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Against the “lie writ large”:
A Review of Mjolnir Magazine

1,737 words

MjolnirMjolnir Magazine for the Creative Arts
Issue 1: Blast Off
David Yorkshire, editor

“Leftism is the lie writ large. In any case, the right knows that equality itself is a fabrication and can only be achieved and maintained by holding back those who strive for excellence. The opposite of equality is quality. So it is with art. Quality is known instinctively: go into any art gallery and answer honestly which you prefer, Ian Davenport or J. M. W. Turner. Mjolnir stands for quality; Mjolnir is therefore elitist and promotes spiritual elitism in all its forms.”—Mjolnir Magazine

With the money you will have saved from not buying Troy Southgate’s novel (see James O’Meara’s review here), you really should pick up a copy of Mjolnir. Reading like a Searchlight international list of traditionalist writers, reviewers, and artists, Mjolnir’s table of contents includes David Yorkshire (editor of Mjolnir, writer for Western Spring), Jez Turner (the founder and chairman of the Iona [Islands of the North Atlantic] London Forum) reviewing A. K. Chesterton’s Leopard Valley, Gina Hunt reviewing David Hamilton’s Culture Wars, Boris Nad (Serbian author, artist and revolutionary thinker.), Dragoš Kalajić (“one of the most significant artists, visionaries and Traditionalists of our European culture in the last quarter of the 20th century”Open, southern traditionalist writer Patrick McClary, Yorkshire romantic-realist landscape artist J. W. Foster, a pseudonymous Australian poet going by the handle Clarence Cadel, and H. P. Lovecraft. Oh, and me.[1]

Mjolnir Magazine has been a long time in the making—Mr. Yorkshire mentions that he had hoped the late Jonathan Bowden might “spearhead such an undertaking” before he died. Ultimately it was up to David Yorkshire to bring this literary vision to fruition himself. And he’s done a fine job of it, gathering writers and artists “rooted in national and regional ethnic culture as well as in our shared European heritage” between covers that feature a full page color reproduction of Tors strid med jättarna (Thor’s Battle with the Giants) by Swedish artist Mårten Eskil Winge on the front and a smaller color reproduction, Asgardeien (The Wild Hunt), by Norwegian artist Peter Nicolai Arbo on the back. You may certainly judge this particular magazine by its covers, and it will not disappoint you.

Highlights of this journal include a two column page that catalogs people who deserve either a “Blast . . .” (“Moralists” . . . “Oscar Wilde” . . . “White self-haters who don’t have the courage of their convictions. Don’t just apologize, go kill yourselves.”) or a “Bless . . .” (“Hope Not Hate, Antifa and UAF for providing the semi-human detritus that proves human inequality,” “far right extremists, for they were once the mainstream . . .”). This may be an arts and culture magazine featuring top names in pen and paint, but damned if Mjolnir isn’t likeable too. There are so many self-important art and culture journals out there (all of them positioned somewhere on the Left, may I add) that either eschew any sort of light personability entirely or spend most of their editorializing being cheeky and ironic that this engaging human quality of Mjolnir is something to “Bless . . .”

Jez Turner, a fine writer with a long history in British far right circles, turns a review of A. K. Chesterton’s Leopard Valley: A Play in Three Acts into a succinct contemplation of both the play and the state (I was going to write “plight,” but I no longer feel we are in plight—we are now on the brink of the radical retaking of our destiny) of Europe today.

Leopard Valley? One immediately thinks of “the Happy Valley set,” “White Mischief,”’ and the mysterious murder of Lord Errol in 1930’s Kenya. Lord Errol was a dashing adventurer, Fascist sympathizer and an opponent of any war with Hitler’s Germany.

