Contemporaneous with Cram, The Decoration of Houses (1897), co-written by Edith Wharton and her architect friend Ogden Codman, Jr., delivered a magisterial rebuke to the future Roarks: “Once this is clearly understood, the supposed conflict between originality and tradition is no conflict at all.” Rev. and expanded ed. (New York: Norton: 1998), p. 11.
[←286]
Matthew Milliner, “Architecture and Absolutes,” online at http://www.firstthings.com/blogs/firstthoughts/2010/08/27/architecture-and-absolutes/
[←287]
“He’s as gentle as a kitten”—Bela Lugosi referencing his hulking henchman, Tor Johnson, in Ed Wood’s Bride of the Monster.
[←288]
From 1934, quoted by McCarthy, op. cit.
[←289]
See Greg Johnson’s “Notes on Populism, Elitism, and Democracy,” http://www.counter-currents.com/2012/09/notes-on-populism-elitism-and-democracy/
[←290]
Ralph Adams Cram, Impressions of Japanese Architecture. With a new foreword by Mira Locher (Rutland, Vt.: Tuttle, 2010), pp. 20–21.
[←291]
Matthew Milliner, “Just Another Routine Lecture at the Yale School of Art,” http://www.firstthings.com/blogs/firstthoughts/2010/
08/26/just-another-routine-lecture-at-the-yale-school-of-art-2/
[←292]
http://www.counter-currents.com/2012/10/the-manly-barbarian/
[←293]
See “The Eldritch Evola” chapter 1, above.
[←294]
Joris-Karl Huysmans’ À Rebours is in some ways an account of dozens of ways of attempting to trap the “essence” of one experience, sensual delight or art after another; at least that is how Wilde’s Dorian Gray read it, while “Lord Henry’s corrupting ‘influence’ is described as a series of distilled ‘poisons’, ‘poisons’ that a receptive Dorian imbibes until he begins to receive their ‘great reward’.” See M. M. Kaylor’s Secreted Desires: The Major Uranians: Hopkins, Pater and Wilde at p. 317; first published in 2006 by Masaryk University and now available free online at http://mmkaylor.com/.
[←295]
A meme recently re-activated by no less than Warren Buffett’s buddy Charles Munger; see “Charlie Munger, “Gold Is For Holocaust-Era Jewish Families To Sew Into Their Garments; Civilized People Don’t Buy Gold,” http://www.zerohedge.com/news/charlie-munger-civilzied-people-dont-buy-gold-only-pre-holocaust-jews-sew-it-their-garments
[←296]
Thorstein Veblen, The Theory of the Leisure Class, ed. with an introduction and notes by Martha Banta (New York: Oxford University Press, 2007).
[←297]
Maurice Samuel, The Gentleman and the Jew: Twenty-Five Centuries of Conflict in Manners and Morals (New York: Knopf, 1950); republished by Behrman House as “A Jewish Legacy” book in 1978; You Gentiles, from 1924, is available free at archive.org; or you can get his Selected Writings for $0.01 at Amazon.
[←298]
http://tzvee.blogspot.com/2010/01/was-thorstein-veblen-jewish.html
[←299]
http://www.wired.com/magazine/2009/12/fail_accept_defeat/all/1
[←300]
And bearing as well some resemblance to Daniel Harris’ The Rise and Fall of Gay Culture (New York: Hyperion, 1997), which provoked many reviewers, such as Alisa Solomon in the Village Voice, to tantrums of outrage over its apparent thesis that gays were much more high-brow and, well, interesting, before they were co-opted by the mainstream, and, well, should just get back in the closet and write more wonderful musicals! Or in this case, back to the Patent Office, or the unheated tenement, or even the shtetl, and scribble some more! There’s more to Harris’ thesis than Thorstein’s, as I shall argue, and it also is kind of a twisted version of my own thesis, derived from Alisdair Clarke and spelled out most clearly in the first chapter of The Homo and the Negro, that pre-Stonewall gays were hardly cowering in closets (as illustrated by my essays on Noël Coward in The Homo and the Negro and Ralph Adams Cram, above) and that when given the opportunity to leave the supposed closet should have re-assumed their role as creators of Western Culture rather than joining the Left’s “rainbow coalition” of culture-destroyers.
