Print this post Print this post

Why I Write
Bocca della Verita

918 words

Orwell once wrote that “intellectual honesty is a crime in any totalitarian country; but even in England it is not exactly profitable to speak and write the truth.”

I come downstairs, drop the stylus on my crackling vinyl of Furtwängler conducting Wagner’s Parsifal Prelude, spread Oxford marmalade on warm toast, and lift my eyes to stare at the stone crowned mountains out my window. Then, as part of my weekend ritual, I stir my tea and begin to open a copy of The Sunday Times.

There, I am confronted with headlines about two white do-gooder jail reformers with post-doctoral credentials being stabbed to death on London Bridge by the apparently de-radicalized ISIS fanatic, Usman Khan, who was supposedly a role model for their cause.

I read about the Cambridge-educated son of shadow Home Secretary, Diane Abbott, yet another beneficiary of affirmative action, being arrested for spitting on and biting two police officers in a rabid attack outside the Foreign & Commonwealth Office in London.

I’m informed of Mohammad being declared, yet again, the most popular boy’s name in Britain, those named Nala quadrupling in number, and Simba (apparently from The Lion King) appearing in the top 100 for the first time.

I hear from Rabbi Herschel Gluck and Detective Superintendent Adam Ghaboos from the Metropolitan Police, who roundly condemn an alleged anti-Semitic attack in Amhurst Park, near a popular Stamford Hill synagogue, without mentioning the Islamic views of the perpetrators who apparently shouted “Kill the dirty fucking Jews!”

I ponder the record number of illegals who had stolen five boats in Northern France to cross the English Channel — followed by the ubiquitous linked advert for International Child Aid sporting an image of a starving African teenage bride with a drooling infant hanging on her hip just begging for our help.

I shake my head and move on to the culture section where I am treated to a front page depicting Francesca Hayward, a mixed-race dancer who is playing a white cat in the Andrew Lloyd Webber musical adaption of T. S. Eliot’s Old Possum’s Book of Practical Cats (1939). She is quoted as saying: “The bottom line is, I’m playing a cat. I’m a cat that’s white. Let’s not read anything into it.”

There are reviews of the film The Nightingale, which depicts British redcoats raping and committing heinous crimes against the indigenous aboriginal population of Van Diemen’s Land (now Tasmania) in the 1820s, and the BBC’s adaption of Jane Austen’s Sanditon with negroes playing prominent parts in the cast.

There is an analysis of a new stage production of the C. S. Lewis children’s classic The Lion, the Witch and the Wardrobe with four black children playing the Pevensie quartet and a Rastafarian starring as Aslan; the announcement of a musical titled And Juliet with the leading role played by negress; and overly sympathetic diatribes about the merits of Ulrich Baer’s What Snowflakes Get Right — Free Speech, Truth and Equality on Campus (2019) and a second supporting the thesis put forward in Angela Saini’s book Superior — The Return of Race Science (2019) which argues that the idea that humans exist in different races and that “race” is deeply embedded is untrue and that the people who peddle such information are “racist quacks.” I take a sip of the Darjeeling from bone china and perform my well-practiced impersonation of a mallard duck from the local canal.

Reaching for my keyboard, I know only too well that I am outnumbered and outgunned. But that simply spurs me to further action. I begin to type like some kind of frenetic political pianist once again.

For I can clearly recall as a seven-year-old fair-haired and innocent child plunging my fist into the cold smooth orifice of the ancient carving commemorating either the Forest God Faunus or the Sea God Oceanus, now known as the Mouth of Truth, in the entrance way to Santa Maria Cosmedin in the Ripa district of Rome. I withdrew my thin pale hand with all five fingers still perfectly intact.

There is no doubt in my mind that we are in the midst of Gramsci’s long declared — but still poorly understood — Culture War, and those who speak the truth will be the first to be ostracized, persecuted and strung up on meat hooks like Mussolini and Petacci in the Piazzale Loreto before a sinister and depraved multicultural crowd braying for blood. A chaotic mob stirred to self-righteous anger by the high priests of political correctness who would willingly sacrifice your virginal daughters on the altar of equality & diversity, as they do all over Europe at this very time, in order to fulfill their mission — casting a death shroud over the West — shoveling dank soil on the fresh graves of our babies — perpetuating the lies that we can so readily dispute and contest using the evidence of our very own eyes. So I count myself among those holding on to the hope that as Arthur Schopenhauer says — “All truth passes through three stages. First, it is ridiculed. Second, it is violently opposed. Third, it is accepted as being self-evident.”

