Sweden has become rather notorious in right-wing circles of late. Their quest to become the progressive jewel in the crown of the EU has led them to become a joke in the eyes of many, with the ‘Captain Sweden‘ and ‘Sweden Yes’ memes being good examples. It is a shame that a country which could produce men like Gustav II Adolf could become a nation ruled by people who become upset when they realise they can only play host so many Somali and Arab migrants. Sweden is much like Canada or Germany in this regard. Although, in all fairness, the dynamics are quite different. Germany is in a stranglehold, supposedly indebted, endlessly apologetic, and crumbling under the weight the greatest guilt complex in Europe. Canada, meanwhile, anxious to atone for its own colonial origins, finds solace in PR campaigns designed to promote itself as niceness and humility incarnate. Indeed, Justin Trudeau, a man with maple syrup for blood, makes the job a fair bit easier. Sweden carries a much lighter load. Pure as its own driven snow, this is a nation at the bottom of the list for finger pointers, and yet it insists on outdoing everyone else in the competition of self-destructive tolerance.
In Norway, another nation subject to only a small measure historical grievances, constitutional monarch Harald V recently decided to (perhaps, under duress) declare his support for the usual policies of multiculturalism, endless mass immigration, feminism, LGBT pandering, so on and so forth.
However, not everything is so bleak in Scandinavia, as Sweden’s historical rival and Norway’s former master, Denmark, appear to have taken some positive steps forward.
The Hero’s Journey (aka The Monomyth), as outlined by Joseph Campbell
Culture may be described as a product of both logos and mythos, with both modes of interpretation and understanding working in synthesis, or with one as a product of the other. Artists, musicians, poets, philosophers, theologians, political theorists, statesmen and others rely on the tools of logos in order to create their own works of mythos. While some my favour and utilise one to a greater degree than the other, the realm of culture is a playground of both the concrete and the abstract, the rational and the intuitive. The academic study of mythology itself may be best understood as the application of logos to the products of mythos. This is nicely illustrated by the term’s etymology.
A theme of particular prominence and endurance in the mythological canon is that or the hero and his journey. The hero, upon hearing the call to action, typically embarks upon a dangerous journey into the unknown. Often, this journey is a descent. Often, as with Psyche, Horus and Christ, it is a descent to the very bottom of the pit, down to Hades, the Egyptian underworld, to Hell. Christ shares common themes in the unlikely form of Dionysus, who, like Shiva and many other deities, exemplifies the long tradition of the dying-and-rising God of life-death-rebirth. The hero who returns from the underworld expresses a number of eschatological themes, with the cyclical nature of time and existence being one of the most prominent.
“In imitating the exemplary acts of a god or of a mythic hero, or simply by recounting their adventures, the man of an archaic society detaches himself from profane time and magically re-enters the Great Time, the sacred time.” – Mircea Eliade
The artist and writer Wyndham Lewis, born Percy Wyndham Lewis, styled The Enemy, was born on 18th November 1882 and is still very much alive, even if a cross-section of his brain has been dunked in a perspex case of formalin and stored in the Pathology Museum now in Hammersmith. A naturally rather antagonistic chap, he hit the London art scene like a dishevelled brick upon his arrival from Canada in 1908, and, while his effect on mainstream culture was extremely limited in his own time, his influence on the modernist movement from the 1910s onward has transformed contemporary art both in terms of succession and reaction to his life, politics, and work.
If it isn’t Russians, it’s the internet. It was the internet that caused Brexit, the internet that cost Hillary the US Presidency, and it was the internet that transformed multitudes of docile rabbit-people into rabidly xenophobic, uh… Frogs. “And we would have gotten away with it, too, if not for…” Right, gotcha.
23andMe, a personal genomics and biotechnology company, has been much discussed since its launch in 2006. In 2008, when the company was offering estimates of “predisposition for more than 90 traits and conditions ranging from baldness to blindness”, Time magazine named the saliva-based personal genome test ‘Invention of the Year’. By 2012, the company had doubled its existing capital. In 2015, that capital hit $241 million.
