Counter-Currents
  • Private Events
  • T&C
  • Rss
  • DLive
  • Telegram
  • Gab
  • Entropy
  • Rss
  • DLive
  • Telegram
  • Gab
  • Entropy
  • Webzine
  • Books
  • Podcasts
  • Donate
  • Paywall
  • Crypto
  • Mailing List
  • About
  • Contact
  • RSS
    • Main feed
    • Comments feed
    • Podcast feed

LEVEL2

  • Webzine
  • Books
  • Podcasts
  • Donate
  • Paywall
  • Crypto
  • Mailing List
  • About
  • Contact
  • RSS
    • Main feed
    • Comments feed
    • Podcast feed
  • Private Events
  • T&C
  • Rss
  • DLive
  • Telegram
  • Gab
  • Entropy
Print March 12, 2012

Gabriele D’Annunzio

Kerry Bolton

3,037 words

Bulgarian translation here

Editor’s Note:

In honor of Gabriele D’Annunzio’s birth, on March 12, 1863, we are publishing chapter 3 of Kerry Bolton’s Artists of the Right: Resisting Decadence, forthcoming from Counter-Currents. For more on D’Annunzio, see the Gabriele D’Annunzio website.

“We artists are only then astonished witnesses of eternal aspirations, which help raise up our breed to its destiny.”—Gabriele D’Annunzio[1]

Gabriele D’Annunzio, 1863–1938, a unique combination of artist and warrior, was born into a merchant family. He was a Renaissance man par excellence. This warrior bard was to have a crucial impact upon the rise of Fascism despite his not always being in accord with the way in which it developed.

Early Life

The lad who in later years was to be heavily influenced by Friedrich Nietzsche displayed an iron will at an early age. Learning to swim, he would go against the current or head for the biggest waves to discover his limits.[2] His career as a poet began early. At 16, he was known in Rome as an up-and-coming poet. At 19, D’Annunzio traveled to Rome, leading a bohemian lifestyle, working as a gossip columnist,[3] and writing his first novel Il Piacere. A set of short stories followed, Tales of the Pescara, celebrating the sensual and the violent. Then came his novel Le Vergini Delle Rocce, which was important because it introduced Italy to the ideal of the Nietzschean Overman.[4]

D’Annunzio’s first visit to Greece in 1895 inspired him to write a national epic that he hoped would bring Italy into the twentieth century as a great nation. “I was to write a volume of poetic prose which will be a war cry of the Latin peoples.” Laus Vitae expressed a pagan, Nietzschean ethos of “Desire, Voluptuousness, Pride and Instinct, the imperial Quadriga.”[5]

New Ideals

Portrait of Gabriele d’Annunzio by Luca Del Baldo, oil on Belgian Linen, 2011 (collection of Vittoriale, Gardone Riviera, Brescia-Italy)

Around this time, new ideals for the coming century were emerging, especially among young artists who were rejecting the bourgeois liberalism of the nineteenth century. In response to the comfort-seeking, security-conscious bourgeois and merchant-minded politicians, the young artists, writers and poets were demanding nationalism and empire. They were represented by the Futurist movement with its provocative style and abrasive manifestos, and led by the poet Marinetti demanding a rejection of “pastism.” They stood for a new age based on speed, dynamism, and martial valor.[6]

Within this tumult for a New Italy that rejected the bourgeois values of the nineteenth century, D’Annunzio wrote his play La Nave that celebrated the Venetian city-state of the Renaissance and called for action with the slogan: “Arm the prow and sail toward the wind.”[7]

The impact of the play was so powerful that the actors came to real blows and the populace of Rome shouted its slogans. The King congratulated D’Annunzio, and Austria officially protested to the Italian Foreign Office. D’Annunzio was now a major influence on Italian youth and on the Futurists. The climate created by D’Annunzio, the Futurists, and the Italian Nationalists enabled the Prime Minister Crispi to embark upon imperial adventures in Africa, which culminated in the resurgence of an African Italian empire under Mussolini several decades hence. D’Annunzio inspired both the general population and the Italian soldiers with his writings.

