”[ii] Doss notes how this ideological shift manifested itself among the 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 and fellow artist Adolph Gottlieb, declared that: “Today when our aspirations have been reduced to a desperate attempt to escape from evil, and times are out of joint, our obsessive, subterranean and pictographic images are the expression of the neurosis which is our reality. To my mind… abstraction is not abstraction at all… it is the realism of our time.”[v]

At the heart of Abstract Expressionism lay a vision of the artist as alienated from mainstream society, a figure morally compelled to create a new type of art which might confront an irrational, absurd world—a mentality completely in accord with that of the alienated Jewish artists and intellectuals at the heart of the movement who viewed the White Christian society around them with hostility. MacDonald notes that the New York Intellectuals “conceived themselves as alienated, marginalised figures — a modern version of traditional Jewish separateness and alienation from gentile culture. … Indeed [Norman] Podhoretz was asked by a New Yorker editor in the 1950s “whether there was a special typewriter at Partisan Review with the word ‘alienation’ on a single key.”[vi]

During the 1950s Jewish artists and intellectuals chafed against the social controls enforced by political conservatives and religious and cultural traditionalists who limited Jewish influence on the culture, “much to the chagrin of the Frankfurt School and the New York Intellectuals who prided themselves in their alienation from that very culture.” This all ended, together with Abstract Expressionism as an art movement embodying the alienation of the New York Intellectuals, with the triumph of the culture of critique in the 1960s, when radical Jews and their gentile allies usurped the old WASP establishment, and thus “had far less reason to engage in the types of cultural criticism so apparent in the writings of the Frankfurt School and the New York Intellectuals. Hollywood and the rest of the American media were unleashed.”[vii]

Jews and Modernism

In his exposition of the political significance of the widespread Jewish involvement in cultural modernism the Jewish historian Norman Cantor noted that: “Something more profound and structural was involved in the Jewish role in the modernist revolution than this sociological phenomenon of the supersession of marginality. There was an ideological drive at work.”[viii] This ideological drive was the urge to subject Western civilization (deemed a “soft authoritarianism” fundamentally hostile to Jews) to intensive and unrelenting criticism — in the process of which they spawned a massive literature of cultural subversion throughout the post-war period.

Kevin MacDonald notes how there was a great deal of influence and cross-fertilisation between the New York Intellectuals and the Frankfurt School. Both promoted modernism in art at least partly because of its apparent compatibility with expressive individualism, but also because it was seen as being capable of alienating people from Western capitalistic societies. For Frankfurt School intellectual Walter Benjamin the purpose of modern art was to spread the kind of cultural pessimism that would bring on the revolution, insisting that “To organise pessimism means nothing other than to expel the moral metaphor from politics.” His colleague, Willi Munzenberg, saw the central role of the Frankfurt School as being “to organise the intellectuals and use them to make Western Civilisation stink. Only then, after they have corrupted all its values and made life impossible, can we impose the dictatorship of the proletariat.”

Clement Greenberg and the New “American” Art

Clement Greenberg was the most influential theorizer and promoter of modernism in America during the middle years of the twentieth century. His advocacy helped to bring about the institutionalisation of Abstract Expressionism and to secure the dominance of American modernist art in the immediate post-war period. MacDonald notes that Greenberg “made his reputation entirely within what one might term a Jewish intellectual milieu” including as “a writer for PR, managing editor of Contemporary Jewish Record (the forerunner of Commentary), long-time editor of Commentary under Elliot Cohen, as well as art critic for The Nation.”[ix] Greenberg’s Jewish identity was strong, and he once avowed that “that the quality of Jewishness is present in every word I write, as it is in almost every word of every other contemporary Jewish writer.”[x] He also claimed that it likely “that by world historical standards the European Jew represents a higher type than any yet achieved in history.”[xi]

Clement Greenberg

Greenberg’s later rejection of Pop and Conceptual Art led to a period when his writings and preferences were dismissed by those who aligned themselves with the views of rival Jewish art guru Harold Rosenberg. This arose from Greenberg’s dogmatic advocacy of abstraction, and his distaste for commercial popular culture — what he called “kitsch” in his most famous essay “Avant-Garde and Kitsch” (1939) — his response to the destruction and repression of modernist art in National Socialist Germany and the Soviet Union. “Avant-Garde and Kitsch,” one of the most influential essays of the twentieth century, made Greenberg’s name as a critic and led to his participation in the world of cultural journalism as an editor of Partisan Review.

It is not hard to detect an underlying concern with anti-Semitism in Greenberg’s famous essay. There was a general understanding among both the Frankfurt School and the New York Intellectuals that mass culture — whether in the Soviet Union (both groups were anti-Stalinist), National Socialist Germany, or bourgeois United States — promoted conformism and escape from harsh political realities. It “offered false pleasure, reaffirmed the status quo, and promoted a pervasive conformity that stripped the masses of their individuality and subjectivity.”[xii] By contrast, avant-garde art had the potential to foster the kind of subjective individualism that could disconnect the masses from their traditional familial, religious and ethnic bonds — thereby reducing the salience of Jews as an outgroup and weakening the anti-Semitic status quo within these societies.

