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 December 12, 2017 7 comments

Percy Grainger:
Artist of the Right

Alex Graham

Percy Grainger, 1882–1961

2,413 words

Percy Grainger was a polymath: a pianist, composer, conductor, ethnomusicologist, inventor, artist, polyglot, and man of letters. He was one of the most celebrated pianist-composers of the early twentieth century. His work and writings reflect a worldview marked by both racial consciousness and an opposition to modernity that coexisted alongside radical artistic modernism. 

Born in Australia, Grainger was a prodigy in his youth. He was raised under the strict discipline of his mother, who educated him at home. After making his debut at the age of 12 to great acclaim, he was sent to the Hoch Conservatory in Frankfurt. He enjoyed a successful career as a pianist and went on tours throughout Europe.

While he was a student in Frankfurt, his father sent him a collection of Rudyard Kipling’s poetry, which the young Grainger devoured. He began composing his Jungle Book song cycle at the age of 16 and composed 22 Kipling settings over the course of his life. Kipling became one of Grainger’s strongest influences. Reading Kipling also contributed to his racial awareness:

I developed my mature harmonic style—that is to say, harmony in unresolved discords . . . such a procedure was unknown at that time [1898] and must be considered an Australian contribution to musical progress. So through that parcel of books my father sent me, I became what I have remained ever since, a composer whose musical output was based on patriotism and racial consciousness.[1]

Grainger’s youthful compositions bear the stamp of his characteristic idiosyncratic style. As a student, he rebelled against his conservatory training. He was a member of the Frankfurt Group, a group of mostly British composition students who rejected the central European tradition. Many of his works make use of modal harmonies and whole-tone scales, “double-chording” (a term he coined to describe chordal passages that when played together create harmonic dissonance), irregular rhythms and rhythmic divisions, microtonality, and unconventional orchestration (including the use of such instruments as mandolins, theremins, and solovoxes). Later in life he composed music onto player-piano rolls (long before Conlon Nancarrow), anticipated prepared piano music (In a Nutshell) and aleatoric music (Random Round), invented machines prefiguring modern electronic instruments, and experimented with techniques like multitracking, sequencing, etc. His name is most often associated with the frothy folk ditty “Country Gardens” (which he came to despise, just as Rachmaninoff hated his C sharp minor prelude), but his output is far more varied and experimental than one might surmise from this work alone.

Grainger aspired to create “free music”: music that was free from scales, fixed intervals, rhythmic constraints, and other conventions. The idea of “free music” occurred to him when he was a young boy as he observed the movement and sound of waves lapping against the side of a boat. He saw “free music” as a vehicle through which to capture the sounds of nature. He was an early promoter of electronic music, which he believed could realize this ideal. In his later life, he attempted to create music machines toward this end with the collaboration of the physicist Burnett Cross. Among these were the “Butterfly Piano,” a piano with each note tuned one-sixth of a tone apart; the “Oscillator-Playing Tone-Tool,” a contraption that used a sewing machine to manipulate the pitch of an oscillator; and the “Kangaroo Pouch Free Music Machine,” a more complex machine that utilized then-recent transistor technology (the name refers to the pockets formed by paper contours attached to the paper roll wound between turrets housed within the machine).[2] These inventions influenced the evolution of modern electronic music.

Grainger saw the idea of “free music” as his greatest legacy, but he is best known for his role in the English folk revival during the early twentieth century (except in America, where he is better known for his music for concert band). He became interested in folk music while living in London, where he lived for around a dozen years from the age of 20 before moving to the United States. Grainger composed hundreds of arrangements of folk songs over the course of his life. He pioneered the use of the phonograph to collect folk songs and gathered more than 200 Edison cylinder recordings while hiking through the English countryside.[3]

Many of Grainger’s folk song arrangements have a wayward, almost zany quality to them (e.g., “Lincolnshire Posy”) that combine the nostalgic familiarity of folk music with the eccentricity of his own style. A number of his original works also include themes reminiscent of folk song that are given an idiosyncratic twist. His Hill-Song no. 1, which he considered one of his finest compositions, contains pastoral-sounding melodies that unfold with convoluted, meandering rhythms and unusual harmonies, and the third movement (“Pastoral”) of his In a Nutshell suite has a dreamy, darkly bucolic quality and undergoes sublime harmonic shifts.