Politics

Although he did not fit into the conventional Left or Right—which can also be said of the emerging Italian nationalist movement—D’Annunzio entered Parliament in 1899 as a non-doctrinaire conservative with revolutionary ideas.[8] Nonetheless, he had contempt for Parliament and for parliamentarians as “the elected herd.” He had written in 1895, “A State erected on the basis of popular suffrage and equality in voting, is not only ignoble, it is precarious. The State should always be no more than an institution for favoring the gradual elevation of a privileged class towards its ideal form of existence.”[9]

He took his seat and forced a new election in 1900 by crossing the floor and joining with the Left to break a political impasse. He then stood for the Socialist Party, among whose leadership at the time was Mussolini,[10] although continuing to speak of a “national consciousness” that was contrary to the internationalism of the mainstream Socialists, as indeed Mussolini was to do.[11] Although he was not re-elected, D’Annunzio had contributed to the formation of an ideological synthesis, along with the nationalists and the Futurists, that was several decades later to transcend both Left and Right and emerge as Fascism. D’Annunzio expressed the new synthesis of the coming politics thus: “Everything in life depends upon the eternally new. Man must either renew himself or die.”

The First World War

D’Annunzio was living in France when the war broke out.[12] He visited the front and resolved to return to Italy to agitate for his country’s entry into the war. Like Mussolini and Marinetti, D’Annunzio saw the war as the opportunity for Italy to take her place among the great powers of the twentieth century. D’Annunzio was invited to speak before a crowd at an official opening of the Garibaldi monument, declaring his own “Sermon on the Mount”:

Blessed are they, who having yesterday cried against this event, will today accept the supreme necessity, and do not wish to be the Last but the First! Blessed are the young who, starved of glory, shall be satisfied! Blessed are the merciful, for they shall be called on to quench a splendid flow of blood, and dress a wonderful wound . . .[13]

The crowd was ecstatic.

At 52 and considered a national treasure, having re-established an Italian national literature, there was pressure to dissuade him from enlisting in the army, but he was commissioned in the Novara Lancers, and saw more than 50 actions. Such was the daring of his ventures that Italy’s leading literary figure soon became her greatest war hero. He flew many times over the Alps at a time when such a feat was considered extraordinary. The Austrians put a bounty on his head. He responded by entering Buccari harbor with a small band of handpicked men in a motorboat, firing his torpedoes, and leaving behind rubber containers, each containing a lyrical message in indelible ink.

D’Annunzio was especially noted for his air excursions over enemy lines dropping propaganda leaflets. It was during a bombing flight over Pola that he and his airmen first used the war cry “Eja! Eja! Eja! Alala!”[14] This was said to be the cry used by Achilles to spur on his horses. It was later adapted by D’Annunzio’s Legionnaires when they took Fiume and eventually by the Fascists. After serious damage to an eye, he was told not to fly again, but within several months had returned to the air and was awarded a silver medal. He then slogged it out on foot in the assault from Castagna to the sea. He returned from the war an international hero; having been awarded a gold medal, five silver medals, a bronze medal, and the officer’s cross of the Savoy Military Order. He also received the Military Cross from Britain with many other countries adding to his honors.

Fiume

After the Allied victory, Italy did not receive the rewards she had expected. Fiume was a particular point of contention. Venetian in culture and history, the city port had been occupied by the French, English, American, and Italian troops; yet the Italian government favored turning its administration over to Yugoslavia. Mussolini, Marinetti, and D’Annunzio again joined forces to agitate on the common theme that Italy should annex Fiume. Young officers formed an army with the motto: “Fiume or death!” D’Annunzio was asked to lead an expedition to take the city for Italy.

At dawn on September 12, 1919, D’Annunzio marched off at the head of a column of 287 veterans. As they marched through Italy towards Fiume, they picked up soldiers and supplies along the way. By the time D’Annunzio reached the city, he had gathered an army of 1,000. D’Annunzio confronted General Pittaluga, the Italian commander of the city and, pointing to his medals declared, “Fire first on this.” The General’s eyes filled with tears, and he replied: “Great poet! I do not wish to be the cause of spilling Italian blood. I am honored to meet you for the first time. May your dream be fulfilled.”[15] The two embraced and entered Fiume together. Once D’Annunzio had taken Fiume, others from all over Italy flocked to him, including nationalists, anarchists, futurists, syndicalists, soldiers, and men of the arts. “In this mad and vile world, Fiume is the symbol of liberty,” declared D’Annunzio.[16]

However, the Free State was not completely isolated in the world and caught the imagination of others outside Italy who desired to see the overthrow of the bourgeois order. Soviet Russia granted official recognition to the Free State. The day after the seizure of Fiume, the Dada Club in Berlin sent a telegram to Corriere della Sera stating: “Conquest a great Dadaist action, and will employ all means to ensure its recognition. The Dadaist world atlas Dadaco already recognises Fiume as an Italian city.” Günter Berghaus has written:

Between December 1919 and December 1920 Fiume became a little world of its own, a little microcosm where radical dreams and aspirations were given an unprecedented opportunity to be lived out and experimented with. . . . Groups of revolutionary intellectuals managed to assume control over the city and created a political culture where spontaneous expression of beliefs replaced the tendentious procedures of parliamentary democracy. Artistic fantasy and energy gave birth to a new “aesthetics” of communal life where the fusion of political and artistic avant-garde became a reality. A festive lifestyle replaced conventional social behavior.[17]

While D’Annunzio’s Fiume has often been regarded as the forerunner of Fascism, the atmosphere, organization, and aesthetics of the Free State suggests a synthesis of the Renaissance, Futurism, and syndicalism, which drew the support of an eclectic bunch of rebels. The anarchist Hakim Bey called Fiume the first “temporary autonomous zone,” run on “pirate economics,” and based on an “intensity of living.”[18]

Renaissance City-State

D’Annunzio recreated Fiume as a twentieth-century Renaissance city-state. It would be the catalyst for a “League of Oppressed Nations” to counter the League of Nations of the bourgeois powers.[19] The Free State of Fiume was proclaimed with the Statute of the Carnaro, co-authored by D’Annunzio and the revolutionary syndicalist Alceste de Ambris, attesting to the Fiume venture as being the harbinger of the revolutionary syndicalist and nationalist synthesis that gave birth to Fascism.

The Statute of the Carnaro instituted physical training for youth, old age pensions, universal education, aesthetic instruction, and unemployment relief. Private property was recognized but on the condition of its “proper, continuous, and efficient use.” Corporations and guilds after the medieval manner were established to represent workers and producers in place of the old political parties. Both freedom of religion and atheism were protected. A College of Ediles was “elected with discernment from men of taste and education,” who would maintain aesthetic standards in the architecture and construction of the city-state. The parliament, or Council of the Best, was enjoined to minimize chatter, with sessions held with “notably concise brevity.” A higher chamber was called the Council of Providers. D’Annunzio oversaw the whole edifice as the Commandante. Music was elevated as “a religious and social institution” by statute.[20] For 15 months, the Commandante held out against allied protests and the blockade erected by the Italian government.

Blockade

The Italian government eventually tightened its blockade, which resulted in food shortages at the time of the European-wide influenza epidemic. To counter the blockade, D’Annunzio formed the Uscocchi (from an old Adriatic name for a type of pirate), who captured ship, raided warehouses, stole coal, arms, meat, coffee, and ammunition, even army horses, in daring raids all over Italy.[21]

D’Annunzio planned to march on Rome and take the entire country. Indeed, the Legionnaire’s song had the refrain, “with the bomb and the dagger we will enter the Quirinale.”[22] D’Annunzio had hoped for the support of Mussolini’s Fascists, who had been propagandizing for D’Annunzio’s occupation of Fiume,[23] but Mussolini considered such a march on Rome premature, and possibly looked upon D’Annunzio as a rival to his own aims.

Italian troops now moved on Fiume. D’Annunzio ordered a general mobilization. He hoped that Italian troops would not fire on fellow Italians. Such a notion was repugnant to D’Annunzio, as it had been to General Pittaluga when he gave way to D’Annunzio’s occupation. Military operations began on December 24, 1920. “The Christmas of Blood” as D’Annunzio called it. Twenty thousand troops began to move against D’Annunzio’s 3,000. The Andrea Dona sailed within firing range. D’Annunzio was given an ultimatum to surrender or suffer bombardment. After some shelling of the balconies of the city began, the women came forth holding aloft their babies, shouting, “This one Italy! Take this one. But not D’Annunzio!”

The Commandante gathered his Cabinet together and announced his capitulation. Although his men had repulsed the government’s troops for five days, the city could not withstand heavy shelling. “I cannot impose on this heroic city its ruin and certain destruction,” said D’Annunzio.[24]

Fascism

D’Annunzio retired to a secluded house he called “The Shrine of Italian Victories.” He resumed his writing. He remained the most popular figure in Italy whom both Fascists and anti-Fascists tried to recruit. Despite what he considered Mussolini’s betrayal over Fiume, he refused to assist the anti-fascists. On October 27, 1922, the Fascists marched on Rome. The new regime was established on a more realistic and pragmatic basis than the romantic and visionary ideals that D’Annunzio had briefly realized at Fiume.