In his essay, Greenberg downplays the culturally critical potential of avant-garde art, and instead seeks to account for the ubiquity of “kitsch” in totalitarian societies by stressing its usefulness in ingratiating a regime with the masses — a practice that, he informs us, will only cease when these regimes “surrender to international socialism.” He writes:

Where today a political regime establishes an official cultural policy, it is for the sake of demagogy. If kitsch is the official tendency of culture in Germany, Italy and Russia, it is not because their respective governments are controlled by philistines, but because kitsch is the culture of the masses in these countries, as it is everywhere else. The encouragement of kitsch is merely another of the inexpensive ways in which totalitarian regimes seek to ingratiate themselves with their subjects. Since these regimes cannot raise the cultural level of the masses — even if they wanted to — by anything short of a surrender to international socialism, they will flatter the masses by bringing all culture down to their level. It is for this reason that the avant-garde is outlawed. … Kitsch keeps a dictator in closer contact with the “soul” of the people. Should the official culture be one superior to the general mass-level, there would be a danger of isolation.[xiii]

Greenberg’s thesis is not without validity. Indeed one of the striking features of modern Western life under Jewish cultural hegemony has been an all-pervasive popular culture of Hollywood that is supersaturated with the rankest multi-cultural and multi-racial kitsch. Despite the real-world failure of the utopian vision being relentlessly endorsed, this form of easily assimilated kitsch (seasoned with liberal doses of sex, violence and schmaltz) works very well to brainwash the great bulk of White people and avert even the mildest forms of rebellion.

Greenberg’s famous essay in Partisan Review

“Kitsch” works for the Jews of Hollywood for the same reason it worked for Hitler and Stalin. This is because kitsch is defined by efficiency of communication, while the avant-garde alienates some viewers “simply because this was an inescapable by-product of their formal experiments and of their rejection of kitsch.”[xiv]  Barlow notes that, for Greenberg:

Kitsch worked to maximize effect, while the avant-garde sought to address cause. Both commerce and totalitarian regimes sought maximum penetration of controllable information. They required the culture of kitsch. Mass culture will almost inevitably be kitsch, as passive consumers will comprehend accessible effects more readily than the self-conscious explorations of cause. Only in a truly socialist society will mass culture transcend the psychology of passive consumption. Despite important differences between the two men, Greenberg’s attitude to popular culture is close to that of Theodor W. Adorno.[xv]

Like Greenberg, Adorno initially directed his attack not against the high culture of Western civilization, but against the “mass culture” which warred with it — a “secondary emanation of authority” which was an inescapable product of capitalism. For Adorno, nothing was more abhorrent in the mass culture of America than its music. For him, popular music, riddled with cliché and kitsch, was not art but ideology that promotes a false consciousness that numbs the revolutionary senses of the working class. It is the owners of the means of communication (the capitalist class) that is sovereign in this debased musical culture. Under socialism, Adorno implied, this false consciousness would be swept away and the emancipated proletariat would be whistling the ideology-free music of Schoenberg and Webern in the streets.[xvi] However, as Roger Scruton noted, this aspect of Frankfurt School’s critical theory was later to change fundamentally:

Since the Frankfurters came as exiles to America, there to pour scorn on their hosts, the culture of repudiation has taken another and more home grown form. Instead of focusing on the “mass culture” of the people, it now targets the elite culture of the universities. It is indifferent, or even vaguely laudatory, towards popular art and music, seeing them as legitimate expression of frustration and a challenge to the old forms of highbrow knowledge. Its target is the culture in the sense that I have been defending it: all those artefacts that have stood the test of time, and which are treasured by those who love them for the emotional and moral knowledge that they contain.[xvii] 

Unlike his rival Harold Rosenberg, Greenberg never embraced this new critical paradigm. In his essay “Towards a Newer Laocoon” (1940) he articulated his famous claim that resistance to kitsch requires that art “emphasize the medium and its difficulties,” adding that the history of the avant-garde is one of “progressive surrender to the resistance of the medium.”[xviii] Greenberg argued that the vision of the Abstract Expressionists was characterized by a “fresher, opener, more immediate surface,” offensive to standard taste. He related this quality to a “more intimate and habitual acquaintance with isolation,” which was, in his ethnically, morally and culturally particularistic view, “the condition under which the true quality of the age is experienced.”[xix]

Greenberg’s dismissal of Harold Rosenberg’s account of Abstract Expressionism as “action painting” was based on his view that Rosenberg’s claim implied that the active process of painting mattered more than the result — that one chaotic combination of drips and splodges was as good as another. For Greenberg, Rosenberg’s theory gave the green light to charlatans whose work was no more than “stunts.” Such stunts certainly came into prominence with the rise of Pop and Conceptual art during the 1960s as many artists embraced Rosenberg’s claim that the moment of “performance” could itself be art. This aspect of the art scene in the 1960s earned Greenberg’s contempt, but as Barlow points out, “could all too easily be interpreted as the conservative critic whose time had passed — the modern equivalent of Ruskin’s attack on Whistler.”[xx]

Harold Rosenberg

It is somewhat ironic that Greenberg, an ethnocentric Jewish Trotskyite, in his staunch defence of Abstract Expressionism and Post-Painterly Abstraction, and rejection of the “pre-emptive kitsch” of Pop Art, Neo-Dada and Conceptual Art, was pushed into the role of cultural reactionary. The Abstract Expressionists Greenberg championed had been eager to break with the figurative art of the Regionalist painters, but their work (owing to its highly abstract nature) lacked the more overtly ideological form of much of the conceptual art that replaced it. This shouldn’t, however, obscure from us the fact that the rise of Abstract Expressionism coincided with the Jewish takeover of American high culture, and the deposing of the old WASP art establishment. Nor should it obscure the profound influence Greenberg’s ideas continue to have on Western culture.

