Hordes at the Gate, Traitors Within, & a Home Newly Found

Posted By Gunnar Alfredsson On In North American New Right | Comments Disabled

[1]1,685 words

After reading Doug Huntington’s insightful review of It Follows [2], David Robert Mitchell’s excellent horror film, I watched the movie for the first time. Set in Detroit, its austere, derelict cityscape was an eerie amalgam of crumbling industry and disused grandeur which was juxtaposed with a near-idyllic white suburbia.

Detroit’s dark inner-city denizens, distant shambling creatures, are relegated to the background; they are viewed in passing from afar by the film’s main characters as they drive into the city in search of answers. Those furtive figures reminded me of the strange fishmen from H. P. Lovecraft’s novella The Shadow Over Innsmouth [3] who remained hidden during the day, aside from the odd foray, but emerged in their teeming hordes at night. Detroit itself is reminiscent of Innsmouth’s worm-eaten, crumbling decay.

Implied themes in It Follows are white flight, urban degeneration, and the cessation of once-prosperous industry. The city of Innsmouth in Lovecraft’s formulation is experiencing something similar, along with racial miscegenation. Lovecraft’s novella [3] tells the story of an isolated seaport town in Massachusetts in which its human occupants had become interbred with the Deep Ones, mysterious sea creatures, and the subsequent decay of the town and the mutation of its population. The protagonist of the tale, a young man based on Lovecraft himself, is also its narrator, who is touring throughout New England in pursuit of his antiquarian and genealogical interests. As an outsider he is constantly under observation, and when he sees too much, he is pursued relentlessly as he makes his escape. Ultimately, the narrator learns that he, too, has Innsmouth blood in him; he begins to change and exalt in his degenerate hybrid-aquatic heritage.

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You can buy Kerry Bolton’s Artists of the Right here [5].

In his piece about the “Innsmouth look,” [6] Beau Albrecht likens several odd-looking, rootless cosmopolitans, including George Soros, to the fishlike freaks of Innsmouth. Albrecht is quite right to remark on Lovecraft’s prescience. Canada, like most of the West, is being led by a similar coterie of degenerates worshiping at the Esoteric Order of Dagon Hall (the fishmen’s place of worship), all the while presiding over an economy in ruins, out-of-control inflation, and a wide-open immigration floodgate that is set to admit an unprecedented number of Third-World fishmen. Even though Prime Minister Justin Trudeau doesn’t necessarily have the “Innsmouth look” that Lovecraft talked about, his globalist overlords [7] Klaus Schwab and George Soros certainly do. This cadre is determined to transform Canada, along with every other white-majority country, into a roiling cauldron of blasphemous abnormality.

I talked about Canada’s immigration insanity [8] in a previous article. It turns out that the previous plan was not radical enough. On November 1, 2022, the federal government announced its updated immigration scheme [9]: Canada will admit 465,000 in 2023, 485,000 in 2024, and 500,000 in 2025. The Trudeau federal regime’s immigration program [10] will be even more ambitious than previously projected. The genocidal scheme is not just ongoing, it is being ramped up. Lovecraft would be horrified.

Lovecraft was very cognizant of the dangers of race-mixing, dysgenics, and urban degeneration. He was worried about the future of the white race in America and the implications of a widespread open-door immigration policy. In one of his many riveting talks, Jonathan Bowden [11] spoke about Lovecraft’s description of New York City in 1908:

Now, Lovecraft’s America was white to a degree that many Americans now couldn’t even envisage, and yet he regarded it as appallingly decayed and decadent and utterly in racial chaos. And that was in sort of 1908, so what he would have made of 2008, 2009 is quite unbelievable. On his first trip to New York he said he was almost maddened by the seething whirlpool of the races and the destructive intensity of a world clashing upon the city. Because he was seeing it as someone who was very provincial — from Providence — transported to New York, the seething masses of New York, a sort of energy as they come in off the boat, and he sensed all that energy for both creation and destruction and, like all artists, would have been appalled and yet also excited — because energy always excites.

It is important to reacquaint ourselves with the notion that there is a very real friend-enemy distinction that is present in our daily lives. There are forces at work that are important to understand; we turn a blind eye to these forces at our peril. The modern world is constantly trying to put a happy face on the most egregious crimes known to humanity. Genocidal replacement and dispossession is diversity, enemies are friends; ignorance, stagnation, and decay are strengths.

Bowden [11] argues that genetics, race, and biological inheritance are of paramount importance in Lovecraft’s writing:

Lovecraft’s stories are divided by some into three categories: namely, the macabre, the dreamy and the mythological. His tales all incarnate the premise of some genetic inheritance or other — usually in a morbid manner. They often illustrate notions of a guilty precognition — the former nearly always of a morphic or physiological kind. Other leitmotifs — which are almost Wagnerian in import — prove to be non-human influences, usually of a cosmic indent, that impact on mankind in a detrimental way.

