Green Nazis in Space: New Essays in Literature, Art, and Culture
Page 24
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“Of course, much like Lee was never able to publish anything after To Kill a Mockingbird, Capote’s writing fizzled after In Cold Blood, so perhaps their literary relationship was more symbiotic than one-sided.” Steve Sailer, “Harper Lee’s ‘To Kill a Mockingbird’ Pre-sequel,” Unz Review, July 2, 2015, http://www.unz.com/isteve/harper-lees-to-kill-a-mockingbird-pre-sequel/
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See my review of The Magical World of William Burroughs, op. cit.
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This was indeed too much for the rising Judaic literary cabal, who commissioned their shabbos goy Dwight MacDonald to pen the most famous and effective literary smear in history, “By Cozzens Possessed” in Commentary. 25 years later, Commentary was now “neo-conservative” so they commissioned Joseph Epstein to do a half-assed reassessment. And last year, D. G. Meyers tried his hand there as well: “James Gould Cozzens at 109.” What is he, a Nazi “war criminal”? Never forget!
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See, for example, my review of The Noel Coward Reader or the discussion of Bogart’s interaction with Truman Capote; both reprinted in The Homo & the Negro (San Francisco: Counter-Currents, 2012).
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I realize it’s hard to believe such a Copernican idea. But take a look how this occurred in an entirely different context—the Arab world. As documented by John R. Bradley (see Behind the Veil of Vice: The Business and Culture of Sex in the Middle East [New York: Palgrave MacMillan, 2010]), it was pushy Western “liberationists” that disrupted the discrete playground of Burroughs, Capote, and others, creating the Puritan backlash wrongly attributed to “Medievalist Islam.” Even James Neill, though he accepts most of the lachrymose theory, agrees here, as I point out in my review of his The Origins and Role of Same-Sex Relations in Human Societies (Amazon Kindle, 2013).
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Perhaps they might be encouraged to reprint Wilson pal Bill Hopkin’s fascist/Lawrencian The Leap.
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Such as Wilson’s The Angry Years: A Literary Chronicle (London: Robson, 2007).
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Whose own story of a young man from the provinces in search of London accommodations can be found in his first novel, The Lipstick Boys (London: Enitharmon Press, 1984)
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A contemporary work (1955) although set earlier, where the ingénue is “Patrick” and the urban corrupter the nevertheless safely female Mame. Of course, “Auntie” Mame has no doubt been played by innumerable gay men, perhaps especially in the provinces. I actually only became acquainted with the book and movie quite recently, and while loving the ’50s Technicolor, was actually shocked at utterly how subversive both are: Jews are to be catered to as our betters, Southerners are racist rednecks, children should attend nudist schools in Greenwich Village and sing the “Internationale,” suburban couples are materialistic boobs; the whole New Left agenda.
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See “Gorey Goes Gay” here: http://ukjarry.blogspot.com/2009/
09/286-gorey-goes-gay-1.html
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Word Virus: The William S. Burroughs Reader, ed. James Grauerholz and Ira Silverberg (New York: Grove, 1998), p. 48. The quote is from his 1953 Junky, another disguised autobiography full of libel, this time among the world of drug addicts; for its complex legal and publishing history, see Oliver Harris’s “Introduction” to Junky: The Definitive Text of “Junk” (New York: Grove, 2003).
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That’s “Lecter” as in Anthony Hopkins’ Phantom of the Opera version, not Brian Cox’s much more interesting “Lecktor” who consequently makes Manhunter a vastly more interesting film. Cox’s outwardly schlubby Lecktor, who seems to have just gotten off a cross-town bus, seem to prefigure his role as an oddly sympathetic child molester in Michael Cuesta’s 2002 film L.I.E.
