[←417]
If he fancies himself a Chestertonian, he’s likely to be pounding his fist on the pub table, spewing cheese and cracker crumbs from his beer-soaked moustache and shouting “I’ll stand for no damned nonsense!”
[←418]
See my essays on Wagner (“worth the price of the book alone!” raves an Amazon reviewer) in The Eldritch Evola . . . & Others where the doctrinal formulations of Guénon, Daniélou, and Coomaraswamy are cited.
[←419]
Well, tends to; it’s not a magic panacea. Thus, the regrettable fanaticism of Taliban, and the more media-friendly Amish. By contrast, consider the absurdity, obvious even to the secular eye, of Ashkenazi Jews dressed up like 17th-century Polish merchants in thick black wool and beaver fur hats, impudently pretending to be “the true inhabitants” of Palestine. As for vice versa, Alan Watts praised the Japanese kimono, and wore them himself; when a modernized Japanese objected that one couldn’t run for a bus in one, Watts replied suavely that “No gentleman should ever run for a bus.” In general, see “Mad Männerbund” in The Homo & the Negro and End of an Era.
[←420]
See René Guénon, The Reign of Quantity and the Signs of the Times, 4th ed. (Ghent, N.Y.: Sophia Perennis, 2001), chapter 7, “Uniformity versus Unity.”
[←421]
See, of course, The Homo & the Negro.
[←422]
Fascism, and especially National Socialism, thus had a regrettable “prole” aspect to themselves which prevented Evola from entirely endorsing the movements. As Chris Rock said about O. J., Evola didn’t say they were right, but he . . . understood. See his Fascism Viewed from the Right, trans. E. Christian Kopff (London: Arktos, 2013) reviewed here: http://www.counter-currents.com/2013/04/fascism-as-antimodernism-julius-evola-fascism-viewed-from-the-right/ and Notes on the Third Reich, trans. E. Christian Kopff (London: Arktos, 2013), reviewed here: http://www.counter-currents.com/tag/notes-on-the-third-reich/.
[←423]
Even without its various insignia further distinguishing internal rank, the uniform symbolized hierarchy as such, in its clear delineation from civilian wear. Armies are known only by the most basic character of their uniforms—redcoats, blues vs. grays; also men in blue (police), the red and black of Stendhal’s novel, etc. Thus Jef Costello is right, as we’ll see, to assimilate the lab coat wearing elite of Flynt to his fascist groups. The white lab coat, presumably without any distinguishing marks of rank, still denotes separation from the profane masses.
[←424]
In North American New Right, vol. 1, op. cit.
[←425]
As always with Judaic propaganda, ideas like “liberty” and “fascism” are hyped up to 11, exactly when both are quite non-existent.
[←426]
Wodehouse’s Spode, when challenged, spouts things like “It’s been scientifically proven!” As Costello notes, the scientist angle plays more Left than Right—“bad” planning is always fascist, unlike the Left’s “good” planning, but the lab coats as uniforms definitely tip the balance toward fascism. For the difficulty Leftists have imagining a “fascism” that doesn’t wind up being built from elements of their own Leftism, see my “The Fraud of Miss Jean Brodie,” above.
[←427]
In Huxley’s Point Counter Point (1928), The Brotherhood of British Freemen (BBF) is known on the streets as the “Bloody Buggering Fools.”
[←428]
I describe the change in the image of “the real boy” in “Welcome to the Club,” above.
[←429]
As Guénon notes, “pure” Quantity can never actually exist; rather it is a logical endpoint for the decline and quantification of pure Quality.
[←430]
Today, at the Times Square station, I heard a ringing bell, and inferring the start of the Salvation Army kettle-Santas, I turned to behold a Negro who, apart from bell, kettle, and some kind of apron emblazoned with the Salvation Army emblem, was indistinguishable from any other homeless skell. Only some white suburban faggot like Clark Griswold would be so un-cool as to bother to “dress up” (a term used by drag queens) as Santa, even to make money. The attack on Santa has been one of the main prongs of the “progressive” assault on White culture, with the drunken, child molesting white bum becoming the standard Santa impersonator.
[←431]
For example, the relentless mockery of the Seattle World’s Fair promo, Century 21 Calling: “Isn’t it great there’s only white people?” “Who directed this, Leni Riefenstahl?” “The Führer will like this.”
[←432]
February 11, 2007, http://www.marksimpson.com/blog/
2007/02/11/speedophobia/
[←433]
“The one-time Paradisiacal fields are completely exploited and plundered like a wheat-field in which a thievish horde of apes has taken up residence. Our bodies are infected with a mange which despite every kind of soap remains udumu-ized, pagutu-ized and baziat-ized [that is, made ape-like]. Never has human life been as miserable as it is today—despite all its technical advancements. Devilish human beasts oppress us from above, slaughtering millions of people in unconscionably murderous wars conducted for the enrichment of their personal money-bags. Savage human beasts undermine the pillars of culture from below. . . . What do you want with Hell in the Beyond?! Isn’t the one we are living in now, and in which we are now burning, terrible enough?”—Dr. Jorg Lanz von Liebenfels, Theozoology, or the Science of the Sodomite Apelings and the Divine Electron (1905). Jorg is one of those “disreputable” sources of “Hitler’s madness” we mentioned at the top; over the years, he has come to seem less and less “occult” and more and more prophetic.