Since “Avant-garde and Kitsch,” artistic and cultural production in the West has been underpinned by an aggressive “kitschophobia.” Since Greenberg’s essay was published, figurative painting, tonal music, and classical architecture have been regarded with suspicion (if not outright hostility) by cultural elites. It was fear of kitsch that gave rise to the pre-emptive kitsch of postmodern art:

Artists began not to not to shun kitsch but to actively embrace it, in the manner of Andy Warhol, Alan Jones, and Jeff Koons. The worst thing is to be unwittingly guilty of producing kitsch; far better to produce kitsch deliberately, for then it is not kitsch at all but a kind of sophisticated parody. … Pre-emptive kitsch sets quotation marks around actual kitsch, and hopes thereby to save its artistic credentials. … Public galleries and big collections fill with the pre-digested clutter of modern life, brash items of salesmanship which pass their sell-by date the moment they go on permanent display. Art as we knew it required knowledge, competence, discipline and study, all of which were effective reminders of the adult world. Pre-emptive kitsch, by contrast, delights in the tacky, the ready-made, and the cut-out, using forms, colours and images which both legitimize ignorance and also laugh at it, effectively silencing the adult voice. Such art eschews subtlety, allusion and implication, and in the place of imagined ideals in gilded frames it offers real junk in quotation marks.[xxi]

This “kitschophobic” art belligerently shuns the traditional Western preoccupation with beauty—substituting for it a cult of sarcasm, nihilism and ugliness (yet always within a politically correct framework). To be an “authentic” creation, postmodern art must “challenge,” and preferably be offensive, to standard taste. If this requires producing a dead shark in formaldehyde or a crucifix in urine, then so be it. These deliberately ugly and offensive productions, wittingly or unwittingly, provoke among their audiences a disconnection from the traditional reinforcers of ethnocentrism and group cohesion, and engender what Frankfurt School intellectual Georg Lukacs called “a culture of pessimism” reflecting a world “abandoned by God.”

Israel Shamir aptly summarized the process of degeneration that has occurred within Western art over the last 70 years when he noted that: “In the beginning, these were works of some dubious value like the ‘abstract paintings’ of Jackson Pollock. Eventually we came to rotten swine, corrugated iron, and Armani suitsArt was destroyed.” An art that emerged in response to the alienation of Jewish artists and intellectuals in mid-twentieth century America ushered in an art of cultural alienation for everyone. This debasement of the West’s glorious cultural inheritance has sapped the cultural confidence of White people, and contributed to making Western societies, in the eyes of their increasingly atomized populations, increasingly “unlovable” and not worth defending.


[i] MacDonald, Culture of Critique, 211.

[ii] Ibid., 212.

[iii] Erika Doss, Twentieth-Century American Art (Oxford: Oxford University Press, 2002), 124.

[iv] Ibid., 130-1.

[v] Doss, Twentieth-Century American Art, 128.

[vi] MacDonald, Culture of Critique, 212.

[vii] Kevin MacDonald, ‘Review of Thomas Wheatland’s ‘The Frankfurt School in Exile’ Part II’, Occidental Observer, 2009: http://www.theoccidentalobserver.net/articles/MacDonald-WheatlandII.html

[viii] Cantor, The Sacred Chain, 303.

[ix] Ibid., 211.

[x] Ibid., 213.

[xi] Ibid.

[xii] MacDonald, Review of Thomas Wheatland’s “The Frankfurt School in Exile.”

[xiii] Clement Greenberg,

[xiv] Paul Barlow, In: Key Writers on Art: The Twentieth Century, Ed. By Chris Murray (London: Routledge, 2003), 152.

[xv] Ibid., 150.

[xvi] Roger Scruton, Culture Counts — Faith and Feeling in a World Besieged (New York: Encounter Books, 2007), 70.

[xvii] Ibid., 73.

[xviii] Barlow, Key Writers on Art, 150-1.

[xix] A. Everitt, “Abstract Expressionism” In: Modern Art — Impressionism to Post-Modernism, Ed. By David Britt (London: Thames and Hudson, 1974), 256.

[xx] Barlow, Key Writers on Art, 151.

[xxi][xxi] Roger Scruton, Modern Culture (London: Continuum, 2000), 93.

Mark Rothko, Abstract Expressionism, and the Decline of Western Art, Part 1

Mark Rothko

The life and career of Abstract Expressionist painter Mark Rothko is a prototypical Jewish story that encapsulates a range of themes discussed at The Occidental Observer. Central to Rothko’s story is the political radicalism of Eastern European Jewish migrants arriving in the United States between 1880 and 1920; the reflexive hostility of these migrants to the traditional people and culture of their new homeland, and how this hostility was reflected in the artistic and intellectual currents that came to dominate Western societies in the twentieth century. Rothko’s story also exemplifies other familiar themes including: the power of Jewish ethnic networking and nepotism in promoting Jewish interests (both individual and collective), and the tendency for Jewish “genius” to be constructed by Jewish intellectuals as self-appointed gatekeepers of Western culture.