Strange (or is it?) to think how many such VIPs met strange deaths prior to the Second World War breaking out: Lord Tweedsmuir (Governor General of Canada) and T. E. Lawrence to name but two—better known respectively as John Buchan the novelist and Lawrence of Arabia. This play however is staged in an imaginary British colony loosely based on Rhodesia/South Africa and although there is an element of political intrigue in it, elements of the “anyone for tennis” comedies exist for light relief and of Agatha Christie’s “whodunnits” for added suspense. It appeals therefore at many levels, but it is the deep under-the-radar subtle politics relating to human nature, community organization, racial relations and leadership that interest us here.

In Boris Nad’s short prose piece, “The Lions of Kalemegdan,” historical account and personal experience collide while considering European traditions and lions. “In historical times, a little more than two thousand years ago, lions still lived in Macedonia . . .” and so begins a look at the “connection between kings and lions” that winds down to Nad himself writing on: “a late summer afternoon, almost evening, when climbing up to the Kalemegdan fortress, I wished to get up to that high plateau from where the confluence of the Sava into the Danube can be seen. . . . I spotted two lions, gallant and lazy, marching under the sun . . . a vision which might have been born of dream and which belonged to some other, almost mythical era, quite different from our own.”

This work reminded me of something that might have been included in an early issue of Hex Magazine—which is probably the only other contemporary journal that Mjolnir could be compared to, and even then it would have to be a loose comparison.

Another remarkable piece is “Padded Feet” by North Carolinian native Patrick McClary. Much like “Leopard Valley,” “Padded Feet” can be read on more than one level. At face value it is a well-wrought example of Southern horror (by Southern, I mean the southern United States) peppered with dialect and regional references to evoke the immediate-post-civil-war Carolinas. On another level, it contains “deep under-the-radar subtle politics relating to human nature, community organization, racial relations and leadership”—the horror faced is the aftermath of the war itself, the denouement the beginning of realization that Southerners –as a folk—must co-operate with each other to survive no matter how they feel about each other’s actions (or inactions) during the war against Northern aggression.

“Ronnie you cling to the war like a piglet to her mamma’s tit. ‘Course you had no reason to desert, you had nothing to go home to . . . maybe if you were older and had a few obligations weighing you down, you wouldn’t have been so ready to fight and starve for another man’s property in another part of the state . . . ” A pause and a gentle smile from [Ronnie] McDaris. “Liberty born of a patriot’s dream is what I fought for. Not for any man’s cotton or any man’s slaves. Men like myself and Vance understood that. Men who understood that the greatest obligations one can have is to one’s home and fireside. To keep unborn generations free from the crush of the despot’s heel . . .”

The artwork by Dragoš Kalajić is simply glorious (and I mean that)—there are over a dozen of his paintings reproduced here, only two of which are not shown in full color. They include some of his most famous works: Hyperborea, Svetlana, Of Our Inner Empire, and a two page spread of Knight of the Solar Order. During his life (he died in 2003) Kalajić was friends with “cultural luminaries such as Baron Julius Evola, Aleksandr Dugin, Ezra Pound, Enrico Crispolti, Giorgio de Chirico, Gualtiero Jacopetti, Ilya Glazunov and Mikita Mikhalkov. Evola himself once said to Kalajić: ‘You will renew the Roman idea.’” It is little wonder his work has been called the “real example of Aryan art” and it’s nice to see so much of it all together.

David Yorkshire’s own short story (I’d call it a speculative fantasy but it isn’t labeled as such) “The Wall at the End of the Garden” is, to use his own words, an effort “to reify the traditional eternal truths”—one of the truths being that “the difference between scientists and philosophers is that philosophers often frame the hypothesis and write the conclusion before making the experiment.” Considering what the philosophies of those who took control of the world did to the traditional world, that truth alone cost us millions (physically, monetarily and spiritually).

“Trees can be replanted. Machines can be repaired. And perhaps by chance I have stumbled across the most important experiment today.” He looked down at a half-shredded book by Rousseau. “You know, the French for experiment is experience. Perhaps I should have let you observe the world outside before you absorbed yourself in all those philosophical tomes. Perhaps the steel is there now, but we blunted it and let it rust instead of honing it and keeping it sharp . . .”