Many of the trappings of the Fascist movement were first used by D’Annunzio, including the revival of the Roman salute and the wearing of the blackshirt. Mussolini adopted D’Annunzio’s style of speaking to the populace from balconies with the crowds responding. Italy was organized as a Corporate (guild) state as Fiume had been, and cultural figures were especially esteemed.

In 1924, most of Fiume was secured from Yugoslavia. This and the withdrawal from the League of Nations, and in particular the invasion of Abyssinia, drew D’Annunzio closer to Mussolini.[25] Although he refrained from participation in public life, the regime showered D’Annunzio with honors, made him a prince, published his collected works, and made him an honorary general of the air force and president of the Italian Academy.[26] On March 1, 1938, D’Annunzio died suddenly of a cerebral hemorrhage. At D’Annunzio’s funeral, Mussolini said: “You may be sure Italy will arrive at the summit you dreamed of.”[27]

The legacy of the Free City of Fiume became an important part of the Fascist mythos. Mussolini as editor of Il Popolo d’Italia gave Fiume moral support and also launched a subscription to give financial support. But at the time of the bombardment of Fiume, D’Annunznio’s desperate efforts to get Fascist support failed. From a Fascist perspective the venture would have been considered heroic but unrealistic, and the Fascists were not then in a position to stage a revolt. Sarfatti writes of “the beacon of the Adriatic had been extinguished in blood. Fiume had been taken and evacuated, the Commandante had been wounded, and, brother fighting against brother, forty legionaries had fallen at the hands of their brother-soldiers of Italy.”[28]

Mussolini however responded that at no time had he indicated the Fascisti would be in a position to launch a revolution in the event of Fiume being attacked: “Revolution will be accomplished with the army, not against the army; with arms, not without them; with trained forces, not with undisciplined mobs called together in the streets. It will succeed when it is surrounded by a halo of sympathy by the majority, and if it has not that, it will fail.”[29]

Mussolini saw in the legionaries that dispersed from Fiume and scattered throughout Italy the inspiration for a New Italy and the cause of Fiume. “On the 3rd of March, 1924, Mussolini was to sign the treaty of annexation whereby Fiume was joined to the kingdom of Italy!”[30]

Notes

[1] Anthony Rhodes, The Poet as Superman: D’Annunzio (London: Weidenfeld and Nicolson, 1959), p. 108.

[2] Rhodes, The Poet as Superman, p. 21.

[3] Rhodes, The Poet as Superman, pp. 25–26.

[4] Rhodes, The Poet as Superman, p. 48.

[5] Rhodes, The Poet as Superman, p. 51.

[6] Filippo Marinetti, “The Futurist Manifesto,” Adrian Lyttelton (ed.), Italian Fascisms from Pareto to Gentile, Roots of the Right (London: Jonathan Cape, 1973), pp. 209–15. Marinetti, “Old Ideas which always go hand in hand and must be separated,” (L’Ardito, March 1919), Italian Fascisms, pp. 216–21.

[7] Rhodes, The Poet as Superman, p. 69.

[8] Rhodes, The Poet as Superman, p. 79.

[9] D’Annunzio, La Vergini della Rocce (1895).

[10] Margherita Sarfatti, The Life of Benito Mussolini (London: Thornton and Butterworth, 1927), pp. 162–200.

[11] Sarfatti, The Life of Benito Mussolini, pp. 207–12.

[12] Rhodes, The Poet as Superman, p. 141.

[13] Rhodes, The Poet as Superman, p. 147.

[14] Rhodes, The Poet as Superman, p. 161, footnote 1. Interestingly the war cry was revived in 1985 by the Slovenian “collectivist” industrial music group Laibach in the lyrics of “Nova Akropola,” a clear tribute to D’Annuzzio’s Pola air raid. Perhaps Laibach might be considered the heirs to the Marinetti Futurists, and are part of a broader movement, Neue Slowenische Kunst, which also includes theatre, dance, fine art, philosophy and architecture. See New Collectivism, Neue Slowenische Kunst (Los Angeles: Amok Books, 1991).

[15] Rhodes, The Poet as Superman, pp. 175–77.

[16] Rhodes, The Poet as Superman, p. 179.