With Jackson Pollock, Mark Rothko has been accorded a leading place in the ranks of the Abstract Expressionists. If there is such a thing as a cult artist among the liberal Jewish intelligentsia, then Rothko is probably it. Important people stand in grave silence before his empty expanses with looks on their faces that bespeak lofty thoughts. As a critic for The Times noted:

Rothko evokes all that could be criticized as most pretentious, most clannish, most pseudish about his spectators. They stand there gravely perusing something that to the outsider probably looks more like a patch of half-stripped wallpaper than a picture and then declare themselves profoundly moved. And many outsiders will start to wonder if they are being duped, if this Modernist emperor actually has no clothes on and his fans are just the blind followers of some aesthetic faith.[1]  

For critics like Ottmann, Rothko’s genius is indisputable and he possessed an “extraordinary talent” that enabled him to transfer his metaphysical “impulses to the canvas with a power and magnetism that stuns viewers of his work. … In fact Rothko’s skill in achieving this result — whether intentional or not — perhaps explains why he was once called ‘the melancholic rabbi.’”[2] For prominent Jewish art historian Simon Schama, Rothko’s “big vertical canvasses of contrasting bars of colour, panels of colour stacked up on top of each other” qualify him as “a maker of paintings as powerful and complicated as anything by his two gods — Rembrandt and Turner.” For the ethnocentric Schama, “these [Rothko’s] paintings are equivalent of these old masters. … Can art ever be more complete, more powerful? I don’t think so.”[3]

After experimenting with Expressionism and Surrealism, Rothko finally arrived in 1949 at the style that would typify his work until his death by suicide in 1970 at the age of 66. This consisted of two or three floating rectangles of color painted against a monochrome background. A pioneer of what the Jewish art critic Clement Greenberg christened “color field” painting, Rothko claimed that only abstract painting could express the “full gravity of religious yearnings and the angst of the human condition.” He intended their effect to be transcendental with his stated goal being “only in expressing basic human emotions—tragedy, ecstasy, doom, and so on.” Rothko claimed that “a lot of people break down and cry when confronted with my pictures” which showed they were “having the same religious experience I had when I painted them.” His final works became so minimalistic (large black canvasses) as to be almost void of any substance.

Mark Rothko’s No. 6 (Violet, Green and Red) which sold for $186 million in 2014

In the twenty-first century, the sale prices of Rothko’s paintings at auction have risen consistently, surpassing those of his Abstract Expressionist colleagues, to reach staggering sums in the vicinity of $200 million. In 2011, Mark Rothko became the main character in Red, a successful Broadway play that treated him as a unique genius and won six Tony Awards.[4] Rothko would have approved of the portrayal: Elaine de Kooning once noted how he was “hypnotized by his own role, and there was just one. The role was that of the Messiah.”[5]

The making of Mark Rothko

Born in 1903, Marcus Rothkowitz was the youngest child of pharmacist, Jacob Rothkowitz, and his wife, Anna Goldin Rothkowitz, in the Russian city of Dvinsk (today Daugavpils, Latvia). Dvinsk, at the time in the Jewish Pale of Settlement, was a hotbed of Jewish radicalism. The Pale was then inhabited by five million Jews confined there by the Tsar at a time when thousands of Polish Jews were crossing the border into Russia seeking work. Rothko’s father was the stereotype of the leftwing Jewish intellectual, who presided over a family with an “intense commitment to politics and education.”[6] He initially preferred secular education for his children, and political over religious involvement. According to Rothko, his father’s relation to formal religion was openly oppositional: “My father was a militant social democrat of the Jewish party, the Bund, which was the social democracy of that time. He was profoundly Marxist and violently anti-religious.”[7]

That this was chiefly an anti-Christian, rather than anti-religious, impulse is revealed by the fact he returned to the Orthodox Jewish fold after Marcus’s birth in response to anti-Jewish violence which followed the failed Revolution of 1905. While no “pogroms” were ever visited on the Jews of Dvinsk, the town witnessed occasional incidents where Jews were targeted as sympathizers of the Social Democratic and other revolutionary parties. In 1905, according to Baal-Teshuva, the young Rothko’s “hometown was under the blanket surveillance of the Tsarist secret police. Jews were the usual victims of reprisals whenever the Cossacks, the loyal followers of the Tsarist state, came into the town to break up revolutionary uprisings.” Jews living in the environs of Dvinsk “lived in constant terror of pogroms and massacres. The air was filled with slogans like ‘Kill the Jews to Save Russia.’ This was the atmosphere in which Rothko grew up.”[8]

Despite the fact no pogroms occurred in Dvinsk, Rothko claimed to “remember the local Cossacks indulging in their favorite activity — beating up Jews.” He repeatedly told “likely embellished stories that he would wear a backpack to avoid getting hit by the stones the children of Dvinsk threw at him in the streets,” and that a Cossack who had come to repress demonstrations in the city had “struck him in the face with a whip.”[9]

Rothko later even claimed to recall “dug-up pits in the forests around Dvinsk, where the Cossacks buried Jewish victims they had kidnapped and murdered. These images always plagued him mentally, and he says they exercised a certain influence on his painting.”[10] Baal-Teshuva forgives Rothko these obvious untruths, contending it’s likely “that the child heard adults talking about the pogroms and massacres elsewhere, and in his memory ended up mixing up these stories with his own memories of the nearby woods.”[11] Acknowledging that some critics have happily run with these falsehoods, he observes how they have “gone so far as to say this explains his preference for rectangular forms in his late works, as a formal echo of the grave.”[12]

Rothkowitz family portrait in Dvinsk 1912 (Marcus second from the right)

In response to the economic and political insecurities of life in the Pale, Marcus’s father migrated to the United States in 1910. Only in 1913, when Marcus was ten years old, did the rest of the family move to America. Despite the supposed hazards of life in the Pale, Rothko “referred often to the ‘terrible experience’ of having been torn away from his homeland against his will.”[13] It was certainly not the gentile culture of America that attracted the waves of Jewish migrants from Eastern Europe, but only the relatively advantageous conditions created by American economic growth. “They came to America’s shores,” notes Muller, “motivated not by religion but in spite of it, their more orthodox leaders being inclined to warn them against the dangers of godless and goyish America.”[14] A massive influx of 2.3 million Jews arrived at Ellis Island between 1881 and 1920.