Yorkshire’s story puts into literary perspective radical notions that are sometimes difficult to pin down, and he does so with a style that is clear, engaging and classic. He states in the introduction to this story that he writes poetry and prose creatively—I hope that he’ll be bringing forth a volume of his own work soon, or that he finds a publisher he likes who will bring it forth for him.

Besides the works I’ve mentioned here, there are prose, poetry and art pieces ranging from full color traditionalist watercolors to Lovecraft’s poetry in this inaugural issue of Mjolnir. You’ll have to order it to see all of it for yourself, but it’s worth it.

Why is it worth it?

Beside the fact that it has interesting content, “Mjolnir is the first step in the cultural fightback against the tidal wave of leftist propaganda. Our enemies have vast financial resources at their disposal and can therefore invest in all the arts – especially that latterly invented form of Gesamtkunstwerk so conducive to indoctrinating the masses: film. We have not such means at our disposal . . . yet; but classical art forms are not beyond our means: graphic art, plastic art and literature are very much accessible to us. Mjolnir is a magazine set up to collate and showcase these forms of illiberal Eurocentric arts.” That’s why.

It’s about time.

Here’s to Mjolnir Magazine being long lived, well read and the first of many of its kind.


1. For review purposes, of course, I shall decidedly not write about my work included in this issue, other than to let it stand that I am quite honored to have 9 of my poems appear here.



  1. ChristopherP
    Posted May 8, 2014 at 2:06 am | Permalink

    Thanks for this review, Juleigh. The website for Mjolnir Magazine doesn’t seem to give any indication of its contents so I was dubious about whether it would be worth purchasing. Your review has convinced me that it is.

  2. David
    Posted May 8, 2014 at 2:53 am | Permalink

    I disagree with one of the final statements here: “Our enemies have vast financial resources at their disposal and can therefore invest in all the arts – especially that latterly invented form of Gesamtkunstwerk so conducive to indoctrinating the masses: film.”

    There are wonderful free and open-source programs which allow for the creation of movies with great production values on a shoestring budget. I make cartoons and such (not artistically, but as a small business) using 100% free software. Most importantly is Blender (1-minute into video: and then there is also GIMP (like Photoshop), Inkscape, Audacity (for audio), and so forth. All these wonderful programs have fantastic communities full of people ready to help serious people with their problems. The communities are overwhelmingly white and male (with a good deal of contributions from Brazil and Japan, also) and they make me very proud to interact with all these giving and industrious men.

    The “democratization of technology” makes it possible for high quality books, music, movies, and video games to be made by people with the desire and the leadership skills.

    There is a huge internet personality called “The Angry Video Game Nerd” who makes wonderful videos playing old video games. He had a script for a movie based on his character and went to Hollywood. The Jews wanted no part of this truly talented and artistic man (real name, James Rolfe) and so he crowd-funded the movie, got 250k, and it looks better than most Hollywood movies that cost 100-times that much. (Although it’s worth noting that the Angry Video Game movie wasn’t necessarily made with free software.)

    I know this is a little off-topic, but for the artistically-inclined white people, I highly recommend looking into Blender and similar open-source programs.

    • kennewick man
      Posted May 8, 2014 at 1:21 pm | Permalink

      I agree that blender is great, and have tried to work with it, but it has quite a learning curve. Quality video cameras have also come down to the range an individual can afford one, and people produce films with minimal budgets. I’ve recently come across a German nationalist youtube channel, “Ahnenheil,” which I get when I click on the name of “theodiskfolk,” the maker of a number of the videos. The two on the Merseburg incantations (Merseburg Zaubersprucht in German) seem to have been done by a group of people with a video camera and musical instruments.