[←434]
The purpose of the clown shorts is to hide the laughable “white, white” body, hide all distinctions, and ape the styles of the manly Negro, not to prove useful in actually swimming, which Negroes abjure anyway. We might compare this to Oscar Wilde’s explanation of his colorful outfit to Colorado miners: They learned that even his oft-ridiculed stage dress of black velvet jacket, lace cravat, silk knee breeches, and patent leather pumps could be understood in terms of pragmatics. As Wilde explained, “When a man is going to walk or row, or perform feats which require a display of strength and muscle, the trousers are done away with and knee breeches are worn.” See my “Wild Boys versus ‘Hard Men’” in The Homo & the Negro.
[←435]
“We Are All Ninja Turtles Now,” Clusterfuck Nation, July 7, 2014, http://kunstler.com/clusterfuck-nation/we-are-all-ninja-turtles-now/
[←436]
“During the revolution [Washington] surrounded himself with a group of young officers in a close-knit circle that was marked by affectionate bonds of unusual intensity; a group Washington himself referred to as his ‘family’. . . trading stories with them while he cracked nuts by the fire.” James Neill, The Origin and Role of Same Sex Relations in Human Societies (Jefferson, NC: McFarland, 2009), loc. 8563.
[←437]
As usual, Europe, especially the less “developed” parts, exist in a kind of time capsule. Thus, “ethnic” TV networks present us with men in tight pants and brief swimsuits, perfectly straight, while respectable female newscasters look like hookers. Alt-Rightists evince an affection for Eastern Europe as supposedly “preserved” by Communism, nurse man-crushes for Putin, and extol their “more feminine” women.
[←438]
http://wearecontrollingtransmission.blogspot.com/2011/
01/tourist-attraction.html?showComment=1294342596215%20
%20c3385216412361453088
[←439]
Typically, the ordinary clothing of the past—boots, garters, foundation garments—becomes the fetishized clothing of “bad” girls and boys; hence, these comments from the “Speedo Fantasy Board.”
[←440]
Another adds “I agree about Meeker—the only reason I ever go back to watch this episode. I kept waiting for him to start slapping people around as
was his habit when he played that certain P.I.” He refers, of course, to Meeker’s role in Kiss Me, Deadly, which we analyzed in “Mike Hammer, Occult Dick: Kiss Me Deadly as Lovecraftian Tale,” in The Eldritch Evola . . . & Others.
[←441]
One of many flaws in Agent for H.A.R.M.—a third rate Our Man Flint that is filled with half-assed misunderstandings of what makes a spy movie cool, instead creating a “hero” that seems more like “your dad’s golf buddy,” as MST3k puts it—is that the titular agent spends the last third wearing a bright yellow cardigan.
[←442]
As detailed in my book, The Homo & the Negro, whose epigraph quotes the MC5: “You must choose, brothers and sisters, you must choose.”
[←443]
As always, distinctions must be made. The “Chelsea Clone” look, like the concurrent UK Skinhead, was a uniform only in the negative sense we have been outlining here, an “anti-uniform” of drabness, if you will. This reflected the absorption of the homosexual into the Rainbow Coalition of Wreckers of Western Culture under the “gay” brand. Along these lines, we can understand Jack Donovan’s contempt for “donning the clothing of masculine roles without making the required efforts.” S/M still seems a bit outré, but we can imagine that the Left will come up with a nice, safe pseudo-oppositional identity for them; “nice S/M” being no more absurd than, say, “marriage equality.”
[←444]
I discuss the counter-revolutionary potential of the “Mad Männerbund” in The Homo & the Negro and End of an Era.
[←445]
The “offstage narrator” in Tom Wolfe’s “Radical Chic” (used to portray “the general mindset of the people through whose eyes you begin to see”) articulates the moment when upper-class Whites moved their allegiance away from the Nation of Islam types and to the Black Panthers: “These are no civil-rights Negroes wearing gray suits three sizes too big—no more interminable Urban League banquets in hotel ballrooms where they try to alternate the blacks and whites around the tables as if they were stringing Arapaho beads—these are real men!” See the text with Wolfe’s 2014 annotations here: http://niemanstoryboard.org/stories/annotation-tuesday-tom-wolfe-and-radical-chic/
[←446]
https://allthetropes.orain.org/wiki/The_Men_in_Black
[←447]
See footnote 36, on European “backwardness.”
[←448]
https://allthetropes.orain.org/wiki/The_Men_in_Black
[←449]
“Boss joined the Nazi Party in 1931, two years before Hitler came to power. By the third quarter of 1932, the all-black SS uniform (to replace the SA brown shirts) was designed by SS-Oberführer Prof. Karl Diebitsch and Walter Heck. Hugo Boss company produced these black uniforms along with the brown SA shirts and the black-and-brown uniforms of the Hitler Youth.” (http://en.wikipedia.org/wiki/Hugo_
Boss_%28fashion_designer%29#Support_of_Nazism)
Table of Contents
Notes
Table of Contents
Notes
Green Nazis in Space: New Essays in Literature, Art, and Culture Page 28