Grainger’s use of folk material reflects not a lack of originality on his part but his belief that traditional folk music expressed “the complete history of a people” and thus must be perpetuated and reinvigorated.[4] He believed that folk music played an important role in strengthening national identity and saw art as the ideal medium for conveying patriotic sentiment: “. . . the patriotism that finds its vent in racial self-expression through the medium of art does not wilt or die as empires and supremacies wilt and die, but lives on through the ages, a ‘carte de visite’ to future humanity . . . .”[5]

His statements on the subject of racialism are occasionally contradictory but it is evident that he was racially aware. His journals indicate that he read Madison Grant’s The Passing of the Great Race, Lothrop Stoddard’s Racial Realities in Europe, and Houston Stewart Chamberlain’s The Foundations of the Nineteenth Century.[6] These works strongly influenced his thinking. He distanced himself from the political events of his era, but even his denunciation of National Socialism reflects an awareness of the reality of racial and ethnic identity: “My racialism means that I love a Negro as a Negro, a Nordic as a Nordic, a Jew as a Jew.”[7]

Grainger’s racialist views were influenced by his fascination with Nordic culture and music. As a child, Grainger was captivated by Norse mythology, particularly the Icelandic sagas. His favorite Icelandic saga was The Saga of Grettir the Strong, which he called “the strongest single artistic influence on my life.”[8] The saga chronicles the life and heroic exploits of Grettir Ásmundarson, a bold and daring outlaw who is thought to have lived during the eleventh century. Grainger read the work in the original Icelandic. He writes that Grettir “was to me what Christ is to many Christians.”[9] The young Grainger signed his letters with “Grettir the Strong.”

One of Grainger’s greatest influences was Edvard Grieg, Norway’s leading composer during the nineteenth century. Grieg was influenced by contemporary Norwegian romantic nationalism and some of his works incorporate Norwegian folk music: it was his Norwegian Folksongs that first ignited Grainger’s passion for Grieg when he was 17.[10] Grainger admired Grieg’s harmonic innovation and the “twists and contrasts and elvish sparkle of his music.”[11] He frequently programmed Grieg’s works, including his concerto, the Slåtter, Norwegian Folksongs, and Ballade.

Grieg likewise thought highly of Grainger’s music and sent him a letter along with an autographed picture. The two met in London in 1906 (Grainger was 24, Grieg 63). They formed a close bond and corresponded frequently. Grainger became fluent in Norwegian. In 1907 Grainger visited Troldhaugen, Grieg’s home in Norway, where they rehearsed Grieg’s piano concerto.[12] Grieg died that year but remained one of Grainger’s main influences. Grieg’s piano concerto became the piece for which Grainger was most known as a pianist. He became the foremost exponent of Grieg’s music and for this was awarded the St. Olav Medal in 1954.[13]

From 1922 to 1927, Grainger embarked on four expeditions to Jutland in order to collect folk songs from the region. He was joined by the Danish folklorist Evald Tang Kristensen. The two recorded and notated more than 170 Jutish folk songs.[14] The result of this project was Grainger’s Danish Folksongs Suite. In Jutland, Grainger also encountered figures such as Jean Sibelius, Henrik Ibsen, Knut Hamsun, Carl Nielsen, Johannes V. Jensen, and others.[15]

Over the course of his life, Grainger became fluent in several Nordic languages: Danish, Swedish, Norwegian (both what was then Riksmål and Landsmål), old Icelandic, and Faroese, as well as a number of dialects. He also spoke German and Russian and had some knowledge of Romance languages.

Grainger’s obsession with Nordic culture and heritage also led him to construct his own form of English in a quixotic attempt to revert the English language to its Anglo-Saxon origins and purge it of words with Latinate roots. He called this “blue-eyed English.” His prose is peppered with neologisms like “blend-band” (“orchestra”), “mind-tilth” (“education”), “tone-art” (“music”), “over-soul” (“genius”), etc., reminiscent of the kennings one finds in Old English verse. Indeed Beowulf was one of his main literary inspirations.