      Wenn alle untreu werden is a beautiful rendition of an old song, I think it’s by Schiller but anyway 19th century German romantic nationalism, made into a typical youtube style video with changing stills. These stills are mostly ancient artifacts, many of them including Swastikas. Theodiskfolk manages to harness “the numinous power of the Swastika,” to borrow a phrase from Greg Johnson, without getting thrown in prison. The song, by the way, was used by the SS, but due to its long history it’s not illegal, as for example Die Fahne Hoch would be. As Juleigh quotes, “Far right extremists… were once the mainstream.” So while we don’t yet have white nationalist full length feature films, it isn’t impossible and we are on the way

      • David
        Posted May 8, 2014 at 11:36 pm | Permalink

        Yeah, that’s a good example, and there are countless others.

        The point is that people don’t have to go groveling to Hollywood for millions of dollars to create technically sophisticated works. (And, again, this applies to all media, not just movies.)

        Here’s a quote from James Cameron, who never went to “film school” (and openly mocks the very premise of them) but just has a great technical mind and a great work ethic:

        “The next light bulb [in learning to make movies] was really just the one that says, “Just do it. Just pick up a camera and start shooting something.” Don’t wait to be asked because nobody is going to ask you and don’t wait for the perfect conditions because they’ll never be perfect. It’s a little bit like having a child. If you wait until the right time to have a child you’ll die childless, and I think film making is very much the same thing.”

        Speaking for myself, the “just do it” philosophy goes well, well beyond movies and trivial things like that. For instance, I am on the paleo diet (which I picked up on from the documentary ‘Fat Head’, via, which pretty much advocates a diet that is 180-degrees the opposite of what the government and media advise. But I researched it, and “just did it”, and it changed my life profoundly.

    • N.E.M.
      Posted May 9, 2014 at 8:06 pm | Permalink

      First time I have seen someone make a reference to James Rolfe and AVGN/Cinemassacre on a White Nationalist website.

      I suppose it’s a good sign that counter-currents is weaving it’s tendrils into more and more of the internet. Speaking of gamers, I will repeat my suggestion that Michael Bell or Greg Johnson (his writings and lectures suggest to me that he was/is a comic-book/science-fiction aficianado; does he play video-games as well?) review the newly-released “Wolfenstein: New Order” and attempt to make the review go viral in the gamer blogosphere.

      Perhaps use FRAPS and make’s first Let’s Play video.

      Anyway, in regards to James “Angry Video Game Nerd” Rolfe. He may be a talented cinematographer but he admits to admiring Lloyd Kaufman and the degenerate Troma Entertainment. I don’t consider constant cursing or disgusting crude toilet humor to be the hallmarks of a good movie or good director. I immediately noticed in the trailer for the film that he is adding a token black sidekick, because we all know how much blacks play 20-30 year old videogames.

      JQ is real but if you’re going to accuse the Jews of turning down a movie from a toilet-humor-obsessed politically-correct filmmaker because he was white, give a citation. Realistically, no major studio wanted to fund or produce his film because there’s probably not a huge audience for movies about “retro gaming”, no matter how many Africans they insert into the cast.

      So is there anything White Nationalists can learn from Mr. Rolfe? Well, perhaps aspiring WN directors should watch his movie reviews. He does know his stuff.

      Oh well can he teach us something about “becoming viral”?

      I used to watch AVGN when I was in high school. Sure he was somewhat of a hit and made it to the top 10 subscribed channels on youtube, BUT once he decided on making this movie for the past 3 1/2 years, his output drastically decreased and I think he lost many fans and subscribers, especially on a medium like the internet, where attention-spans already are short. The lesson I get from James Rolfe/cinemassacre for counter-currents is that it’s better for counter-currents to churn out new content on a weekly or even daily basis, if it’s possible. If focuses on a big project, which sucks up all the resources and results in less and less content, readers and visitors will slough off. Just my take.