And I am more than willing to stand once more before the carved face of the Bocca della Verita to be tested as to the veracity of my opinions and the accuracy of what I write and say. Will our opponents also be willing to undergo such a commission? I very much doubt it. As Nietzsche once wrote — “Sometimes people don’t want to hear the truth because they don’t want their illusions destroyed.”

This entry was posted in North American New Right and tagged , , , , , , . Post a comment or leave a trackback: Trackback URL.


  1. Merfolk
    Posted December 31, 2019 at 9:30 am | Permalink

    “Sometimes people don’t want to hear the truth because they don’t want their illusions destroyed.”

    True, but I was reading “Galaxy Brainset”, a really funny para alt right book recommended by Zman, and the author makes a perspicacious observation in his discussion of flat earthers. Why do we, the “spherecucked,” get so upset at them? Because it’s not so much the fact of whether the earth is round that we are invested in, but rather that our sources of trust are being challenged and we become defensive. Hence the anger at historical revisionists, which I’ve always wondered at, how something like that could take religious dimensions, but it’s that our loved professors and self satisfying media are being challenged.

    When I was really little I would get upset when older boys challenged the existence of Santa Claus, and later when they said they were atheist, even though I knew in my heart I didn’t believe these things either. I was chaffing at their gall in questioning authority!

    • ia
      Posted December 31, 2019 at 5:17 pm | Permalink

      “Hence the anger at historical revisionists, which I’ve always wondered at, how something like that could take religious dimensions, but it’s that our loved professors and self satisfying media are being challenged.”

      If you destroy the foundation myth you destroy identity. This is why people like Zuckerberg’s sister (and many others) are hellbent on trivializing and deconstructing ancient Greece. Or others who tear down more modern monuments to heroes and gods.

      Zman is unable to understand this.

      • Merfolk
        Posted January 1, 2020 at 4:42 am | Permalink

        Good points, but I don’t understand why you bring in Zman

  2. Vehmgericht
    Posted January 1, 2020 at 11:52 am | Permalink

    The BBC’s shoe-horning of anachronistic and often hapless black and minority ethnic ‘talent’ is not having the desired effect, for most historical drama is simply of little interest to ‘urban’ audiences. They are indifferent to what they call the ‘olden days’ (in fact two millennia) of British history preceding their arrival — unless it be in the context of grievances over colonialism and slavery.

    It is moreover very offputting to the natural audience — the better educated indigenous Britons. These people simply do not find black actors with lumpen quasi-jamaican diction credible as Greek gods, Roman emperors, Medieval knights or Georgian landed gentry.

    It has now reached the point where the milquetoast centre-right Spectator magazine has observed that so much BBC output has been deformed by ‘the agenda’ as to comprehensively rubbish the corporation’s once unrivalled reputation for quality.

    This is not a position the BBC can retreat from, for it has hitched its banner to the left’s Kulturkampf. Change will only come when the public calls time and the current funding model is revoked. A more accountable BBC simply could not afford to continually antagonise its core audience. With the present British government aware of the corporation’s hostile stance, a reckoning may be at hand.

  3. Posted December 11, 2020 at 4:34 pm | Permalink

    Michael at, great recent video 👍

    That Nietzsche quote is the number 1 reason that people are ignoring the covid mobster wheezing in the corner of their living room.

Post a Comment

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.
Required fields are marked *

You may use these HTML tags and attributes: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <s> <strike> <strong>


This site uses Akismet to reduce spam. Learn how your comment data is processed.

  • Our Titles

    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 Enemy of Europe

    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

    Novel Folklore

    Confessions of an Anti-Feminist

    East and West

    Though We Be Dead, Yet Our Day Will Come

    White Like You

    The Homo and the Negro, Second Edition

    Numinous Machines

    Venus and Her Thugs


    North American New Right, vol. 2

    You Asked For It

    More Artists of the Right

    Extremists: Studies in Metapolitics


    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

    Lost Violent Souls

    Journey Late at Night: Poems and Translations

    The Non-Hindu Indians & Indian Unity

    Baader Meinhof ceramic pistol, Charles Kraaft 2013

    Jonathan Bowden as Dirty Harry

    The Lost Philosopher, Second Expanded Edition

    Trevor Lynch's A White Nationalist Guide to the Movies

    And Time Rolls On

    The Homo & the Negro

    Artists of the Right

    North American New Right, Vol. 1

    Some Thoughts on Hitler

    Tikkun Olam and Other Poems

    Under the Nihil

    Summoning the Gods

    Hold Back This Day

    The Columbine Pilgrim

    Confessions of a Reluctant Hater

    Taking Our Own Side

    Toward the White Republic

    Distributed Titles


    The Node

    The New Austerities

    Morning Crafts

    The Passing of a Profit & Other Forgotten Stories

    Gold in the Furnace