In his analysis of Shadow [3], Greg Johnson compares the antagonism between native Innsmouth residents and the Deep Ones as reminiscent of Jew-Gentile conflict:

Finally, in 1846, after eight years of subversion, an organized opposition grew up in Innsmouth. Captain Marsh and his collaborators were arrested, but before they could be prosecuted, the Deep Ones rose up in number, massacred half the town, and subjugated the rest with terror, oaths, bribes, and brides. The outside world was told that an epidemic had struck, which explained away the murders and scared away the neighbors. Having gained complete control of Innsmouth, the Deep Ones allowed it to decay, simply because it was not their civilization, they did not care about it, and they no longer needed even to pretend to care.

This parallels the long history of Jewish anti-gentile massacres, celebrated in such festivals as Passover, Purim, and Hannukah. It also parallels the decay of gentile civilizations once Jews gain sufficient control to replace the natives with alien populations.

Similarly, Jonathan Bowden makes the argument that “Lovecraft felt that Western society was laboring under an implicit or immediate threat . . .”[1] [12] This sense of impending, immediate threat that is present in many of Lovecraft’s stories as well as well-wrought movies like It Follows is expressed by Greg Johnson in his analysis of Guillaume Faye [13] and those of the Dissident Right:

Faye, like New Rightists and White Nationalists in European societies around the globe, was motivated by a sense of danger: the reigning system — liberal, democratic, capitalist, egalitarian, globalist — has set the white race in all of its homelands on the path to extinction through declining birthrates and race replacement through immigration and miscegenation.

Christopher Pankhurst [14], in his introduction to Bowden’s Why I am Not a Liberal, writes about the latter’s worldview and how cardinally important the establishment of homelands, both intellectually and physically, are for white people:

Whenever Jonathan spoke in public, he wore a wooden runic pendant to express his pagan beliefs. The symbol on the pendant was the odal, or eðel, rune. This is representative of ‘home’ or ‘homeland’. A home is a space that is won by one’s ancestors and that must be vigorously defended by the descendants, or it will be destroyed. Within the home it is possible to be oneself, to experience a real and hard-won sense of authenticity and autonomy. But the price for this is constant vigilance. The integrity of our Western homelands has now been breached; the causes for this are manifold, and so the methods of our resurgence must be manifold. This seems to me to encapsulate Jonathan’s weltanschauung, and to provide a blueprint for us to continue to manifest his legacy.[2] [15]

It is interesting to note that just as Bowden sported his odal rune whenever he appeared in public, so, too, did the historic citizens of Innsmouth [3] don their runes of protection. Greg Johnson brings this to light in his analysis of Shadow:

Zadok Allen also speaks of magical means of warding off the Deep Ones, who would occasionally boast that they had the power to wipe out all of humanity, except those who were protected by certain magical signs associated with the Old Ones. When the Kanakys who mixed with the Deep Ones were exterminated by their neighbors, Captain Marsh found charms left behind by the invaders to ward off the Deep Ones. They were inscribed with the sign of the swastika.

When the harried narrator in Shadow is being pursued by the fishmen, he mimics “the typical shamble of the Innsmouth folk . . .”[3] [16] In other words, he must imitate in order to survive, and what begins as imitation devolves into outright transformation at Shadow’s conclusion.[4] [17] He is essentially becoming an Under-Man [18] to live in the environment created by Jews. Rather than a Nietzschean over-becoming, the narrator devolves into an under-man fish. Lovecraft himself remarked upon New York’s changed nature in a piece of correspondence where he said that New York had become “completely Semiticized” and lost to the “national fabric.” As per author Kerry Bolton, Lovecraft further stated that Jewish influence in literature, drama, finance, and advertising created a false culture and ideology “radically hostile to the virile American attitude.”[5] [19]

Recently, to commemorate Lovecraft’s birthday, Greg Johnson compiled a comprehensive list of articles at Counter-Currents [20] that discuss the master of horror. Reading Lovecraft and those that study him from a Dissident Right perspective is an act of rebellion. In these times, when every act of metapolitical rebellion matters, authors like Lovecraft help us to realize who we are, who are enemies are, and what home truly means. Our survival as a race depends on it.

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Notes

[1] [23] Jonathan Bowden, “H. P. Lovecraft: Aryan Mystic [11],” in Pulp Fascism: Right-Wing Themes in Comics, Graphic Novels, and Popular Literature [24], ed. Greg Johnson (San Francisco: Counter-Currents, 2013), 104-105.

[2] [25] Christopher Pankhurst, “Work and Legacy,” in Jonathan Bowden, Why I am Not a Liberal [26] (Perth, Australia: Imperium Press, 2020), xiii.

[3] [27] David Eric Annandale, “Beast with a Million Eyes: Unleashing Horror through Deleuze and Guattari” (Ph.D. diss., University of Alberta, 1998), 56.

[4] [28] Annandale, 60.

[5] [29] Kerry Bolton, Artists of the Right: Resisting Decadence [30] (San Francisco: Counter-Currents, 2012), 19-20.