[←301]
“The rats are underneath the piles. The jew is underneath the lot.”—“Burbank with a Baedeker: Bleistein with a Cigar,” T. S. Eliot, 1920.
[←302]
http://www.alternativeright.com/main/the-magazine/
remaking-the-right/
[←303]
I’ll soon have a piece on another Preminger film, Advise and Consent, and its influence or not on Mad Men.
[←304]
“The Israel Lobby and the Road to War; Part III of ‘Roots of the Iranian ‘Crisis’,” by Justin Raimondo, October 12, 2012, online at http://original.antiwar.com/justin/2012/10/11/the-israel-lobby-and-the-road-to-war/
[←305]
Monty Python, “The Argument Skit,” The Money Programme (episode 29; aired 2 November 1972; recorded 4 December 1971).
[←306]
The fake “Nobel” Prize in Economics is itself a wonderful example of their impudent fakery, solemnly announced every year and never exposed by the compliant media.
[←307]
À Rebours, translated by John Howard as Against the Grain, chapter 1.
[←308]
À Rebours, chapter 1.
[←309]
Unless the Judaic lawyers start whining about licenses and trademarks; oh, the irony. Again, the “free speech” that America uses to climb to the top becomes “intellectual property” and “trade secrets” when the Chinese want to avail themselves of it.
[←310]
The Page-Barbour Lectures delivered at the University of Virginia in April-May 1933 and published in 1934 under the title After Strange Gods; too dangerous to be allowed in print today, of course—free speech, indeed!—but available online at archive.org. Also see Kerry Bolton, “T. S. Eliot,” Part One, online at http://www.counter-currents.com/2012/09/t-s-eliot-part-1/
[←311]
See Michael Colhaze, “Werner Karl Heisenberg: Absolution vs. Damnation, Part 2, ” http://www.theoccidentalobserver.net/2012/05
/werner-karl-heisenberg-absolution-vs-damnation-part-2/
[←312]
See Francis Parker Yockey, “The Prague Treason Trial: What is Behind the Hanging of the Eleven Jews in Prague?” from December 1952, online at http://www.counter-currents.com/2011/06/the-prague-treason-trial/
[←313]
Ordinarily I’d chalk up the Creationists to the Judaic side, if it were a war between knowledge and faith, but in this context the evolvers are the equally Judaic atheists; remember, the Judaic controls both sides, and can take whatever position needed. As Evola noted, the same principle applied in different contexts may produce quite different effects, and so each case must be judged on its own merits; very similar and valuable advice advise was given by A. E. Housman to aspiring textual critics; see for example “The Application of Thought to Textual Criticism” in Proceedings of the Classical Association, August 1921.
[←314]
See his Against Method: Outline of an Anarchist Theory of Knowledge (London: Verso, 1975; 4th ed., 2010) and Science in a Free Society (London: Verso, 1978).
[←315]
Or not, if we choose. Ultimately, the whole science and tech thing may need some re-thinking. As Guénon observed, traditional societies “failed” to develop science and technology in our sense, due to their having little or no interest in studying the ever-fading away material universe, or improving their creature comforts, preferring to focus their attention, and their society, on “the one thing needful.” There is indeed something Judaic about science itself, deriving perhaps from the arrogant notion the world as an artifact, and a faulty one at that, needing tikkun olam. This is perhaps the point at which White culture reveals its fatal susceptibility to the Judaic infection, its Death Star thermal exhaust portal: our Faustian need to “control and manipu
late [the] environment” (See Collin Cleary, “Asatru and the Political,” http://www.counter-currents.com/2012/10/asatru-and-the-political/).
[←316]
Paul Feyerabend, “How to defend society against science” (1975), http://www.galilean-library.org/manuscript.php?postid=43842
[←317]
James Neill, The Origins and Role of Same-Sex Relations in Human Societies (Jefferson, N.C.: McFarland, 2009). See my Kindle Single, A Review of James Neill’s “The Origins and Role of Same-Sex Relations in Human Societies” (Amazon.com, 2013).