The Rothkowitz family spoke Hebrew, Russian and Yiddish and therefore fit well into their new surroundings. South Portland in Oregon where they settled (which was dubbed “Little Odessa”), provided an environment “very much as we think of a shtetl” where one could go for years “speaking Yiddish, Russian, or Polish without having to learn a word of English.”[15] Beginning in Dvinsk and then in Portland, his father decided Marcus would have a strict religious education. He was sent to a cheder, the religious school run by a synagogue, starting at the age of five, and was subject to a strict and tiring routine: praying, reading and translation of Hebrew texts, and rote memorization of Talmudic law.[16]

Rothko’s parents saw no contradiction in bringing up their son as an Orthodox Jew, a Zionist, and a Communist. This is quite in keeping with Kevin MacDonald’s observation that “within Russian Jewish communities, the acceptance of radical political ideology often coexisted with messianic forms of Zionism as well as intense commitment to Jewish nationalism and religious and cultural separatism, and many individuals held various and often rapidly changing combinations of these ideas.”[17]

After the family had achieved a degree of economic security in Portland, they joined local chapters of radical movements. Marcus avidly participated in discussions on current affairs and argued “skilfully for the right of workers to strike, or for general access to contraception. His entire family was in favour of the Russian Revolution, as Rothko later said.”[18] This was, of course, very typical, with Jewish historian Norman Cantor noting how “In the first half of the twentieth century, Marxist-Leninist communism ran like an electromagnetic lightning flash through Jewish societies from Moscow to Western Europe, the United States and Canada, gaining the lifelong adherence of brilliant, passionately dedicated Jewish men and women.”[19]

Another “Jewish Genius” Gets Stung by the WASPS

Rothko was, according to Schama, very much one of these brilliant Jewish men who, despite his Orthodox Jewish education, was “no Jewish Trappist, but a much more recognizable type (at least to me): loquacious, exuberant, hot-tempered, deeply immersed in literature and history.” While the Orthodox Judaism in which Rothko was schooled was not directly expressed in his later art, Schama insists that “once you’ve done cheder — Hebrew school — it never really goes away, however much you try to banish it; nor did it for Marcus. He was what everyone would call, with smiles, both admiring and pitying, a chocom — a know-it-all. And what do chochoms do if they weren’t going to be rabbis?”[20] He was, Schama insists, “just your super-educated, ungainly, sentimental Jew. In the grip of mighty ideas, he was desperate to tell you all about them, fidgeting on the sofa and waving his arms all around. A big heart and a big mouth to match — you know the type.”[21]

After his Orthodox Jewish education, Rothko, at the age of fourteen, attended Lincoln High School in Portland where “he finally experienced his first true encounter with the non-Jewish world, as only 10 percent of the nine hundred students were Jewish.” There he excelled academically and was a passionate debater for the radical cause. Cohen-Solal admires the way “the diligent student from Lincoln High grew into a passionate young intellectual” who “bluntly decided to confront tradition.”[22] Around this time he went to hear “‘Red’ Emma Goldman lay into capitalism and sing the praises of the Russian Revolution.”[23] Despite his avowed support for the Bolshevik Revolution, Rothko resented the fact that anyone at Lincoln High School who “had a name ending in ‘off’ or ‘ski’ is taboo and branded a Bolshevik.” He and his Jewish friends also begrudged the “control over student organizations exercised by the White Anglo-Saxon Protestant youngsters.”[24]

Rothko was passionately drawn to the IWW (Industrial Workers of the World) and Emma Goldman at a time of rising ethnocentrism and growing hostility to Jewish immigration among White Americans. In 1915, the Ku Klux Klan, inactive since the Reconstruction era, revived in the South, and in 1916, Madison Grant defended his racial history theory in The Passing of the Great Race. Rothko saw disturbing parallels between the respective goyim of his old and new countries, especially at the time of Leo Frank’s lynching in 1915, when he observed in a poem that:

Those primitive barbarous people,
They live again in my blood,
And I feel myself bound to the past
By invisible chains.[25]

American entry into World War One in 1917 inspired nationalist demonstrations among Americans who believed their country had no interest in the conflict. The majority of them also, as mentioned, opposed mass immigration, and Congress passed three successive, highly restrictive, immigration laws: the Immigration Act of 1917, which introduced a literacy test; the Emergency Quota Act of 1921; and the National Origins Act of 1924. Such laws were deeply distressing to Jews like Rothko who wanted the country kept open to mass Jewish immigration.

