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 June 6, 2018 6 comments

Reassessing Otto Dix

David Yorkshire

Otto Dix, Self-Portrait with My Son

2,221 words

Otto Dix was a German artist who is now celebrated as one of the great painters of the twentieth century, probably in no small part because he was put on the National Socialists’ list of degenerate artists, as, to the unthinking postmodern Left, anything the National Socialists hated is automatically considered good. Equally though, the postmodern cultureless cartoon Nazis of today’s corrupted Right consider him a degenerate artist also simply because his artworks were deemed Entartete Kunst by the NSDAP. The irony is that Dix’s work is far more congruent with the concerns of the Right than those of the Left, and so I thought it was about time to reassess the man and his oeuvre.

One cannot help but draw comparisons here between Dix and a certain other German artist and war hero. While Adolf Hitler was refused a place at the Viennese Academy, Dix was mentored by Richard Guhr at the Kunstgewerbeschule in Dresden, with whom he was to maintain a lifelong friendship. Guhr’s tutelage is interesting, because Guhr was a Wagnerite who openly blamed organised Jewry for the decline and increasing degeneracy in the arts, especially during the Weimar period, and Dix must have been made aware, as the two became lifelong friends. Certainly, one or two of his paintings demonstrate his awareness of the Jewish question, like Pragerstraße (1920), in which a pamphlet bears the headline “Juden raus!“:

Philo-Semitic art critics have attempted to imprint their ideology on the painting, even going so far as to claim the war-wounded beggar is a Jew as delineated by his features. Yet there is nothing Jewish about his face: his beard is golden and his nose not hooked, but as broken as the rest of him, his eyes, feet, and an arm missing completely. They have also pointed to the other pamphlet which talks about a “Diktatur von rechts,” but again these are typical of political propaganda leaflets being distributed at the time. The point is what is not being talked about, which is the wounded veterans of the First World War, who are having to beg in the street and here both symbolically and literally in the image being reduced to the level of dogs while the comfortable bourgeoisie walk by in their finery and the shops stock goods they cannot afford, including the prosthetics that might make their lives a little easier. When juxtaposed with the pamphlet about the Jews, it naturally leaves the viewer to associate the two, and there is no question that the Jews prospered as a group during this time. Pragerstraße was the main commercial street in Dresden where Dix lived, and such scenes would have been commonplace. We also see here Dix’s black humor on the subject, the man in the bowler hat appearing almost like the child’s toy. This theme of wounded soldiers and their ostracism from mainstream Weimar society is typical of this period of the artist’s development, as seen in the tryptich Großstadt (1928):

This painting displays all the corruption of Weimar Germany. While the central panel shows a lavish bourgeois soirée painted in rich warm colors, it is flanked by the outer panels that reflect a paler outer world of prostitutes, wounded soldiers still in their old uniforms, and snarling dogs that keep them away from “polite society.” One might also remark on the style here, which is modernist in keeping with the times. Yet Dix, who as we will see was an accomplished technician, turns Neue Sachlichkeit against modernist society. Neue Sachlichkeit‘s rejection of Romanticism, Futurism, and Expressionism meant a hard critical eye on a world stripped of glamour and feeling. It naturally gives rise to satire and caricature, which is readily observed in the two paintings above, even if the latter is technically superior and more realistic. The Weimar Republic is stripped of its facades and Dix looks to the dark psychology behind it, the character of the society itself being imprinted on faces and bodies, the most famous examples being Dix’s portraits of the dancer and actress Anita Berber (1925) (below, top) and the journalist Sylvia von Harden (1926) (below, beneath):


Addicted to alcohol and various opiates, bisexually promiscuous, Anita Berber was often a dancer and actress in the more euphemistic sense and died in poverty while in a marriage of convenience to homosexual American dancer Henri Châtin Hofmann, aged 29. In the painting, she is only 25, yet the toll of her lifestyle is seen in both face and body, making her seem haggard, old before her time. As with Sylvia von Harden, the body is twisted and contorted as a reflection both upon the psychology of the modern woman and upon Weimar society at large, and one also notes the symbolic use of the color red. Von Harden was to report the conversation she had with Dix in a 1959 article, “Erinnerungen an Dix,” about how the portrait came to fruition:

“I must paint you! I simply must! . . . You are representative of an entire epoch!”
“So, you want to paint my lackluster eyes, my ornate ears, my long nose, my thin lips; you want to paint my long hands, my short legs, my big feet—things which can only scare people off and delight no one?”
“You have brilliantly characterized yourself, and all that will lead to a portrait representative of an epoch concerned not with the outward beauty of a woman but rather with her psychological condition.”