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Unlike the Pet Shop Boys, Patrick is always being boring. This was the root of Colin Wilson’s disgust with English culture, and love of America; the British were uninterested in ideas—or at least, his ideas. For example: “When I saw Amis’s review of The Outsider in the Spectator, I was not surprised that it was entitled ‘The Legion of the Lost’, and began: ‘Here they come—tramp, tramp, tramp—all those characters you thought were discredited, or had never read, or (if you were like me) had never heard of: Barbusse, Sartre, Camus . . .’ I took this for a tongue-in-cheek pose, Amis pretending to be the intellectual barbarian. . . . It was not until after his death, when I read his vitriolic comments on me to Larkin in his collected letters, that I realised that, where I was concerned, there was a genuine dislike tinged with alarm. It was then that I understood that the attitude he had expressed in the review was more than a flippant affectation.”—http://www.colinwilsonworld.co.uk/Pages/TheRiseandFallofAngryYoungMen.aspx
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Readers who find it hard to take Wilde seriously, or who are surprised to learn that Wilde was the earliest intellectual influence Baron Evola deigns to acknowledge in his autobiography, The Path of Cinnabar (London: Arktos, 2009) might examine The Soul of Man Under Socialism (1891), an admittedly witty presentation of the viewpoint more ponderously expressed by Spengler’s “Prussian Socialism” or Yockey’s “Ethical Socialism,” and far more influential than either (ranging from Godwin to Žižek).
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It is appropriate that the “Gay Men’s Classic” edition comes with an Introduction by one Philip Core, a British painter of the Bacony school whose literary efforts amounted to a rather silly book called Camp: The Lie That Tells the Truth (London: Plexus, 1984). Oh, but that’s the point, isn’t it? Silly me!
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Unlike Wilde, an arriviste and an Irishman to boot.
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“The Transmutation of Negative Thought” in Thought Vibration: Or, The Law of Attraction in the Thought World by William Walker Atkinson (1906), p. 53.
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Class: A Guide Through the American Status System (New York: Summit, 1983) pp. 29-30.
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Op. cit., p. 33 and p. 139.
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Fritz Zorn’s Mars (German, 1977; English trans. By Robert and Rita Kimber, New York: Knopf, 1982) is a devastating portrait of the similar class on Switzerland’s “Gold Coast.” Zorn’s family shuns all idea and discussion, since that might lead to disagreement, hence unpleasantness. Ideas are for “other people”; people who take ideas seriously are “funny,” like Russian novelists. “Funny” not because of wit, like Wilde, but because they are silly and amuse us. His father played only one game, Klondike, the most boring form of the most boring game, Solitaire.
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This is paralleled by a disinterest in psychology as such; Patrick is “not interested in discovering what motivates [people]” (p. 108) while himself regarding Michael as having “a nasty habit of looking beyond one’s actions and putting his fingers on one’s motives.” Ironically, Patrick is ultimately defeated when Ronnie’s wife (the only woman in the book, other than Patrick’s dead aunt from which his fortune derives) points out that “the moment you tell Patrick you don’t want his money, he’ll be furious. He’ll go to any lengths to make you take it” (pp. 206-207). Patrick’s obsession with surfaces recalls the English decadent Fr. Rolfe (“Baron Corvo”) who was described by a former fellow student of the priesthood as being interested only in surfaces; he wanted to be a priest only because “he saw himself doing picturesque things in a picturesque manner.” See A. J. A. Symons, The Quest for Corvo: An Experiment in Biography (1932; New York: NYLB, 2001), p. 74.
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Needless to say, several scenes take place in London clubs, which, at least in fiction, are usually set up with rules to prevent conversation about “tiresome” ideas—Wodehouse’s Drone’s Club, Sayer’s Egoists’ Club, etc.
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Patrick at one point (p. 166) calls Nicholas “little one” which is what Demian (at least in one English translation) calls Sinclair as he bids him
farewell, suggesting Patrick is a kind of anti-Demian, seducing the young from a truly independent life of ideas to the false “independence” of a kept boy. Nicholas later, after Christopher’s remonstrance, quotes Jesus on those who cause little ones to stumble as better to have millstones hung about their necks, hammering home the symbolism of his family name, Millstone (pp. 210–11).