Here is a sample of Grainger’s “Nordic English” that also summarizes his views:

If we Nordics can work out a plan of life in which behestpowerfulness ((authoritiveness)), sale-gain ((profit)), slavedriving, brutalness (such as the slaughtering of tame beasts for food, of men in war) & unkindness are outlawed–a plan of life in which sheer goodness, sheer beauty, sheer workwillingness are worshipped for what they are (& not for the sale-gains or power-sway they may roundaboutly or haphazardly bring with them)–we shall not have any more trouble with Jews, or with whatever lower types there may be within our own races.[16]

Grainger believed that the worship of “sale-gain” impeded ethnic and racial self-determination and also was inimical to the cultivation of beauty and art. Thus he criticized modern urban life, which he saw as characterized by ugliness and economic greed, and extolled the simplicity of country life. He also condemned cruelty toward animals, which he associated with Jews, and defended animal rights. He was a vegetarian for much of his life.

Grainger identified most strongly with Nordics but was interested in the music of other cultures as well. The influence of non-Western music appears throughout his works. He became fascinated with Indonesian music upon hearing a Balinese gamelan percussion orchestra at the Paris World Exhibition in 1900 (much like Debussy, whose Pagodes Grainger transcribed for large percussion ensemble). He later studied the collection of Javanese instruments at Leiden University’s Ethnological Museum and transcribed Javanese and Balinese music from Erich Moritz von Hornbostel’s collection Music of the Orient.[17] He also admired Māori music and Rarotongan polyphonic singing.

The influence of gamelan music is reflected in his 1916 symphonic poem The Warriors (subtitled “Music to an Imaginary Ballet”), his longest single work. It is scored for a large symphony orchestra featuring a gamelan-inspired percussion section (xylophone, marimba, glockenspiel, steel marimba, steel bells, tubular bells, celesta, two harps, and three pianos). One arrangement features 30 pianists on 19 pianos. Grainger sought to invoke Vikings and ancient Greek heroes alongside Zulus and Polynesians engaged in festive war-like dances. He composed the work amid the First World War, and his colorful portrait of ancient warriors is in part a subtle indictment of the mechanization of modern post-industrial warfare. The Warriors is essentially a tribute to “animal spirits, fierce and exultant.”[18]

What united Grainger’s fascination with both Norse heroes and Polynesian warriors was his interest in reviving the pagan spirit of pre-modern life. He later stated of his Jungle Book cycle that it was “composed as a protest against civilization.”[19] He worshiped “all that was wild.”[20] Thus despite his liberal disposition, Grainger felt alienated from modern society. He writes in a letter:

Personally I do not feel like a modern person at all . . . I do not dislike modern people, but simply cannot learn to understand their reason for being, can never get a true insight into their ways of feeling & acting, & feel among them as among kind but very strange strangers with whom I will take a mighty long time to get acclimatised. I do not tell you this in order to appear “funny”, but in order to throw light on the well-springs of my music. Art with me arises out of the longing to escape out of the (to me) meaningless present into the past, which to me is full of meaning, or into some imaginary world full of keenness & exaggerated excitement.[21]

Grainger embodied the spirit of the wild in both his life and work. He worshiped nature and was an avid mountain climber; he traveled from concert to concert by foot, living the life of a vagrant (often wearing home-made outfits sewn from geometric-patterned bathtowels). He strove likewise to imbue his music with a sense of atavistic vigor:

I would like my music to breathe something I see in Grettir & in the Maori proverb “Die like the shark, fighting to the last gasp” . . . Some force like that, a force not of beliefs, morals, ideals & ideas but the bodily force of life itself, is what I always long to invest my music with. I wish to leave the uplifting ennobling work to others, but wish in my art to try & voice the unbeatable freshness & undowned ever-trying ever-daring life instinct of men & beasts, the stubbornness of the spider, the tough endurance of Grettir . . . .[22]

Grainger’s fascination with pre-modern societies and his commitment to preserving folk music prove that his aesthetic modernism did not entail a mindless rejection of the past. Rather he sought to revitalize the past and give it new meaning and new forms. This firmly places him among the ranks of “anti-modern modernists” such as Ezra Pound, Wyndham Lewis, Knut Hamsun, and others who have striven to infuse the remnants of Western civilization with new life.