If women are portrayed as ugly and twisted as the male war veterans in their caricatures, the men who inhabit the bourgeois Weimar society have often become effete and effeminate to the point where pubic grooming has become de rigeur, as in Der Gott der Friseure! (1922) (below), in which the male has become a pale, self-absorbed mannequin surrounded by wigs and perfumes, and there is a definite suggestion that, like Tony Blair, he might be called Miranda in certain bars at the weekend:

Dix’s attitude here is interesting because it seems that modernity is stacked up against masculinity. In becoming an industrial abbatoir, the old outlet of war is stripped of its opportunity for glory, while peacetime society lures men into vice and effeminacy. It is a quandary that has still been unresolved, the question being left to mentally retarded and unstable feminist and LGBTPJQ+ activists, who have not even been able to resolve their own issues. We see also in Dix’s paintings that waiting as a scavenger to pick the bones of post-First World War Europe, the odd Negro has crept into society in paintings like An die Schönheit (1922) (below), seen as a lasciviously grinning chancer, ever ready for opportunities for white women and aided and abetted by the bourgeois businessman, an ironic self-portrait, telephone in hand, ready to sell out his people in another transaction:

In both this painting and the aforementioned Großstadt, one notices the music associated with Weimar degeneracy: jazz, which recalls the words of Herman Hesse in Der Steppenwolf:

From a dance hall there met me as I passed by the strains of lively jazz music, hot and raw as the stream of raw flesh …. I stood for a moment on the scent, smelling this shrill and blood-raw music, sniffing the atmosphere of the hall angrily, and hankering after it a little too. One half of this music, the melody, was all pomade and sugar and sentimentality. The other half was savage, temperamental and vigorous. Yet the two went artlessly well together and made a whole. It was the music of decline. There must have been such music in Rome under the later emperors …. There was something of the Negro in it, and something of the American, who with all his strength seems so boyishly fresh and childlike to us Europeans. Was Europe to become the same?

Jazz, whether viewed as a positive, a negative, or a mixture of both by artists and writers of the time was always seen as an entry point for Americanism and for multiracialism, just as rock and roll would be in the 1950s. Here, the Negro’s lecherous evil grin suggests Dix views it negatively, and one notes the American Indian design on his bass drum, the whole scene foreshadowing Hesse’s 1929 novel. Indeed, one cannot help but note that Jews were at the forefront of promoting the Jazz scene, both in Germany and America, as Henry Ford noted in his publication The International Jew. Perhaps Dix’s most revealing painting regarding Jewry is ‘Kreuztragung’ (1943) (below), in which we see an Aryan Jesus being flagellated by two Jews in contemporary dress.

The Aryan Jesus is in keeping with National Socialist ideology, with key philosophers and theologians like Houston Stewart Chamberlain, Dietrich Eckart, and Walter Grundmann having attempted to remove Christianity from its Semitic root by promoting the erroneous idea that Jesus was not of Jewish stock. This we see here, contrasted with the swarthy and Semitic features of Jesus’ persecutors. One might be tempted, given the date of the painting, to put it down to pressure from NSDAP officials, but Dix was not forced to paint at all. Indeed, when the NSDAP came to power in January 1933, Dix was removed from his position as lecturer at the Dresden Academy for the reason . . .

. . . that one finds among his pictures such ones that are seriously harmful to the moral sentiments of the German people and others that are wont to adversely affect the martial spirit of the German people.