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http://www.huffingtonpost.co.uk/james-ruddick/forty-years-on-why-noel-coward-laugh_b_3246716.html
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“J. D. Beresford’s tale of a child prodigy with superhuman intelligence, The Hampdenshire Wonder, was an early entry into the subgenre of sf that explores the next stage of human evolution from Homo sapiens to Homo superior, the nomenclature coined by Olaf Stapledon for people with superhuman physical or mental abilities. Stapledon was a great admirer of Beresford’s book and later paid homage to it in his own novel Odd John.” See “The Rise of Homo Superior,” Chapter 2 of The Art of Penguin Science Fiction (http://www.penguinsciencefiction. org/02.html).
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http://en.wikipedia.org/wiki/Odd_John%20/%20Outline. Wiki-pedia says he rapes his mother, which don’t think is accurate. Stapledon is rather showily coy about the whole thing, but I think all you can read between the lines is incest. Perhaps the modern, “liberated” editors of the internet are just as “Victorian” as their predecessors, unable to imagine a woman consenting to so monstrous an act. After all, Pax, the mother, did produce this oddity, so it wouldn’t be surprising to see them on the same wavelength. Hermann Hesse’s Demian (1919) is another “Story of a Youth” who represents a new, evolutionary venture by Mother Nature. Max Demian is the already-advanced guide who will eventually gather a group of like-minded souls, only to be destroyed by war. Before he dies, the narrator will acknowledge him as “my guide”—in Hesse’s German, “mein Führer.” Demian’s mother is Eve, suggesting both the Garden and the New Eve whose son brings salvation; the schoolboys whisper rumors of incest, or even Islam! Mother, son, and eventually narrator share a connection that is “more like that of lovers, whose this-worldly bonds are incestuous . . . the physical level, homosexual impulses bind Sinclair to Demian; incestuous love binds Eve to both Sinclair and her son, Demian” (Ralph Freeman, Introduction to the Penguin edition; London, 2013). Evola discusses “philosophical incest” in The Hermetic Tradition. All these themes—incest, the evolutionarily advanced group, death, National Socialism—will re-appear as we read Odd John.
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See my review of Wulf Grimmson’s Loki’s Way, reprinted in The Homo & the Negro (San Francisco: Counter-Currents, 2012) and more recently my Kindle Single A Review of James Neill’s “The Origins and Role of Same-Sex Relations in Human Societies” (Amazon, 2013).
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Jack Donovan’s term “androphilic” might be better; Neill, op. cit., regards all humans as “ambisexual.”
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Evola, in Men Among the Ruins, makes a fairly sharp distinction between the State, the affair of men, and above all, of Orders such as the Männerbund, the Teutonic Knights, or the SS, and on the other hand, society, the affair of women. See also his disparagement of the idea of the Higher Man producing children, which, in this Kali Yuga, would be unlikely to be worthy successors; an anti-natal theme common to the utopian literature we are examining here.
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This is by no means to endorse the sub-Marxist shenanigans of the academic “queer theorists.” The distinction of the Männerbund, which is outside of society but supportive of it, from the inane anti-social Leftist “gay community” is central to The Homo & the Negro, especially the title essay; see also essay therein on Brian DePalma’s The Untouchables as a tale of the socially useful Männerbund.
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Like John’s friend, the reporter is let loose to do his job, report, but only by being burned alive by the Tooth Fairy; John, however, lets his friend live, forcing him to leave the island before he destroys it in an inferno. We’ll see that both harelips and being forced to become a serial killer through social pressure are shared by the Fairy and John’s queer friends.
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See John N. Deck: Nature, Contemplation, and the One: A Study in the Philosophy of Plotinus (Toronto: University of Toronto Press, 1967; Reprinted: Burdett. N.Y.: Larson, 1991).
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Chapter One. London: Bell and Sons, Ltd., 1908, and innumerable editions since.
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See Chapter One, my “Green Nazis in Space,” above.
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Loc. cit.
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See “Our Wagner, Only Better: Harry Partch, Wild Boy of American Music,” reprinted in my collection The Eldritch Evola . . . & Others (San Francisco: Counter-Currents, 2014). Partch was, in fact, in London in late 1933, reading in the British Museum and later visiting Yeats, where they discussed his ideas for turning his King Oedipus into Partch’s first theatre work.