Schama tells us that Rothko was “scholarship material, and won a place at Yale [in 1921] before the Ivy League decided they were about to be inundated by clever Jews and imposed admission quotas.” Despite his admission to Yale, “Rothko felt the sting of the WASPS all the same. If they couldn’t actually evict the talky-smart kikes, ‘those people,’ they could at least make it hard for them to stick around.”[26] Baal-Teshuva claims Rothko and his fellow Jewish students soon discovered the difficulties of gaining social acceptance in a setting where “the majority of generally affluent White Anglo-Saxon Protestants were contemptuous of the Jewish minority.”[27] Exactly how these WASP students were supposed (or even remotely likely) to embrace a group who feted Emma Goldman, were deeply hostile to their people and culture, and longed for the day when a violent revolution would consign them and their kind to the dustbin of history, is unclear. The more desperately the Jews wanted to “climb the social ladder, the more panic-stricken the others became at the idea of being invaded.”[28]

Rothko while at Yale

At the end of a year spent studying the history of philosophy and psychology, Rothko had achieved only mediocre results, and his scholarship was rescinded and replaced with a student loan. Rothko biographer Annie Cohen-Solal indignantly asks:

How could a young man of eighteen years—the image of a 1920s intellectual, with a high forehead, an intense gaze behind round glasses, and a combed-back mass of wavy black hair—who entered with such enthusiasm into Yale, this temple of knowledge, so severely flounder there? Why would this voracious student, craving intellectual debates, so confident in his abilities after a string of successes in Portland, completely fail to find his place at this elite university?[29]

Her predictable answer: the ubiquitous anti-Semitism Rothko supposedly confronted at a Yale dominated by an “inaccessible club of young WASPs.”[30] Cohen-Solal claims that Rothko quickly became a pariah after his arrival in New Haven, and was “stigmatized precisely because he was bright.” He quickly learned that “the Yale social system was based more on breeding than on merit,” while also discovering “the cynicism and hypocrisy of the caste-based micro-society that sought to protect and reproduce itself, in particular by excluding new, upwardly mobile immigrants who, in those years of rampant nationalism, were deemed threatening to the system.”[31] By thwarting his entry into its exclusive society, Cohen-Solal accuses Yale of having unforgivably “hampered the development of the identity of the young prodigy from Dvinsk.”[32]

Rothko lived off-campus with relatives in New Haven, and launched a radical underground newspaper called The Yale Saturday Evening Post “which took aim at the college’s teaching methods and fetish for prestige.”[33] He discovered his artistic calling by chance. One day, in 1923, he visited a friend studying drawing at the Art Students League and decided “It is the life for me.” He dropped out of Yale after his second year, and moved to New York where he took some art courses. According to Cohen-Solal, it was little wonder he elected to become a painter: “Socially, he was a rebel who, after enduring a series of setbacks, had developed a precocious political awareness as well as a desire for revenge. To pursue a career in art meant, for him, joining a professional group of outcasts with which he could identify.”[34] Rothko would return to Yale 46 years later—when the WASPs had been overthrown and his own ethnic group was firmly in charge—to receive an honorary degree.

Rothko relocated to New York in 1925 and remained there for the rest of his life, becoming involved with Jewish institutions and close to various Jewish artists. He enrolled in the New School of Design where Arshile Gorky (not Jewish) became one of his instructors and cubist artist Max Weber, a fellow Russian Jew, became one of his mentors. In 1928, he was invited to participate in a group show at New York’s Opportunity Gallery, with Lou Harris and Milton Avery — a self-taught painter connected to Brooklyn’s Jewish community through his wife — who mentored various Jewish artists including Adolph Gottlieb, Barnett Newman, Joseph Solman, and Louis Schanker.[35] Rothko also gained experience by drawing maps and illustrations for the Graphic Bible by Lewis Browne, a retired rabbi from Portland who was a best-selling author. When he saw he wasn’t credited for these works, he sued Browne for $20,000 in damages. In the end, he lost the trial.[36]

Early Rothko painting: Woman and Cat (1933)

Despite all this activity, when the Wall Street crash came in 1929, followed by the Great Depression, Rothko had little to show for his decade in New York. He was exhibited but rarely sold, and when it did, it was not a living. Between 1928 and 1939, one exhibition followed the next, but his works—oils, watercolors, and paintings on paper—sold poorly. In the meantime he had married Edith Sachar, “bright and Jewish, whom he had met at a progressive summer camp at Lake George in the Adirondacks: downing dialectical materialism, Freud and Cubism along with the weak coffee.”[37]

Go to Part 2.


[1] Klaus Ottmann, The Essential Mark Rothko (New York, NY: Harry N. Abrams, 2003), 8. 

[2] Klaus Ottmann, The Essential Mark Rothko (New York, NY: Harry N. Abrams, 2003), 8.

[3] Simon Schama, Simon Schama’s Power of Art, BBC TV Series, Great Britain, 2006.

[4] Annie Cohen-Solal, Mark Rothko, Toward the Light in the Chapel (New Haven CT: Yale University Press, 2015), 207.

[5] 78

[6] J.E.B, Breslin, Mark Rothko: A Biography (Chicago: University of Chicago Press, 1998), 14.

[7] Ibid., 15.

[8] Ibid., 19-20.

[9] Cohen-Solal, Mark Rothko, 15.

[10] Schama, Simon Schama’s Power of Art TV Series.

[11] Jacob Baal-Teshuva, Rothko (Cologne, Germany: Taschen, 2009), 19-20.

[12] Ibid.

[13] Ottmann, Essential Mark Rothko, 17.