It is an interesting quotation and one can see both sides. Even in the decadent Weimar Republic, Dix’s paintings had been brought into question, with Der Schützengraben (1923) (below) that depicted the full horror of a First World War trench having come in for extreme criticism after its exposition in the Wallraf-Richartz Museum in Cologne:

The following year, the Jewish painter, banker, and art collector Max Liebermann had it exhibited at the Prussian Academy of Arts. There is no doubt here that Liebermann meant it as part of a concerted Jewish attack on German sensibilities, as much as Otto Dix had not. For Dix, it was about portraying the harsh realities of industrial warfare as a reminder that such wars were to be avoided.  The NSDAP also exhibited the painting, but in the 1937 exhibition of Entartete Kunst. This was very much a disservice to Dix, who was apolitical, but equally one of the Weimar Republic’s biggest critics in the arts. The NSDAP could not have wished for a better propagandist during the 1920s! Yet National Socialist ideology was predicated on militarism, as seen in the quotation above in the reason for his sacking, and perhaps instead of destroying his artworks (the one above is considered lost) they perhaps ought to have listened to what he had to say, as Germany lurched towards another war. It is important to remember that Dix had not always had the same attitude to war and, like Hitler, had rushed to enlist at the outbreak of the First World War, painting his Futurist Selbstbildnis als Mars (1915) (below):

The portrait borrows from Cubism and features himself as the God of War in full ceremonial uniform surrounded by the violence of war. While Hitler grew to celebrate war, however, Dix grew disillusioned with the pointless industrialized slaughter, the disillusionment exacerbated by the post-war treatment of the wounded. Dix could and did also paint positive, inspirational pieces. His Selbstbildnis mit Jan (1930) (very top), Jan being his own son, demonstrates the power of paternalism, the celebration of new life in Europe and the artist as creative force. The land behind in the picture is without detail, which emphasizes the boy held aloft in the sky, golden as the Sun. Equally, regularly inspected as he was by NSDAP functionaries, he spent most of the National Socialist era painting landscapes when he was not involved in the war effort again as a soldier. Below is one such painting, 1938’s Berninalandschaft:

After the Second World War, Dix’s work really did degenerate, as occupying Judaic ideology in the arts took over, and there is little more to say about his daubing in the latter period of his life. So what is the lesson here? It is that there must always be a balance of cultural control and freedom in society. National Socialism’s heavy-handedness saw even supporters like Emil Nolde being banned. One must always be aware of the difference between a healthy critique of society and unhealthy critique of society in the arts, between an intent to improve it and an intent to destroy it. Certainly, Otto Dix’s concern was for his fellow war veterans who had suffered more than himself and to warn of the effects of further mechanical warfare. In the homeless ex-servicemen begging on the streets, we see parallels today, as our own European servicemen are sent off to the Middle East to fight for corporate and Israeli interests, where they are killed or maimed, and the survivors then treated as stray dogs upon their return, an increasing number ending up on the streets. Perhaps we could do with an Otto Dix today, whose shock value, unlike that of the artists today, was not divorced from meaning and pathos and spoke truth to power.

This article originally appeared at the Mjolnir Magazine Website on May 23, 2018. Be sure to check out Mjolnir‘s YouTube channel, Mjolnir at the Movies, which features film commentary from a Right-wing pagan perspective.

 

Related

  • The Worst Week Yet:
    June 12-18, 2022

  • Christopher Pankhurst’s Numinous Machines

  • Rammstein’s Deutschland

  • Make Art Great Again:
    The Good Optics of Salvador Dalí, Part 3

  • Make Art Great Again:
    The Good Optics of Salvador Dalí, Part 2

  • Make Art Great Again:
    The Good Optics of Salvador Dalí, Part 1

  • The Worst Week Yet:
    May 1-7, 2022

  • Lara Logan’s Jew Problem

Tags

anti-SemitismDavid Yorkshiredegenerate artGerman artMjolnir Magazinemodern artpaintingThird ReichWeimar Republic

Next

» 6-6-18-7

6 comments

  1. Peter says:
    June 6, 2018 at 9:44 pm

    Regarding Degenerate Art… I think I read in one of David Irving´s books (about Goebbles?) that the exhibition was a project of Goebbels specifically, and that by no means all members of the german leading circles were on board with the whole approach (e.g. I think to remember that Alfred Rosenberg was critical)… so maybe that´s a subject for an article because I would like to know more about that.