When I first saw the adverts for 23andMe, it seemed that the primary purpose was to assess the customer’s predisposition to certain diseases and health problems, such as certain cancers, coronary heart disease, possible drug responses, and the possibility of various inherited conditions. This is the first advertisement that I ever saw from them. One of the last lines is “learn more about your health” as if to imply that medical testing is the primary function of their product and services. However, the company’s marketing has since changed with a greater focus being on ancestry and ethnicity. The latest version of the website now features two major services; one is for ‘health and ancestry’, while the other simply concerns ‘ancestry’.
This year marks the fiftieth anniversary of the production of one of the very few television series that achieved the status of high art. I speak here of The Prisoner, largely the vision of one man: Patrick McGoohan – although his Jewish script editor George Markstein tried to take as much credit as possible for its conception. Marginalised and ignored, Markstein left before the end of the series. The series did, however, owe more to co-producer as well as director and writer of several episodes David Tomblin. There has since been a re-imagined version of the series, in 2009, which was largely thinly-veiled propaganda for the homosexual lobby, but this is not the concern of this particular article.
Firstly, a note about the quality: some of the episodes are cobbled together and superfluous to the overall narrative. This is because McGoohan had conceived of a serial of seven episodes, but ATV head (((Lew Grade))) wanted twenty-six for commercial purposes. They settled on seventeen. Particularly the episodes Do Not Forsake Me Oh My Darling, Living in Harmony and The Girl Who Was Death can be ignored.
McGoohan stated in an interview that The Prisoner came out of an “impatience with the new morology of society and the way we were being made into cyphers and so on.” The series, then, is an explicit reaction against the 1960s counterculture that has taken hold of the contemporary mainstream. It is thus more relevant now than when it was first aired in 1967.
As all true nationalists know, and indeed anyone left with any common sense, different races create different cultures because the races of men are intrinsically different. This means that wherever one goes in Europe, one finds cultures that, while having regional differences caused by historical distance between groups and national differences caused by political boundaries, are nonetheless similar in character. In contrast, if one travels further to the Middle East or Africa, the cultures there are utterly alien.
This is why Oktoberfest has attracted people from all over the world and yet its clientele has remained 99% White European despite attempts at “diversification” (see above). In Islamic societies, of course, the consumption of alcohol is either frowned upon or forbidden. This contrasts quite starkly with the White European tradition where alcohol has always been consumed, sometimes for the better and sometimes for the worse. Sensible drinking enhances a pleasurable evening, but one ought never to make an important decision after a few pints: “When the beer is in, the wits are out,” as we say in Yorkshire.
Granville Thorndyke is a youtuber with a knack for marrying imagery to words. By juxtaposing the poetry of Coleridge against scenes from the void, TheAncient Mariner is transformed into our wearynarrator upon a sea of lost souls. The result is harrowing.
For many years in American and European politics, the left has utilised a political strategy to gain influence and win elections which involved uniting the minorities (the coalition of the fringes) and diving the majority (Whites). This is a kind of revamped Marxism (Cultural Marxism) which sees the heterosexual White majority as an oppressor class vis-à-vis the various “minority” groups; “liberated” women, Jews, Blacks, Muslims, Latinos, homosexuals, the poor, atheists, disaffected youth, disabled people etc. who must be united under an “oppressed” proletarian banner (with heavy organisational input from leftist “intellectuals”) to overthrow the “oppressive”, White neo-bourgeoisie. The New Left has been relentless in its opposition to White Western civilisation and it has largely been successful, and it will gradually become more successful in the future as demographics shift in their favour due to the mass third world immigration that they have instigated. The left, blinded by its hatred of traditional White people (especially straight White men) largely does not realise that its efforts to reconstitute society in an egalitarian, anti-White direction will not bring about a new era of liberty and equality but the destruction of European civilisation. Nevertheless, the ultimate consequences of the New Leftists actions whether intentional or not, are irrelevant to whether they will be successful in bringing about these changes.