      • David
        Posted May 10, 2014 at 5:29 am | Permalink

        I agree that AVGN seems wholly apolitical and unaware of Jewish power and Hollywood’s hatred of whites, and he hasn’t shown any awareness of the bad influence of many of the movies he praises. But that doesn’t change my enjoyment of his works. Ha ha: Some of his videos have actually been therapeutic for me, because for decades I thought there was something wrong with me for not being able to beat, for instance, ‘Ninja Gaiden’. Nope! (

        You can’t possibly dismiss every white who’s not a white advocate, although I certainly wish that all whites would become so. But similar to my cheering of white MMA fighters over non-whites (in a friendly competition sort of way, and assuming they’re not cheaters or scumbags), my personal philosophy is that, “We’re in the same extended family, whether he knows it or not.” So I’m proud of James Rolfe and Chris Weidman and all these other men, no matter what. And, to keep it simple, I just enjoy their works!

  3. rhondda
    Posted May 8, 2014 at 4:01 am | Permalink

    Actually, I would like my money back. I was not impressed at all. The print was way too large sort of LOOOK AT MEEEEE. The paintings were terrible: a cross between communist realism, unreal looking people in ugly virtual worlds. Was he trying to imitate futurism? No wonder the right is so far behind. If that is it, I feel a little nauseous.

    • JuleighHowardHobson
      Posted May 9, 2014 at 9:05 pm | Permalink

      Sorry to hear that, Rhondda. I guess fonts and artworks are subjective enough for us to agree to disagree on those. Anyway, I’d be happy to buy your copy from you, I’ve got one, of course, but I don’t mind having an extra to lend out.

      • rhondda
        Posted May 10, 2014 at 10:49 am | Permalink

        It is not art if it attacks the person and not the work. Someone with a degree in English should know that. Oscar Wilde is a better writer than all the works in that magazine put together. If you want to talk about subjectivity then the page blast or bless is the epitome of that – the stupidest dichotomies I have ever read. And no I will not sell it. I intend to use it as an example of what not to do. And I do have a degree in English literature with classes in Russian and German translations of their classics. I just had to figure out what post-modernism was on my own.

  4. It is I only
    Posted May 8, 2014 at 5:32 am | Permalink

    ““Leftism is the lie writ large”
    Quite agree!
    Left in Italian is called La sinistra! Which is SINISTER!

    • Jaego
      Posted May 10, 2014 at 7:31 pm | Permalink

      But Camp is the Lie That Tells the Truth. Could Camp become part of Kampf? Our Gay film makers must make “shorts” that mock the high priests of Liberalism. James O’Meara could become a consultant on this venture. Perhaps him and his friends could evolve into a well known group like that which gathered around William Burroughs, kind of a latter day “Idlers of the Bamboo Grove”. Gays have such cultural cache right now that not to use those few on our side would be criminal – even if Camp is mercifully alien to them can’t they pretend otherwise? For the Cause?

  5. The_Brahmin
    Posted May 8, 2014 at 1:53 pm | Permalink

    James is merciless!!
    After lacerating Troy S’gate, he has dragged him over burning coal.

    • Greg Johnson
      Posted May 8, 2014 at 2:03 pm | Permalink

      He simply quoted Southgate’s own words.

      • The_Brahmin
        Posted May 9, 2014 at 1:30 pm | Permalink

        I know. James’s review is brilliantly scathing and unforgiving. Enjoyed reading it.

        Digressing, I have a request. Perhaps, a CC scholar-writer(s) could run a few articles for the benefit of the readers on the subject of Urheimat. Where is the academic discussion on Indo-European Urheimat now? What are the latest pointers – from archaeology, from linguistics / scriptures? Which areas remain controversial and where do we see consensus emerging? Etc.

        A little over a year ago, I recall reading a rather passionate exchange between Shrikant Talageri and Michael Witzel, where Witzel controverts certain claims of Talageri which are founded on Rig Vedic – Avestan interpretations and their dating / chronology. It will be great if the I-E Urheimat issues / developments could be framed and discussed to bring the CC readers up to date.

  6. JCNC
    Posted May 12, 2014 at 9:43 pm | Permalink

    test – still open?

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