    Anyways there are a lot of details about that time that became conventional wisdom but are very different… not alluding to the obvious subject but: e.g. the Reichskristallnacht to have been vastly different from what we think, and really the NS leadership immediately stepping in to stop it, it was actually a jewish plot to discredit the NS system; this I learned at Carolyn Yeager at the late VoR radio. Another topic the Röhm Putsch, I think I also read in an Irving book, of-course totally different from conventional version, in reality Hitler having acted with utmost reserve (maybe upon the attack of these groups then taking occasion to clean up but only as reaction)… in short: there may be many incorrect views about this time and it´s interesting to correct the distorted versions (obvious controversies are Reichstagsbrand and start of Poland campaign false-flags yes or no but as pointed out, there may be many more items that are little known, yet relevant for an assessment of the goings-on).

  2. rhondda says:
    June 7, 2018 at 6:01 am

    Thanks for this. I like Otto Dix’s work. He sees the world through a shattered or distorted mirror which only someone who lived in it could and who had that artist’s eye. It seems to me it is very much a precursor to our modern animation, graphic novels, adult cartoons on TV and in movies. Reality exaggerated and distorted with coded messages.

  3. sylvie says:
    June 7, 2018 at 8:40 pm

    I think the author does not understand why “Entartete Kunst” was considered “entartet” (degenerate) by National Socialists.

    Nobody objects to Dix’s technical excelence as a painter, not even the Nazis. Picasso was an excelent painter, too, as was Dali, and others, nearly all of the bunch.

    The point is not, whether an artist has technical competence, the point is whether he uses it to transmit political messages. Since we live in times where all art (and even non-art as sports) is used to transmit political messages we condemn the NS for restricting artists to jump into political frays and show the ugly side of life.

    In the NS concept, art is to make people aware of higher ideals – Zarathustra’s ‘I teach you the superman’, if you like, or Gothic cathedrals if you dont.

    Look at Greek and Roman art, Breker sculptures, Michelangolo, Verdi, Wagner, Bach. Couldn’t they have shown us the horrors of mutilated, leprous and poor? Of course, they could. WWI was not really exceptional. But they didn’t.

    So the author lost a nice occasion to discuss what is/should be the role of art: indoctrination/messaging or ‘human elevation’.

    And BTW his view is a little unilateral:
    Dix was by no means neutral or on the NS side. His contemptuous bourgois comes with a “Juden raus” journal, which is clearly an indictment. On the other hand, Hitler did not “celebrate war”.

    1. E says:
      June 8, 2018 at 1:59 am

      So the author lost a nice occasion to discuss what is/should be the role of art: indoctrination/messaging or ‘human elevation’.

      Or the re-creation of life as experienced by the artist, in a distilled form. I’m reminded of the quote about the great James Tissot:

      “Our industrial and artistic creations can perish, our morals and our fashions can fall into obscurity, but a picture by M. Tissot will be enough for archaeologists of the future to reconstitute our epoch.”

      Maybe Dix thought degeneration was cool (I don’t think he really did), but that’s irrelevant. What’s important is that he managed to convey what modern life was like in Weimar Germany. There was something duplicitious about the Nazi exhibition: it was not the art that was degenerate, but the society that created it. The art was doing what it was supposed to do, and that’s why it could be used by the Nazis to get their message about social degeneration through to the public. They took the best of the Left and made it their own, without giving credit where credit was due.

      1. sylvie says:
        June 9, 2018 at 9:20 am

        “he managed to convey what modern life was like in Weimar Germany”

        That’s just the point.

        Another one of the Lefts’s darlings having fled from National Socialism, playwright and Stalin Peace Price Bert Brecht, saw the purpose of his creations in that spectators leave the theater unconfortable, with a bad feeling.

        The Nazis – all of them war veterans – were well aware of the mutilated and they were the first to blame the degeneration of Weimar’s political and social system. But they thought art is not to convey the misery of life, that can be left to the newspapers.

        In the NS concept, art is edification, has to inspire ‘higher feelings’, showing beauty, not ugliness, showing what life should be, not what misery it is.

        And art should not mock Christianity, painting Weimar corruption in a tryptich, usually used in church altars, or Dix painting himself in St. Christopher pose with his son as Jesus…

        1. E says:
          June 16, 2018 at 4:16 am

          has to inspire ‘higher feelings’, showing beauty, not ugliness, showing what life should be, not what misery it is.

          That’s my mother’s Facebook feed. But I agree that state-sponsored art should be uplifting and inspirational. My taxes shouldn’t be spent on showing misery and ugliness, unless it’s a classic (Goya). The state should also finance the continuation of the crafts – in the style of late 19th century academic painting schools – and stuff public places with gorgeus pieces.