[←318]
David McCullough, Mornings On Horseback (New York: Simon & Schuster, 1981), p. 320; quoted from The Cowboy Composite: Theodore Roosevelt and the Birth of American Cowboy Romanticism. A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in History by John M. Kearns, online here: http://scholarworks.csun.edu/xmlui/bitstream/handle/10211.2/1856/JkearnsThesisDraftFinal.pdf?sequence=1
[←319]
See “The Sex Life of Cowboys” in Neill, esp. pp. 419-21 on Wister.
[←320]
Academics might amuse themselves by glancing over the questions, which Wister provides, and asking themselves if a sophomore today, or even a graduate student, could answer more than a few of them.
[←321]
Those with proper upbringing would know, of course, that pink is one of the go-to-hell colors favored by those with too much money to care about fashion; see The Official Preppy Handbook by Lisa Birnbach (New York: Workman, 1980)—note the author’s name—and note that its sad little follow-up, True Prep: It’s a Whole New Old World by Birnbach and one “Chip” Kidd (New York: Knopf, 2010) demonstrates the social decline we are discussing by, among other things, nominating Barack Obama to its updated Prep Pantheon, having converted Prep, like the United States, from a cultural heritage to a proposition anyone can buy into—literally.
[←322]
The late Victorians were suckers for the nursery; those who bemoan adults today reading Harry Potter and Twilight should reflect on this: Kenneth Grahames’ The Golden Age, “a collection of sketches of the lives of five orphaned late-Victorian children, was said to be the favorite bedtime reading of Kaiser Wilhelm II on his royal yacht. President Roosevelt tried to persuade the author to visit the White House.” That’s Teddy Roosevelt, Wister’s Western buddy-boy.
[←323]
Richie: “Please, I’ve only got so many ribs, Noël Coward.” Rik Mayall, Bottom, Episode 1 “Smells.”
[←324]
The Granada TV version gives us a view of their backsides in a later scene, although since the frontsides are presumably facing Sebastian’s little sister Cordelia, I’m not sure why this was thought to be an improvement.
[←325]
Although often classed with them, Colin Wilson was a self-educated working class bloke who had no chip on his shoulder about it. Amis once threatened to throw him off a rooftop. See The Angry Years: A Literary Chronicle by Colin Wilson (London: Robson, 2007).
[←326]
See his “Why Lucky Jim Turned Right” in What Became of Jane Austen? And Other Questions by Kingsley Amis (New York: Harcourt Brace Jovanovich 1971). Amis eventually became such a pillar of the Establishment that he was able to diagnose both factors of the social decline we’re observing, here: “I’ve finally worked out why I don’t like Americans. . . . Because everyone there is either a Jew or a hick” (http://en.wikipedia.org/wiki/Kingsley_Amis#cite_note-29).
[←327]
See my “The Gilmore Girls Occupy Wall Street” in The Homo and the Negro and “From Groundhog Day to Gilmore Girls” online at http://www.counter-currents.com/2013/05/from-groundhog-day-to-gilmore-girls/
[←328]
The show is so ethnically confused that Rory eventually winds up dating a scion of the supposedly upper class—get this—Huntzbergers, who all have obvious arriviste names like Logan and Mitchum, and even deign to look down upon the Gilmores, who arrived on the Mayflower!
[←329]
I was very happy to take the Which Gilmore Girls Character Are You Test and get Paris, although I confess I did cheat; I mean, come on, “Are you fluent in Mandarin and Portuguese?”
[←330]
Matt Parrott, “How Jewish is The Social Network?” online at http://www.theoccidentalobserver.net/2011/01/how-jewish-is-the-social-network/
[←331]
He’s also the author of Lady Baltimore, which in addition to being reprinted in the Southern Classics Series, provoked this know-nothing review on Amazon:
Wister shows much sympathy for the plight of the upper echelon white Southerners who felt they lost a complete way of life after the Civil War. This is where Wister’s lousy viewpoint comes in: it’s really hard to stomach all the ballyhooing over Southern honor and Romanticism. Only Wister’s talent as a writer allows him to get away with it.
So you know this will be next on my reading list!
[←332]
Thomas F. Gossett, Race: The History of an Idea in America (Dallas: Southern Methodist University Press, 1963), pp. 198–99.
