Yukio Mishima (1925–1970) was one of the giants of Japanese letters as well as an outspoken Right-wing nationalist. Mishima shocked the world on November 25, 1970, when he and members of his private militia, the Tatenokai or Shield Society, took hostage the commander of the Japan Self-Defense Force’s Ichigaya Camp. Mishima then delivered a speech to the assembled soldiers and press, exhorting the Japanese to turn away from American-imposed consumerism back to their traditional aristocratic culture, which prized honor above life and comfort. (more…)
Colin Wilson The Age of Defeat
London: Aristeia Press, 2018 (reprint; original edition 1959)
“You get to be a superhero by believing in the hero within you and summoning him or her forth by an act of will. Believing in yourself and your own potential is the first step to realizing that potential. (more…)
The following review was published in The European, a journal owned and published by Sir Oswald Mosley and his wife, Diana, between 1953 and 1959, in its February 1957 issue.(more…)
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As I have written about previously for Counter-Currents (as well as in a considerably revised and expanded version of this same essay that was included in North American New Right, vol. 2), the English philosopher, novelist, and compiler of eclectic knowledge of all kinds, Colin Wilson (1932-2013), is one of the most unjustly forgotten writers of our time. (more…)
Earlier, I noted Wilson’s second thoughts, 45 years later, about Religion and the Rebel as an “overstuffed pillow”; he specifically felt that the early biographical material on Rilke was “unnecessary.” But actually, it supplies us with a remarkable parallel to Neville’s method, as well as a hint of Wilson’s future development.
Wilson says if Rilke had died at age twenty-five, no one would have remembered him. Instead, he willed himself to be a poet. (more…)
“What was needed was not some new religious cult but some simple way of accessing religious or mystical experience, of the sort that must have been known to the monks and cathedral-builders of the Middle Ages.”–Colin Wilson[1]
“The serpent said that every dream could be willed into creation by those strong enough to believe in it.”–Eve to Adam, in Shaw’s Back to Methuselah (more…)
Audio version: To listen in a player, use the one above or click here. To download the mp3, right-click here and choose “save link as” or “save target as.” To subscribe to the CC podcast RSS feed, click here.
Greg Johnson and John Morgan convene another episode of Counter-Currents Weekly. (more…)
The following review was published in The European, a journal owned and published by Sir Oswald Mosley and his wife, Diana, between 1953 and 1959, in its February 1957 issue. (more…)
Ridley Scott’s 1982 movie Blade Runner is a science fiction classic and surely the director’s finest work. Blade Runner excels on all levels. It is a highly imaginative vision of the future realized with a stunning visual style. The script is intelligent, even poetic. The cast is uniformly strong, with a number of powerful performances, particularly Rutger Hauer as Roy Batty. The gripping action sequences are acrobatic, balletic, and brutal. But the key to the film’s unsettling emotional power is its deep mythic subtext. (more…)
The following text is the transcript by V. S. of my conversation with F. Roger Devlin about Alexandre Kojève (1902–1968) and the end of history. To listen to the audio in a player, click here. To download the mp3, right-click here and choose “save target or link as.” To subscribe to our podcasts, click here.(more…)
Film Ridleyho Scotta z roku 1982 Blade Runnerse řadí mezi klasická díla sci-fi žánru a představuje vrchol tvorby slavného britského režiséra. Blade Runner vyniká ve všech ohledech. Jedná se o velice nápaditou vizi budoucnosti, uskutečněnou v dechberoucím vizuálním provedení. Herci předvádí solidní výkony, někteří pak až výjimečné – především Rutger Hauer jako Roy Batty. Napínavé akční scény jsou akrobatické, baletní a brutální. Klíč k pochopení znepokojivé emocionální působivosti díla však spočívá v jeho hlubokém mytickém podtextu. (more…)
It is often said that nihilism is one of the leading characteristics of the modern age, but what is nihilism? Nihilism means something like the “death” of God, the denial of objective meaning and value, the erasure of moral distinctions and hierarchies, the dissolution of a common world into individual perspectives, and the dissolution of a common culture into subjective “given preferences.” (more…)
I talk to Guessed Worker and Daniel Sienkiewicz at Majority Rights Radio about Heidegger and the politics of identity here.