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

    • This Weekend’s Livestreams
      American Krogan on Counter-Currents Radio, Thomas Steuben on The Political Cesspool & Cyan Quinn on The Writers’ Bloc

      Greg Johnson

    • What Is the Ideology of Sameness?

      Alain de Benoist

      1

    • Democrats Are the Real Racists
      (& Why Blacks Don’t Care)

      Spencer J. Quinn

      10

    • Rightist Innovation in Dallas

      Morris van de Camp

      4

    • O Manifesto Nacionalista Branco:
      Parte 12, Brancotopia

      Greg Johnson

    • The Return of White Boy Summer

      Nicholas R. Jeelvy

      16

    • The Conservative Way of Accepting Dispossession

      Robert Hampton

      4

    • All They Wanted Was a Better Life

      Jim Goad

      17

    • Remembering Martin Rojas

      Greg Johnson

      20

    • O Manifesto Nacionalista Branco:
      Parte 11, Homogeneidade

      Greg Johnson

    • Honoring Lifelong White Advocate Dr. Roger Pearson

      Cyan Quinn

      2

    • In Praise of Healthy Vice
      Remembering Lothrop Stoddard: June 29, 1883–May 1, 1950

      Margot Metroland

      6

    • Cryptocurrency:
      A Faustian Solution to a Faustian Problem

      Thomas Steuben

      1

    • Východní záštita Evropy

      Nicholas R. Jeelvy

    • The Union Jackal, June 2022

      Mark Gullick

      11

    • Male Relationship Fantasies

      James Dunphy

      35

    • Rough Riders:
      The Last Movie about Real Americans?

      Steven Clark

      1

    • Counter-Currents Radio Podcast No. 458
      Rich Houck Discusses Mishima’s My Friend Hitler on The Writers’ Bloc

      Counter-Currents Radio

    • Perilously Fair:
      Reflections on the Ladies of the Lake

      Kathryn S.

      22

    • We Apologize for Your Feral Behavior

      Gunnar Alfredsson

      3

    • The Crossroads of Our Being: Civil War Commemorations During the “Civil Rights” Movement

      Morris van de Camp

      5

    • Counter-Currents Radio Podcast No. 458
      Gregory Hood & Greg Johnson on Burnham & Machiavellianism

      Counter-Currents Radio

      3

    • This Weekend’s Livestreams
      Gregory Hood on Counter-Currents Radio & Rich Houck on The Writers’ Bloc

      Greg Johnson

      5

    • Irreplaceable Communities

      Alain de Benoist

      6

    • Why the Concept of the Cathedral Is Nonsense

      Nicholas R. Jeelvy

      9

    • Brokeback Mountain

      Beau Albrecht

      7

    • O Manifesto Nacionalista Branco:
      Parte 10, O que Há de Errado com a Diversidade?

      Greg Johnson

    • Counter-Currents Radio Podcast No. 457
      Greg Johnson & Millennial Woes on Common Mistakes in English

      Counter-Currents Radio

      10

    • What Law Enforcement and First Responders Need to Know about White Nationalism

      Beau Albrecht

      7

    • Just Like a Woman

      Spencer J. Quinn

      3

    • The Black Johnny Depp

      Jim Goad

      27

    • Special Surprise Livestream
      Greg Johnson & Millennial Woes on Common Mistakes in English

      Greg Johnson

    • From “Equal Opportunity” to “Friend/Enemy”

      Stephen Paul Foster

      9

    • Deconstructing Dugin:
      An Interview with Charles Upton, Part 2

      Fróði Midjord

      2

    • Deconstructing Our Own Religion to Own the Libs

      Aquilonius

      19

    • O Manifesto Nacionalista Branco:
      Parte 9, Supremacismo

      Greg Johnson

    • Deconstructing Dugin:
      An Interview with Charles Upton, Part 1

      Fróði Midjord

      5

    • White Advocacy & Class Warfare

      Thomas Steuben

      12

    • The Tragedy of the Faux Boys

      Morris van de Camp

      34

    • Counter-Currents Radio Podcast No. 456
      A Special Juneteenth Episode of The Writers’ Bloc with Jim Goad

      Counter-Currents Radio

      2

    • The Worst Week Yet:
      June 12-18, 2022

      Jim Goad

      21

    • Booking Problems at Hotel Rwanda

      Mark Gullick

      7

    • What White Nationalists Should Know About Bitcoin

      Karl Thorburn

      21

    • “I Write About Communist Space Goths”:
      An Interview with Beau Albrecht

      Ondrej Mann

      6

    • This Weekend’s Livestreams
      Jim Goad Celebrates Juneteenth on The Writers’ Bloc

      Greg Johnson

      1

    • 2000 Mules
      The Smoking Gun of 2020 Election Fraud?