Notes

  1. Malcolm Gillies, David Pear, and Mark Carroll, eds., Self-Portrait of Percy Grainger (New York: Oxford University Press, 2006), 17.
  2. Rainer Linz, “The Free Music Machines of Percy Grainger,” 2003, http://www.rainerlinz.net/NMA/articles/FreeMusic.html
  3. Brent Wells, “Percy Grainger and the Phonograph: The New Science of Folk-Song Collecting,” Choral Journal, vol. 52, no. 2 (September 2011): 37.
  4. Robert Simon, Percy Grainger: The Pictorial Biography (Albany: Whitston Publishing Company, 1983), 5.
  5. Percy Grainger, “Characteristics of Nordic Music.” Notes for broadcast over WEVD, New York, July 1933. Transcript.
  6. Gillies et al., 111.
  7. Percy Grainger to Heinrich Simon, Sept. 11, 1936.
  8. Gillies et al., 3.
  9. Ibid., 3.
  10. Elinor Wrobel, The Nordic Inspiration: Percy Grainger (1882-1961) and Edvard Grieg (1843-1907), exhibition catalogue, Grainger Museum, 1993, 4.
  11. Percy Grainger, “Personal Recollections of Grieg,” Musical Times, November 1, 1907, 48.
  12. Wrobel, 5.
  13. Ibid., 27.
  14. Ibid., 30.
  15. Ibid., 27-8.
  16. Gillies et al., 139.
  17. Bob van der Linden, Music and Empire in Britain and India: Identity, Internationalism, and Cross-Cultural Communication (New York: Palgrave MacMillan, 2013), 71.
  18. Elinor Wrobel, Percy Grainger: The Noble Savage, exhibition catalogue, Grainger Museum, 1992, 10.
  19. Ibid., 5.
  20. Gillies et al., 223.
  21. Percy Grainger to Douglas Charles Parker, August 23, 1916.
  22. Ibid.

Related

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

  • The Union Jackal, April 2022

  • Robert N. Taylor of Changes:
    An Interview

  • Ianva, the Kiss of Italian Neofolk

  • Mall Rat Nationalists Gather to Celebrate Rich Houck

  • Remembering Rudyard Kipling
    (December 30, 1865-January 18, 1936)

  • Counter-Currents Radio Podcast No. 400
    The Writers’ Bloc with Nick Jeelvy & Hapaperspective

  • Remembering P. R. Stephensen
    (November 20, 1901-May 28, 1965)

Tags

A. Grahamagrarianismanti-modernismAsatruAustraliaclassical musicelectronic musicfolk musicNordicismNorwayRudyard Kiplingvegetarianism

Previous

« The Sincerity Assumption

Next

» On Misogyny in the Alt Right

7 comments

  1. Proofreader says:
    December 12, 2017 at 4:36 am

    It might be worth noting that the May 1986 issue of Instauration featured a long article on Percy Grainger.

  2. rhondda says:
    December 12, 2017 at 9:25 am

    Very Interesting. Thank you. I did not know about him. I found this 1945 recording on you tube where he uses folk music in his own arrangement. Called Grainger plays Grainger.

    https://www.youtube.com/watch?v=BeeOrjqiCjg

    Here is a Theremin piece.
    https://www.youtube.com/watch?v=BeeOrjqiCjg

  3. Logical Meme says:
    December 12, 2017 at 11:04 am

    Thank you for this really nice overview of this most interesting of composers. Grainger seems to have been one of those polymathic minds whose creative arc bent towards a grand synthesis of disparate forms of knowledge. “Anti-modern modernism” is a great way to put it. His racial awareness appears to have been central to his efforts to preserve the legacy and structure of, for example, Nordic folk music, but also afforded him the confidence to appreciate and even celebrate the musical contributions of other civilizations. If only our Culture today was in a similarly healthy state of being.

  4. Gutenberg says:
    December 12, 2017 at 2:53 pm

    Very nice, thanks. Love characters like this who go theough life becoming fascinated over and over again with a particular interest.

    Was intrigued by his delatinized English, then lol’d when his example was anti-authority, anti-meat, etc.

  5. Donald Thoresen says:
    December 12, 2017 at 11:45 pm

    Huge Grainger fan here. Thoroughly enjoyed this article.

    Two recording recommendations:

    Kenneth Montgomery’s recording with the Bournemouth Sinfonietta on Chandos (my go-to Grainger disc).

