1,468 words
Translated by Guillaume Durocher
Translator’s Note: This has been retranslated from a French translation. I have improved the paragraphing. The title is editorial. Source: Emil Cioran, Apologie de la barbarie: Berlin-Bucarest 1932–1941 (Paris: L’Herne, 2015), “L’Italie est-elle une grande puissance ?,” pp. 203-209. Originally published in Vremea, May 31, 1936.
552 words
Translated by Guillaume Durocher
Translator’s Note: I discovered these reflections nestled between some pornographic scenes in Michel Houellebecq’s recently published novel, Sérotonine (Paris: Flammarion, 2019), pp. 70-72.
It is perhaps necessary at this point to provide a few clarifications on love, largely aimed at women, because women don’t really understand what love is for men. (more…)
2,446 words
Translated by Guillaume Durocher
Translator’s Note:
This text is drawn from Dominique Venner, Un samouraï d’Occident: Le Bréviaire des insoumis (Paris: Pierre-Guillaume de Roux, 2013), 101-15.. I have previously reviewed this work at The Occidental Observer.
Emil Cioran
Emil Cioran
495 words
Translated by Guillaume Durocher
Translator’s Note:
The following is Alain Soral’s negative assessment of Emil Cioran, as contained in his “dictionary” of aphorisms. While this appraisal is not exactly fair, the text expresses some understandable frustration with the nihilist Cioran and gives one a sense of the oppressive atmosphere, for Right-wingers, of the postwar French literary scene. (more…)
153 words / 2:07:25
John Morgan and Guillaume Durocher join Fróði Midjord on the latest Guide to Kulchur to talk about Francis Ford Coppola’s classic Vietnam War film, Apocalypse Now. They do a scene-by-scene analysis of it, and discuss the differences between the director’s cut and the original version of the film and its relationship to other films, as well as Joseph Conrad’s Heart of Darkness, and also its relevance for politics and the Right. Available on both YouTube and Spreaker.
873 words
Translated by Guillaume Durocher
Translator’s Note: The following are some rare more-or-less political comments from the post-war Emil Cioran, more in keeping with his pessimistic outlook. These are translated from Emil Cioran, De l’inconvénient d’être né (Paris: Gallimard, 1973). The title is editorial.
1,097 words
Translated by Guillaume Durocher
Translator’s Note: Emil Cioran is notorious as perhaps the most pessimistic philosopher of all time. Nonetheless, I was able to find some aphorisms of his which I would consider inspiring. These are translated from Emil Cioran, De l’inconvénient d’être né (Paris: Gallimard, 1973).
Jean-Marie Le Pen as an MP in 1957.
Jean-Marie Le Pen as an MP in 1957.
1,128 words
Translated by Guillaume Durocher
Translator’s Note: The following is a translation from the concluding chapter of Jean-Marie Le Pen’s Mémoires: Fils de la nation (Paris: Muller, 2018), pp. 389-391. The title is editorial.
When I began to write these Memoirs in 2016, I decided to divide them into two volumes covering equal periods of forty-four years, the first going from my birth to that of the Front National, the second telling the history of the Front National as I had experienced it. (more…)
87 words / 1:31:40
Counter-Currents contributor Guillaume Durocher joins Fróði Midjord on the latest episode of the new podcast series, Guide to Kulchur, to discuss Paul Verhoeven’s 1997 film Starship Troopers, which is based on a novel by renowned science fiction author Robert A. Heinlein and portrays a fascist future society embroiled in a war of extermination against a civilization of intelligent bugs. Both the book and the film reveal political insights that are not often seen in today’s popular culture. The episode is available on both YouTube and Spreaker (see below).
Jean-Marie Le Pen
Jean-Marie Le Pen
750 words
Translated by Guillaume Durocher
Translator’s Note: The following is a translation of the final paragraphs of the first volume of Jean-Marie Le Pen’s Mémoires: Fils de la nation (Paris: Muller, 2018), pp. 402-403.
. . . in the end, the Second World War is a detail of history and a detail in the use of history for ideological ends.
1,613 words
I walked up the escalator, placed my card on the scanner, and walked through the barrier.
“Follow the piano music,” he had texted me. I saw Justin waiting several meters away. We made eye contact and kind of stared at each other for a moment. (more…)
775 words
I am always astounded by how bad the films playing in mainstream cinemas look and, when I occasionally go to see them, I often find that my initial impressions based on the ads or a synopsis were fully justified. So when I enjoy a fairly recent film, it is noteworthy. (more…)