[14] Jerry Z. Muller, J.Z. (2010) Capitalism and the Jews (Princeton NJ: Princeton University Press, 2010), 96.

[15] Cohen-Solal, Mark Rothko, 26.

[16] Baal-Teshuva, Rothko, 20.

[17] Kevin MacDonald, The Culture of Critique: An Evolutionary Analysis of Jewish Involvement in Twentieth‑Century Intellectual and Political Movements, (Westport, CT: Praeger, Revised Paperback edition, 2001), 82.

[18] Baal-Teshuva, Rothko, 23.

[19] Norman Cantor, The Sacred Chain – The History of the Jews (New York: HarperCollins, 1994), 281.

[20] Simon Schama, Simon Schama’s Power of Art, BBC Books, London: BBC Books, 2006), 401-2.

[21] Schama, Simon Schama’s Power of Art TV Series.

[22] Cohen-Solal, Mark Rothko, 35; 30.

[23] Schama, Simon Schama’s Power of Art, 402.

[24] Cohen-Solal, Mark Rothko, 30

[25] Ibid., 38.

[26] Schama, Simon Schama’s Power of Art, 402.

[27] Baal-Teshuva, Rothko, 23.

[28] Cohen-Solal, Mark Rothko, 45.

[29] Ibid., 39.

[30] Ibid., 45.

[31] Ibid., 42-3.

[32] Ibid., 43.

[33] Baal-Teshuva, Rothko, 23.

[34] Cohen-Solal, Mark Rothko, 56

[35] Ibid., 57.

[36] Baal-Teshuva, Rothko, 24.

[37] Schama, Simon Schama’s Power of Art, 405.

Scandza Forum: Frodi Midjord interviews an Estonian nationalist Member of Parliament. “Maintaining the status quo in Western Europe is not enough.”

Demonizing Daniel: We Shouldn’t Trust Jews Who Oppose the Muslim Invasion of Europe

How’s that for gratitude? In 2006 the Conservative MP Daniel Kawczynski was one of the grovelling goys who staffed an All-Party Parliamentary Inquiry into Antisemitism and who listened with entirely straight faces as Britain’s richest and most powerful racial minority pretended to be powerless and persecuted victims. When the Inquiry was complete, those goys urged that even more censorship and surveillance be imposed on Britain to defend Jewish power.

Consorting with racists

And who was the chairman of the Inquiry? Why, it was the Labour MP Denis MacShane, who was working hard for Jewish interests in London even as he ignored the White working-class girls being raped, tortured and prostituted by Pakistani Muslims in his Yorkshire constituency of Rotherham. In other words, the Inquiry into Anti-Semitism supported by Daniel Kawczynski was both deeply fatuous and tragically ironic. But Kawczynski’s goy-grovel and dutiful service for Jewish interests in 2006 counted for nothing in 2020, when Marie van der Zyl, President of the Jewish Board of Deputies, loudly condemned his “decision … to speak at a conference [in Rome] featuring far-right European politicians” and demanded that he be disciplined by his own party for appearing with the “anti-semitic” Hungarian prime minister Viktor Orbán and other racist opponents of Muslim immigration.

Jewish leader Marie van der Zyl pledges to be “a committed ally” of Muslims at an Interfaith Iftar

The Jewish Chronicle backed the Board with a pungent editorial, which said that “by consorting with racists, Daniel Kawczynski sends a clear message that he believes their ideas are legitimate and respectable.” Kawczynski was duly forced into a humiliating “apology” by an “official warning” from the Conservatives, but his critics were not satisfied. As one headline put it: “Jewish and Muslim groups condemn Tory ‘slap on wrist’ for MP who attended ‘festival with fascists’.”

What’s best for Jews?

You can see there how Jews and Muslims act as “natural allies” (the exact words of Jewish anti-racists like Dr Richard Stone) against the interests of Whites and Christians. The Board of Deputies and the Jewish Chronicle still plainly believe in that Jewish-Muslim alliance, but a minority of other Jews now think that Muslim immigration into the West is not in the best interests of Jews. And in fact Kawczynski’s “festival with fascists” was addressed by a famous Israeli academic, the yarmulke-wearing Yoram Hazony (called a “gatekeeper” by VDare), and was partly sponsored by an Israeli think-tank called the Herzl Institute, whose Star-of-David-bearing logo was on prominent display throughout.

Yarmulke-wearing Yoram Hazony

In other words, it wasn’t a “festival with fascists” at all. Of course, the Board of Deputies and Jewish Chronicle didn’t mention any of that Jewish involvement in their condemnation of Kawczynski. They were being dishonest, but Yoram Hazony returned the favour when he defended Kawczynski in an article at Quillette entitled “The British Conservative Party Should Stop Cancelling Conservatives.” Hazony and his co-author didn’t mention the prominent Jewish criticism of Kawczynski, because they didn’t want to draw attention to the central Jewish role in censorship and “cancel culture.” But another Jewish academic, the sociologist Frank Furedi, wasn’t dishonest like Hazony. He openly named and condemned the Board of Deputies in an article entitled “The witch hunting of Daniel Kawczynski”:

Almost overnight, Kawczynski, a respected MP, was transformed by his media and political detractors into the incarnation of xenophobic evil. Very few mainstream commentators and politicians were prepared to stand up to the powerful campaign of vilification directed against him. Very few even asked the question, ‘What did he actually do?’. Instead, the very fact that some media outlets branded him ‘far right’ was enough to condemn him.