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As did Partch; see Bob Gilmore and Ben Johnston, “Harry Partch (1901–1974),” in Larry Sitsky, Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook (Westport, Conn.: Greenwood, 2000), pp. 365–72.
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Op. cit., and see Brian Harlan’s dissertation, One Voice: A Reconciliation of Harry Partch’s Disparate Theories, cited therein (and available online at Google Books).
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“Beethoven managed to put an end to this noble tradition by inaugurating a barbaric U-turn away from an other-directed music to an inward-directed, narcissistic focus on the composer himself and his own tortured soul.” See Dylan Evans, “Beethoven was a narcissistic hooligan” in The Guardian, June 7, 2005.
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“To burn always with this hard, gem-like flame, to maintain this ecstasy, is success in life.”—Walter Pater “Conclusion” to Studies in the History of the Renaissance (1873).
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For the ancient symbolism of the web, or the puppet, and its counterpart in entheogenic drug experience, see the section on Block-Universe Determinism at Michael Hoffman’s website egodeath.com. See also the literature cited in my “The Corner at the Center of the World,” reprinted in Aristokratia I and The Eldritch Evola . . . & Others.
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Just as in Manhunter, the Tooth Fairy has been “made into a monster” by years of abuse as a deformed outsider, and now identifies himself with Blake’s engraving of the great Red Dragon.
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See almost any of his books, but especially Beyond Theology: The Art of Godmanship (New York: Pantheon, 1964) and “Remembering Alan Watts: January 6, 1915 to November 16, 1973” by Greg Johnson, http://www.counter-currents.com/2011/01/remembering-alan-watts/
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Alan Watts, “The Way of Waking Up,” http://karmajello.com/
mind-spirit/philosophy/alan-watts-way-of-waking-up.html%20/%20_
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Beyond Theology, Chapter Two, “Is It Serious?”
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Watts once lectured at Harvard and invited B. F. Skinner to reply to his idea that Skinner’s idea of total control by the environment was depressing only if one assumed, as Christians seem to do, that one was an alien creature trapped in this web, rather than the web and you being part of one, self-determining entity; Skinner supposedly never bothered to show up. See In My Own Way: An Autobiography, 1915-1965 (New York: Pantheon, 1972), pp. 328-30; more generally, “Zen and the Problem of Control” reprinted in This is It (New York: Pantheon, 1960).
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“Save for these, John found nothing but lunatics, cripples, invalids, and inveterate old vagabonds in whom the superior mentality had been hopelessly distorted by contact with the normal species.”
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As did Jon Lovitz’s SNL character with his “Tales of Ribaldry.”
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James Neill notes, op. cit., that the “sacred prostitute” is a typically ‘queer�
� role. One thinks of that typical ’90s figure, Terence Sellers, with her criminology degree and weakness for the worst of Huysman’s style; her Krafft-Ebbing meets Jack Kerouac pastiche, The Correct Sadist (New York: Grove, 1985), compares favorably to Xaviera Hollander’s ’70s Penthouse Letters-style books, but already seemed dated by the inevitable Correct Sadist 2: Dungeon Evidence (The Tears Corporation/Creation, 1997).
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I have alluded to this phenomenon in my essay “From Ultrasuede to Limelight: Aryan Entrepreneurs in the Dark Age” below, in reference to “Anjelica Huston, an actual Halston model whose . . . equally . . . unusual . . . features suggest a beauty that dwells on other planes than ours; superhuman rather than subhuman, elfin rather than bestial.” We now have Ms. Huston’s own view of the matter: “My earliest impression of great beauty was of blondes with pale eyes, but I realized at a young age that I wouldn’t look that way. I was disappointed, but I knew I had to do something with what I had—long legs . . . a chameleon’s ability to make myself interesting-looking or plain. Beauty is malleable” (A Story Lately Told: Coming of Age in Ireland, London and New York [New York: Scribner’s, 2013]).