[17] Gunter Berghaus, Futurism and Politics, Between Anarchist Rebellion and Fascist Reaction 1909–1944 (Oxford: Berghahn Books, 1995), p. 139.

[18] Hakim Bey, T.A.Z. The Temporary Autonomous Zone: Ontological Anarchy, Poetic Terrorism (1985).

[19] Rhodes, The Poet as Superman, p. 183.

[20] Gabriele D’Annunzio and Alceste de Ambris, “The Constitution of Fiume,” September 8 1920. Roger Griffin (ed.) Fascism (Oxford: Oxford University Press, 1995), pp. 35–37.

[21] Rhodes, The Poet as Superman, pp. 190–200.

[22] The Quirinal Palace in Rome was then the official residence of the King of Italy. It is now the official residence of the President of the Italian Republic.—Ed.

[23] Sarfatti, The Life of Benito Mussolini, pp. 269–270.

[24] Rhodes, The Poet as Superman, p. 220.

[25] Rhodes, The Poet as Superman, p. 236.

[26] Rhodes, The Poet as Superman, p. 233.

[27] Rhodes, The Poet as Superman, p. 242.

[28] Sarfatti, The Life of Benito Mussolini, p. 280.

[29] Sarfatti, The Life of Benito Mussolini, p. 281.

[30] Sarfatti, The Life of Benito Mussolini, p. 282.

 

Related

  • The Worst Week Yet:
    April 24-30, 2022

  • Counter-Currents Radio Podcast No. 436
    Ask Me Anything with Greg Johnson

  • Robert N. Taylor of Changes:
    An Interview

  • Wyndham Lewis’ Tarr

  • Ianva, the Kiss of Italian Neofolk

  • Zero HP Lovecraft’s “Key Performance Indicators”

  • Homer:
    die Gründungsepen oder die Bibel der Europäer.

  • Counter-Currents Radio Podcast No. 425
    Joel Davis on The Writers’ Bloc

Tags

Benito Mussolinibook excerptsfascismFiumeFriedrich NietzscheGabriele D'AnnunzioItalyKerry Boltonliterature

Previous

« Kony 2012 & Fifth Generation Warfare

  • Recent posts

    • Neema Parvini’s The Populist Delusion

      Greg Johnson

      3

    • Europe’s Eastern Shield

      Nicholas R. Jeelvy

      14

    • Céline vs. Houellebecq

      Margot Metroland

    • White Identity Nationalism, Part 3

      Neil Kumar

      2

    • White Americans’ Racial Consciousness is No Longer an Unknown Quantity

      Beau Albrecht

      15

    • The Tex-Mex Misfit Massacre

      Jim Goad

      20

    • White Identity Nationalism, Part 2

      Neil Kumar

      3

    • Counter-Currents Radio Podcast No. 448
      The Writers’ Bloc with Karl Thorburn on Mutually Assured Destruction

      Counter-Currents Radio

    • The US Spring Primaries are a Sign that White Identity Politics is Here to Stay

      Cyan Quinn

      6

    • The Union Jackal, May 2022

      Mark Gullick

      7

    • White Identity Nationalism, Part 1

      Neil Kumar

      4

    • Counter-Currents Radio Podcast No. 447
      New Ask Me Anything with Greg Johnson

      Counter-Currents Radio

      3

    • On Racial Humor

      Spencer J. Quinn

      26

    • Facts on the Ground

      Hamilton T. Burger

      4

    • Counter-Currents Radio Podcast No. 446
      James J. O’Meara on Hunter S. Thompson

      Counter-Currents Radio

      2

    • O Manifesto Nacionalista Branco:
      Parte 3, Genocídio Branco

      Greg Johnson

    • The Worst Week Yet:
      May 15-21, 2022

      Jim Goad

      24

    • Lauren Oyler’s Fake Accounts

      Anthony Bavaria

      6

    • The Copypasta Apocalypse
      From Jesus to Gendron, via Brother Stair

      James J. O'Meara

    • The Life & Death of a Patriot:
      Personal Reflections on the Great Replacement

      Veiko Hessler

      2

    • Remembering Richard Wagner
      (May 22, 1813–February 13, 1883)

      Greg Johnson

    • This Weekend’s Livestreams
      James O’Meara on Counter-Currents Radio & Karl Thorburn on The Writers’ Bloc

      Greg Johnson

      4

    • The Counter-Currents 2022 Fundraiser
      Every Man an Editor

      Greg Johnson

      7

    • Against the Negative Approach in Politics

      Nicholas R. Jeelvy

      6

    • What Christian Nationalism Looks Like in Current-Year America

      Robert Hampton

      25

    • “Should War Be Criminalized?”