    (((John Eliot Gardiner’s))) recording of a selection of his choral works on Philips entitled “Danny Boy.” Gardiner also included an excellent version of “The Warriors” on his (also excellent) recording of Holst’s “The Planets.”

  6. Kerry Bolton says:
    December 13, 2017 at 12:07 am

    Another e.g. of a great Rightist cultural figure who respected other races and brought other cultures to the West without succumbing to an anti-White fetish or cosmopolitanism.

  7. Consigliere says:
    December 17, 2017 at 6:11 pm

    The CSO Brass usually play Lincolnshire Posy in their “Brass Live” programs.

    Vaughn Williams, Bartok, Dvorak, Ives, and Copland also included folk tunes and hymns in concert works. Verdi, Mascagni – generally, the Italians – included folk songs in their operas. Both Strauss and Rimsky-Korsakov unwittingly incorporated an Italian pop tune in their works thinking it was a regional folk song.

    Debussy was critical of this type of nostalgic and romantic approach.

    When the left tries to claim superiority in the musical arts, remind them that the greatest are always of the right: Verdi, Sibelius, and Bach.

Comments are closed.

If you have Paywall access,
simply login first to see your comment auto-approved.

Note on comments privacy & moderation

Your email is never published nor shared.

Comments are moderated. If you don't see your comment, please be patient. If approved, it will appear here soon. Do not post your comment a second time.

  • Recent posts

    • Neema Parvini’s The Populist Delusion

      Greg Johnson

    • Europe’s Eastern Shield

      Nicholas R. Jeelvy

      4

    • 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

      18

    • 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

      5

    • 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

    • Giles Corey White Identity Nationalism, Part 3 After this magisterial three-part essay, at the beginning of which Mr. Kumar painstakingly described...
    • illtakemystand White Identity Nationalism, Part 3 For coming from a person of color, these aren’t bad ideas.
    • Nick Jeelvy Europe’s Eastern Shield The Macedonian census is bullshit. Data from the state health insurance fund indicates Albanians are...
    • Vikings Europe’s Eastern Shield An even more important topic is the Albanian Question. Having traveled to all Balkan countries last...
    • La-Z-Man White Identity Nationalism, Part 2 This is powerful stuff. I get the impression I am reading a foundational document of a new nation,...
    • Alex Europe’s Eastern Shield Way to go, slandering Hungarians.
    • Bookai Europe’s Eastern Shield Antemurale Christianitatis- What a waste that idea was for my fatherland in practice. Partitions by...
    • La-Z-Man White Identity Nationalism, Part 1 Neil Kumar is a great patriot. I confess I was wholly ignorant of the Tacoma Axeman and some...
    • Alexandra O. The Union Jackal, May 2022 I love England and have friends there who have invited me to live with them for a month or two at a...
    • Rangers White Identity Nationalism, Part 2 The decline of America occurred after Nixon opened relations with a godless and perverted communist...
    • Texas Chainsaw Makeover The Union Jackal, May 2022 Had Pankhurst's statue been taken down, that would have been my good news story of the year. I...
    • Enough Already White Americans’ Racial Consciousness is No Longer an Unknown Quantity This is what I really dislike about this movement. Your mind automatically goes there because you...
    • Ryan White Americans’ Racial Consciousness is No Longer an Unknown Quantity Does this just count White women giving birth overall, not only those giving birth to White children...
    • Shift The Tex-Mex Misfit Massacre Thanks, Ms. O.  I did.
    • Beau Albrecht White Americans’ Racial Consciousness is No Longer an Unknown Quantity I do see some room for hope.  The System is losing control over The Narrative.  As long as this...
    • Beau Albrecht White Americans’ Racial Consciousness is No Longer an Unknown Quantity The way I see it, if only a few speak out, they can come down on us individually (cancel culture and...
    • Beau Albrecht White Americans’ Racial Consciousness is No Longer an Unknown Quantity Positive messages can make a real difference.  Ages ago, what pulled off the liberal blinders for me...
    • Stronza White Identity Nationalism, Part 2 These are barbaric, grisly procedures which include mastectomy, hysterectomy, castration,...
    • Rez The Tex-Mex Misfit Massacre He will spend the rest of eternity in a prison not of this world.
    • Rez The Tex-Mex Misfit Massacre It turns out you were right! This newest generation of police mostly resemble social workers trained...
  • 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