      Spencer J. Quinn

      39

    • Podcast with Robert Wallace & Gregory Hood
      Time for White Identity Politics

      Counter-Currents Radio

      11

    • Christianity is a Vast Reservoir of Potential White Allies

      Joshua Lawrence

      41

    • O Manifesto Nacionalista Branco:
      Parte 8, Raça Branca

      Greg Johnson

    • 2000 Fat Mules Laughing at Dinesh D’Souza

      Jim Goad

      63

  • Recent comments

    • leslie The Return of White Boy Summer I am a 💯 percent white advocate and see it differently. Wrong is wrong. My advocacy for my race...
    • leslie The Return of White Boy Summer I adore this. You have no idea. But for the love of God, disassociate from rap and other modern...
    • Shift All They Wanted Was a Better Life That's how I've lived my life as well.
    • Vauquelin Democrats Are the Real Racists
      (& Why Blacks Don’t Care)
      Maybe Republicans should tell blacks that the Dems are witches and that voting Democrat will cause...
    • Edmund The Conservative Way of Accepting Dispossession You raise a good point.
    • Bob Roberts All They Wanted Was a Better Life Sprinkle steak seasoning on me in any setting, I'm getting the h-e-double-toothpicks outta there!
    • Beau Albrecht Brokeback Mountain Erratum - I should've added a hyperlink for the first love scene.  Corrected: They went at it in...
    • Hamburger Today Democrats Are the Real Racists
      (& Why Blacks Don’t Care)
      Great essay. Great points.
    • Hamburger Today Democrats Are the Real Racists
      (& Why Blacks Don’t Care)
      Republicans didn't free the Negro. White people did. Ask a Negro to show gratitude to the White...
    • poirot Counter-Currents Radio Podcast No. 449
      Greg Johnson & Gregory Hood on The Northman
      I haven’t watched the film yet. But it seems interesting I wonder, speaking of the vikings:...
    • Dorfmann Democrats Are the Real Racists
      (& Why Blacks Don’t Care)
      "...tend to be Western or Northern European white, which is the least tribal and most...
    • Petronius Rightist Innovation in Dallas "Kennedy was killed by an antifa gunman acting alone" You must be kidding.
    • Hamburger Today In Praise of Healthy Vice
      Remembering Lothrop Stoddard: June 29, 1883–May 1, 1950
      Wonderful essay. White Machine Politics made a come-back in Chicago and when it died with Richard...
    • DarkPlato Remembering Martin Rojas Say, dr j, would you have hard copies of turner diaries or Hunter by any chance?  I would like to...
    • Devon Democrats Are the Real Racists
      (& Why Blacks Don’t Care)
      Blacks like free shit and don't care about the consequences, just keep dem gibs coming, whitey and...
    • James Dunphy Democrats Are the Real Racists
      (& Why Blacks Don’t Care)
      Interesting point you make that Democrats act more like blacks are a distinct constituency to...
    • Hamburger Today Rightist Innovation in Dallas Do you have any interest in the Grange and the original Progressives?
    • Hamburger Today Rightist Innovation in Dallas Great essay. It's interesting to see how chaotic and unstable political movements are before they...
    • Bookai What Is the Ideology of Sameness? Great piece, looking forward to the next parts in the series. After I'm done with On Dictatorship I...
    • Joe Gould Democrats Are the Real Racists
      (& Why Blacks Don’t Care)
      "Democrats are the real racists" also fails with Asians, and other non-White groups. "Democrats...
  • 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 Paul Waggener 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
  • End of an Era: Mad Men & the Ordeal of Civility
  • 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
  • I do not belong to the Baader-Meinhof Group
  • 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