      Greg Johnson

      5

    • O Manifesto Nacionalista Branco:
      Parte 2, Extinção Branca

      Greg Johnson

    • Morálka lidské mysli Jonathana Haidta, část druhá

      Collin Cleary

    • Animals & Children First

      Jim Goad

      41

    • The Great Replacement Prize

      Greg Johnson

    • Remembering Julius Evola
      (May 19, 1898–June 11, 1974)

      Greg Johnson

    • Counter-Currents Radio Podcast No. 445
      The Writers’ Bloc with Kathryn S. on Mircea Eliade

      Counter-Currents Radio

      2

    • O Manifesto Nacionalista Branco:
      Parte 1, Introdução

      Greg Johnson

    • Extremities:
      A Film from Long Ago that Anticipated Today’s Woke Hollywood

      Stephen Paul Foster

      10

    • The National Health Service:
      My Part in Its Downfall

      Mark Gullick

      10

    • Male Supremacism in the United States?

      Margot Metroland

      2

    • Counter-Currents Radio Podcast No. 444
      Ask Me Anything with Greg Johnson

      Counter-Currents Radio

      1

    • Fallen Castes

      Thomas Steuben

      18

    • Work to Be Such a Man

      Morris van de Camp

      6

    • Be a Medici:
      New Patrons for a New Renaissance

      Robert Wallace

      21

    • Counter-Currents Radio Podcast No. 443
      Interview with Jim Goad

      Counter-Currents Radio

    • Das Manifest des weißen Nationalismus:
      Teil 5, Die Wiederherstellung Unserer Weissen Heimatländer

      Greg Johnson

    • Where Do We Go from Buffalo?

      Jim Goad

      42

    • Rammstein’s Deutschland

      Ondrej Mann

      8

    • If I Lost Hope

      Greg Johnson

      5

    • Das Manifest des weißen Nationalismus:
      Teil 4, Wie Können Wir den Weissen Genozid Beenden?

      Greg Johnson

    • Payton Gendron & the Buffalo Massacre

      Greg Johnson

      66

    • The Counter-Currents 2022 Fundraiser
      Between Now and May 20th, Give a New Monthly Gift and Receive a New Book!

      Cyan Quinn

    • This Weekend’s Livestreams
      Jim Goad on Counter-Currents Radio & Kathryn S. on The Writers’ Bloc

      Greg Johnson

    • Remembering Hinton Rowan Helper

      Spencer J. Quinn

      11

  • Recent comments

    • Donar van Holland Right-Wing Astrology Astrology is an expression of a belief in a 'living kosmos': a web of many mutual influences, or '...
    • Francis XB The Tex-Mex Misfit Massacre School shootings really are Black Swan events...notable because they are actually so rare. More...
    • Muhammad Aryan Europe’s Eastern Shield @Vehmgericht 1. Does Islam attract imbeciles?   Some of the "imbeciles" that Islam has...
    • Nick Jeelvy Europe’s Eastern Shield I could write a lot about Bulgaria's history with Russia, but because of who I am, it would do...
    • Andrew Europe’s Eastern Shield Thanks for your response Nick! :) Maybe an article about Bulgarias historical ties to Russia...
    • threestars The Tex-Mex Misfit Massacre The Columbine shooters weren't some meek bullying victims, they weren't shy, and they were quite...
    • Nick Jeelvy Europe’s Eastern Shield Like all generalizations, some details are lost when we look at the bigger picture. A country by...
    • Nick Jeelvy Europe’s Eastern Shield The historic Islamic philosophers were for the most part first or second generation Persian or...
    • Jj The Union Jackal, May 2022 Why is the author glorifying thatcher, the British Reagan. Britain used to be a homogeneous,...
    • Andrew Europe’s Eastern Shield Is it not somewhat of an oversimplification that many in the West are pro-Russian and East are...
    • Berk Europe’s Eastern Shield Eastern Europe was betrayed by France, England and Germany siding with islam/turkey in the past at...
    • Ian Smith Neema Parvini’s The Populist Delusion I listened to this lecture on Machiavelli and enjoyed it. Great for midwits like me who are curious...
    • T Steuben Europe’s Eastern Shield If the West hadnt dithered and infighted Constantinople might not have fallen to the Turks and the...
    • Giles Corey White Identity Nationalism, Part 3 After this magisterial three-part essay, at the beginning of which Mr. Kumar painstakingly described...
    • Ovidiu Neema Parvini’s The Populist Delusion a study which claims to show empirically that US is an oligarchy not a democracy https://www.bbc....
    • Don Europe’s Eastern Shield A great piece that I thoroughly enjoyed.  A grand summary and analysis of  many centuries of history...
    • Vehmgericht The Union Jackal, May 2022 The big cities it is true are full of surly sub-saharans and the shifty subcontinental types (...
    • Vehmgericht Europe’s Eastern Shield A rather blunt question could be: Does Islam attract imbeciles?(*) If one compares the achievements...
    • illtakemystand White Identity Nationalism, Part 3 For coming from a person of color, these aren’t bad ideas.
    • C Neema Parvini’s The Populist Delusion Some guys are in it for money and power; others are spiritually motivated.  It is all a function of...
  • Books