Topics include: modern politics and the abolition of limits, the necessity of a return to limits, the classical notion of nature, the notion of weighty historical contingency, Heidegger and the Conservative Revolution, Heidegger in relation to National Socialism and the New Right, Heidegger and authenticity, race and historical identity, Heidegger and Darwinism, and science in relation to philosophy and common sense. (more…)
T. S. Eliot’s Four Quartets can be considered amongst the greatest English poetry of the 20th century, and arguably amongst the greatest English poetry ever. The four poems meditate repetitively and brilliantly on man’s relationship to time and eternity, and posit a religious solution to the problem of man’s need for meaning in the face of death. (more…)
Albert Camus’ The Stranger had a powerful effect on me when I first read it at the age of 18. Recently I had cause to pick it up again when I re-read Bill Hopkins’ The Leap! (a.k.a. The Divine and the Decay) with the aim of writing an essay on it. Hopkins’ manner of constructing a plot out of seemingly trivial, tedious, and disconnected events that suddenly come together in an emotionally shattering climax — a climax that seems utterly surprising yet in hindsight utterly inevitable — brought to mind The Stranger. (more…)
Ridley Scott’s 1982 movie Blade Runner is a science fiction classic and surely the director’s finest work. Blade Runner excels on all levels. It is a highly imaginative vision of the future realized with a stunning visual style. The script is intelligent, even poetic. The cast is uniformly strong, with a number of powerful performances, particularly Rutger Hauer as Roy Batty. The gripping action sequences are acrobatic, balletic, and brutal. But the key to the film’s unsettling emotional power is its deep mythic subtext. (more…)
Colin Wilson, the English author of well over a hundred books on subjects as diverse as philosophy, literary criticism, criminology, and the occult, as well as many novels, essays and short stories, passed away last Thursday (December 5, 2013) at 11:45 PM local time, in the presence of his wife, Joy, and his daughter, Sally. He was 82.
In an earlier essay I pointed out the importance of clearing up the points in which a connection between the doctrines of the traditional East and certain very advanced intellectual trends of the West emerges. I then said that in many cases a serious and not amateurish knowledge of the former might well serve to complete the latter, liberating them from their aspect as opinions of a purely individual speculative nature, and also from everything affected by an atmosphere of crisis, such indeed as is that of our own modern Western civilization. (more…)
Peter Paul Rubens, “The Death of Seneca,” c. 1615, Museo del Prado, Madrid
3,577 words
Translation anonymous, ed. Greg Johnson
In these short notes I shall not attempt to deal with the question of the right to life in general, but with the right to one’s own life, which corresponds to the ancient formula of jus vitae necisque; it is the right to accept human existence or to put an end to it voluntarily. I intend to compare certain characteristic points of view which have been formulated in this connection in the East and in the West. However, the problem will not be considered from a social point of view, but rather from an interior spiritual one, whence it appears in the shape of a problem of responsibility only to our own selves. (more…)
The following is excerpted from Jonathan Bowden’s Skin, a book he wrote in the early 1990s. The text has been lightly edited, mainly for punctuation, spelling, and capitalization.
In Samuel Beckett’s work . . . , which has become emblematic of the modern condition, (more…)
L’opposé de la tradition, dit l’historien Dominique Venner, n’est pas la modernité, une notion illusoire, mais le nihilisme [1]. D’après Nietzsche, qui développa le concept, le nihilisme vient avec la mort des dieux et « la répudiation radicale de [toute] valeur, sens et désirabilité » [2]. (more…)
1,367 words
is a science fiction classic and surely the director’s finest work. Blade Runner excels on all levels. It is a highly imaginative vision of the future realized with a stunning visual style. The script is intelligent, even poetic. The cast is uniformly strong, with a number of powerful performances, particularly Rutger Hauer as Roy Batty. The gripping action sequences are acrobatic, balletic, and brutal. But the key to the film’s unsettling emotional power is its deep mythic subtext. 
had a powerful effect on me when I first read it at the age of 18. Recently I had cause to pick it up again when I re-read Bill Hopkins’ The Leap! (a.k.a. 