Kawczynski’s alleged crime was that he attended a meeting of fascistic European politicians who apparently are in the business of promoting anti-Semitic conspiracy theories. In the words of former Tory Party chairman Lord Pickles, who serves as the government’s ‘special envoy on post-Holocaust issues’, Kawczynski brought ‘comfort’ to ‘racists and extremism’. Pickles claimed Kawczynski had ‘let fellow Conservatives down’.

It is worth noting that Kawczynski himself is not accused of saying anything remotely racist, xenophobic or anti-Semitic. In the eyes of his persecutors, his crime was that he attended a conference with questionable people. In other words, he is guilty by association.

But who is he guilty of associating with, precisely? Some of his persecutors have alleged that he mixed with well-known anti-Semites and therefore he helped to legitimise anti-Semitism and racism. Marie van der Zyl, president of the Board of Deputies of British Jews, carelessly waded into the discussion, asserting that the Tories ran the ‘serious risk of the public assuming that they share [Kawczynski’s] views’, unless, that is, they made an example of him. The Guardian and the Independent echoed this sentiment, implying that Kawczynski’s guilt was beyond debate. …

It is a shame that Marie van der Zyl and her colleagues at the Board of Deputies have such a shallow grasp of what anti-Semitism actually means. Even worse, at a time when anti-Semitism is on the rise in many parts of Western Europe, crying wolf about it trivialises the seriousness of the threat faced by Jewish people today. If anyone should apologise as part of this sordid, concocted controversy, it should be Eric Pickles and Marie van der Zyl. (The witch hunting of Daniel Kawczynski, Spiked Online, 10th February 2020)

Dedicated shabbos-goy and pie-eater Eric Pickles

Myself, I would trust Frank Furedi as far as I could throw the famously rotund Eric Pickles, but I have to give him credit for naming and attempting to shame the Board of Deputies and for noting that Pickles is “the government’s ‘special envoy on post-Holocaust issues’.” Furedi didn’t explicitly conclude that Jewish organizations play a central role in censorship and “cancel culture,” but he certainly supplied evidence for others to reach that conclusion.

It’s also interesting that Furedi himself seems to have attended the anti-immigration conference in Rome, because it would surely have horrified him during his days as leader of the Revolutionary Communist Party (RCP), a Trotskyist groupuscule that argued for the “rejection of all controls on immigration.” Furedi’s former underlings in the RCP have continued to argue for open borders at venues like Spiked Online, but it appears as though Furedi may no longer believe that open borders are a good way to combat the anti-Semitism that so obviously and deeply concerns him (see his words above).

Viva Italia! Viva Israel!

Anti-Semitism also deeply concerns the Italian politician Matteo Salvini, who had been scheduled to appear at the conference with Viktor Orbán and Yoram Hazony. Salvini didn’t appear in the end, but his views were fully represented there. After all, Salvini strongly opposes Muslim immigration and just as strongly supports Israel. Here’s a translation of part of a speech he made at the Italian Senate proclaiming his love of Israel and blaming anti-Semitism in Italy on Muslim immigrants:

The anti-Semitism of the right, neo-Nazi, neo-Fascist, or of the American/European white supremacist, is our enemy. Similarly our enemy is the anti-Semitism of the left, like the Islamists, like this definition of the modern anti-Semitism, like the red-green alliance. … we are also more concerned with the anti-Semitism that is accepted in some institutions … [like] a European Union that denies its Judeo-Christian roots. A European Union that labels Israeli products produced in disputed territories. A UN which in 2018 dedicated 27 condemnations of Israel in security resolutions, and one against Iran, and not even one on human rights in China and Turkey …

The enemies of Israel are the enemies of civilization and peace. The friends of Israel are the friends of liberty, rights, progress, and peaceful co-existence among peoples, and I remember as one of my greatest satisfactions when, after the meeting I had with Bibi Netanyahu, in a press conference, the Israeli prime minister said, “I have met a friend of Israel.” I am honored, I am honored to be that. And I will fight with all my strength, in all forums inside and outside of the institutions, so that our children and your children never re-live the errors and horrors of the past. Whatever [unintelligible] source or political justification they might have. Long live Italy. Long live Israel. (Matteo Salvini’s Complete Speech on Israel and Jew-Hatred, Gates of Vienna, 22nd January 2020)

I dislike Salvini’s use of the historically baseless term “Judeo-Christian” (giudeo-cristiano in Italian), which was devised in the United States in the 1940s to serve Jewish interests (in another sense, “Judeo-Christian” is a legitimate term in the study of early Christianity). But I don’t think Salvini is a shabbos-goy like Daniel Kawczynski. After all, Salvini said “Long live Italy” before he said “Long live Israel.” I think that a true shabbos-goy would have put Israel before Italy.

Pretending that Jews had no role in Muslim immigration

Nevertheless, Salvini’s praise of Benjamin Netanyahu is a useful warning, just like Daniel Kawczynski’s attendance at the supposed “far right” conference in Rome. We should keep a careful eye on Jewish and Israeli involvement in pro-White, pro-Christian political movements, because those movements might turn out to be not so pro-White and pro-Christian as they appear. Jews like Yoram Hazony and Marie van der Zyl are not really on opposing sides, because Yoram and Marie are merely supplying different answers to a single all-important question: What’s best for Jews?