    • Kerry Bolton
    • Jonathan Bowden
    • Buttercup Dew
    • Collin Cleary
    • Jef Costello
    • F. Roger Devlin
    • Julius Evola
    • Gregory Hood
    • Juleigh Howard-Hobson
    • Greg Johnson
    • Jason Jorjani
    • Ward Kendall
    • Anthony M. Ludovici
    • Trevor Lynch
    • H. L. Mencken
    • J. A. Nicholl
    • Andy Nowicki
    • James J. O'Meara
    • Michael O'Meara
    • Christopher Pankhurst
    • Tito Perdue
    • Michael Polignano
    • Spencer J. Quinn
    • Savitri Devi
    • Fenek Solère
    • Irmin Vinson
    • Leo Yankevich
    • Francis Parker Yockey
  • Webzine Authors

    Contemporary authors

    • Howe Abbott-Hiss
    • Beau Albrecht
    • Aquilonius
    • Anthony Bavaria
    • Michael Bell
    • Alain de Benoist
    • Kerry Bolton
    • Jonathan Bowden
    • Buttercup Dew
    • Collin Cleary
    • Giles Corey
    • Jef Costello
    • Morris V. de Camp
    • F. Roger Devlin
    • Bain Dewitt
    • Jack Donovan
    • Ricardo Duchesne
    • Émile Durand
    • Guillaume Durocher
    • Mark Dyal
    • Guillaume Faye
    • Stephen Paul Foster
    • Fullmoon Ancestry
    • Jim Goad
    • Tom Goodrich
    • Alex Graham
    • Mark Gullick
    • Andrew Hamilton
    • Robert Hampton
    • Huntley Haverstock
    • Derek Hawthorne
    • Gregory Hood
    • Juleigh Howard-Hobson
    • Richard Houck
    • Alexander Jacob
    • Nicholas R. Jeelvy
    • Greg Johnson
    • Ruuben Kaalep
    • Tobias Langdon
    • Julian Langness
    • Travis LeBlanc
    • Patrick Le Brun
    • Trevor Lynch
    • Kevin MacDonald
    • G. A. Malvicini
    • John Michael McCloughlin
    • Margot Metroland
    • Millennial Woes
    • John Morgan
    • James J. O'Meara
    • Michael O'Meara
    • Christopher Pankhurst
    • Michael Polignano
    • J. J. Przybylski
    • Spencer J. Quinn
    • Quintilian
    • Edouard Rix
    • C. B. Robertson
    • C. F. Robinson
    • Hervé Ryssen
    • Kathryn S.
    • Alan Smithee
    • Fenek Solère
    • Ann Sterzinger
    • Thomas Steuben
    • Robert Steuckers
    • Tomislav Sunić
    • Donald Thoresen
    • Marian Van Court
    • Dominique Venner
    • Irmin Vinson
    • Michael Walker
    • Aylmer Wedgwood
    • Scott Weisswald
    • Leo Yankevich

    Classic Authors

    • Maurice Bardèche
    • Julius Evola
    • Ernst Jünger
    • D. H. Lawrence
    • Charles Lindbergh
    • Jack London
    • H. P. Lovecraft
    • Anthony M. Ludovici
    • Sir Oswald Mosley
    • National Vanguard
    • Friedrich Nietzsche
    • Revilo Oliver
    • William Pierce
    • Ezra Pound
    • Saint-Loup
    • Savitri Devi
    • Carl Schmitt
    • Miguel Serrano
    • Oswald Spengler
    • P. R. Stephensen
    • Jean Thiriart
    • John Tyndall
    • Francis Parker Yockey
  • Departments