[←333]
Derek Walmsley, “Didn’t Time Sound Sweet,” No Regrets, pp. 59–60.
[←334]
Harold Beaver, “Introduction” to Herman Melville, Moby-Dick, ed. Harold Beaver (New York: Penguin, 1972), p. 25.
[←335]
Collected in The Homo and the Negro.
[←336]
There’s no record of Scott’s interest in or even awareness of the film, but the theme, existential doubt in a Euro-Brit, Cold War setting, is similar to what he was gropingly exploring in the albums he was making at the same time, both originals and compilations of movie songs. He’d eventually contribute a song of his own to a James Bond film—such a downer it was dropped from the film and relegated to the soundtrack album, in a kind of karmic payback for those late ’60s potboilers of his. His early career was short-circuited when his patron, Eddie Fisher, was dumped by Liz for Richard Burton, who played the definitive ’60s existentialist agent in The Spy Who Came in from the Cold.
[←337]
“I’ll Have a White Rock, Please—Implicit Whiteness, Aryan Futurism and the Godlike Genius of Scott Walker,” in The Homo and the Negro.
[←338]
Rather than vaguely insinuating what “White” is, I base myself here on Baron Evola’s discussion of the ideal type of the “Roman Spirit” found in Men Among the Ruins:
This original Roman spirit was based on a human type characterized by a group of typical dispositions. Among them we should include self-control, an enlightened boldness, a concise speech and determined and coherent conduct, and a cold dominating attitude, exempt from personalism and vanity. . . . The same style is characterized by deliberate actions, without grand gestures; a realism that is not materialism but rather love for the essential; the ideal of clarity, which eventually turned into rationalism in only some Latin peoples; an inner equilibrium and a healthy suspicion for every confused form of mysticism—a love for boundaries; the readiness to unite, as free human beings and without losing one’s identity, in view of a higher goal or for an idea. We may also add religio and pietas, which do not mean “religiosity” in the Christian sense of the word, but instead signify for a Roman an attitude of respectful and dignified veneration for the gods and, at the same time, of trust and reconnection with the supernatural, which was experienced as omnipresent and effective in terms of individual, collective, and historical forces. Obviously, I am far from suggesting that every Roman man and woman embodied these traits; however, they represented the “dominant factor” and were embodied in the ideal that everybody perceived to be specifically Roman. [. . .]
The Roman chastity or sobriety of speech, expression, and gesture is contrasted by the gesticulating, noisy, and disordered exuberance of the Mediterranean type, by his mania for communication and effusiveness, and by his feeble sense of boundaries, hierarchy, and silent subordination. The counterpar
t of these traits is often a lack of character, the tendency to get excited and become drunk with words: verbosity, a flaunted and conventional sense of honor, susceptibility, concern for appearances but with little or no substance. The expression “Pobre in palabras pew in obras largo” [Poor of words but rich in deeds], which characterized the ancient Spanish aristocratic type, should be compared with Moltke’s characterization: “Talk little, do much, and be more than you appear to be”; all this points to the “Roman” style. (p. 259)
[←339]
Scott Walker: 30 Century Man, directed by Stephen Kijak, 2007 The title comes from one of Scott’s compositions on his Scott 3 album—the cover of which reduces him to a single, cover-filling eye, at once anonymous and icon of Aryan genetics. The song is perhaps most generally familiar from its use in The Life Aquatic.
[←340]
Greg Johnson, “Plastic Christmas,” online at: http://www.counter-currents.com/2012/12/plastic-christmas/
[←341]
As Penman notes, the old time soul revues were, for all their “funk” rather like MOR than rock: professionalism, crowd-pleasing, matching outfits, and elaborate choreography. James Brown was proud to be “the hardest working man in show business.” Les extrêmes se touchent: I suggest, as I did in my earlier essay, that the White man impresses the Negro not by imitating him—dancing around like a monkey—but precisely by taking his Whiteness “up to 11” and being himself to the nth degree—true authenticity. Grandmaster Flash was knocked out by the motionless Kraftwerk: “They were so stiff, they swung!”
The Eldritch Evola & Others Page 25