    • Book Reviews
    • Movie Reviews
    • TV Reviews
    • Music Reviews
    • Art Criticism
    • Graphic Novels & Comics
    • Video Game Reviews
    • Fiction
    • Poems
    • Interviews
    • Videos
    • English Translations
    • Other Languages
      • Arabic
      • Bulgarian
      • Croatian
      • Czech
      • Danish
      • Dutch
      • Estonian
      • Finnish
      • French
      • German
      • Greek
      • Hungarian
      • Italian
      • Lithuanian
      • Norwegian
      • Polish
      • Portuguese
      • Romanian
      • Russian
      • Slovak
      • Spanish
      • Swedish
      • Ukrainian
    • Commemorations
    • Why We Write
  • Archives
  • Top 100 Commenters
Sponsored Links
Alaska Chaga Antelope Hill Publishing Imperium Press American Renaissance A Dissident’s Guide to Blacks and Africa The Patrick Ryan Show Jim Goad The Occidental Observer
Editor-in-Chief
Greg Johnson
Books for sale
  • Trevor Lynch’s Classics of Right-Wing Cinema
  • The Enemy of Europe
  • Imperium
  • Reactionary Modernism
  • Manifesto del Nazionalismo Bianco
  • O Manifesto Nacionalista Branco
  • Vade Mecum
  • Whiteness: The Original Sin
  • Space Vixen Trek Episode 17: Tomorrow the Stars
  • The Year America Died
  • Passing the Buck
  • Mysticism After Modernism
  • Gold in the Furnace
  • Defiance
  • Forever & Ever
  • Wagner’s Ring & the Germanic Tradition
  • Resistance
  • Materials for All Future Historians
  • Love Song of the Australopiths
  • White Identity Politics
  • Here’s the Thing
  • Trevor Lynch: Part Four of the Trilogy
  • Graduate School with Heidegger
  • It’s Okay to Be White
  • The World in Flames
  • The White Nationalist Manifesto
  • From Plato to Postmodernism
  • The Gizmo
  • Return of the Son of Trevor Lynch’s CENSORED Guide to the Movies
  • Toward a New Nationalism
  • The Smut Book
  • The Alternative Right
  • My Nationalist Pony
  • Dark Right: Batman Viewed From the Right
  • The Philatelist
  • Confessions of an Anti-Feminist
  • East and West
  • Though We Be Dead, Yet Our Day Will Come
  • White Like You
  • Numinous Machines
  • Venus and Her Thugs
  • Cynosura
  • North American New Right, vol. 2
  • You Asked For It
  • More Artists of the Right
  • Extremists: Studies in Metapolitics
  • The Homo & the Negro
  • Rising
  • The Importance of James Bond
  • In Defense of Prejudice
  • Confessions of a Reluctant Hater (2nd ed.)
  • The Hypocrisies of Heaven
  • Waking Up from the American Dream
  • Green Nazis in Space!
  • Truth, Justice, and a Nice White Country
  • Heidegger in Chicago
  • The End of an Era
  • Sexual Utopia in Power
  • What is a Rune? & Other Essays
  • Son of Trevor Lynch’s White Nationalist Guide to the Movies
  • The Lightning & the Sun
  • The Eldritch Evola
  • Western Civilization Bites Back
  • New Right vs. Old Right
  • Journey Late at Night: Poems and Translations
  • The Non-Hindu Indians & Indian Unity
  • Baader Meinhof ceramic pistol, Charles Kraaft 2013
  • Pulp Fascism
  • The Lost Philosopher, Second Expanded Edition
  • Trevor Lynch’s A White Nationalist Guide to the Movies
  • And Time Rolls On
  • Artists of the Right: Resisting Decadence
  • North American New Right, Vol. 1
  • Some Thoughts on Hitler
  • Tikkun Olam and Other Poems
  • Summoning the Gods
  • Taking Our Own Side
  • Reuben
  • The Node
  • The New Austerities
  • Morning Crafts
  • The Passing of a Profit & Other Forgotten Stories
  • Rss
  • DLive
  • Telegram
  • Gab
  • Entropy
Copyright © 2022 Counter-Currents Publishing, Ltd.

Paywall Access





Please enter your email address. You will receive mail with link to set new password.

Edit your comment