In commemoration of the birthday of Filippo Marinetti, I would like to draw your attention to several writings on this website.
First, there is Marinetti’s “Futurist Manifesto” of 1909.
Second, there is Kerry Bolton’s essay “Filippo Marinetti.”
We have been up all night, my friends and I, beneath mosque lamps whose brass cupolas are bright as our souls, because like them they were illuminated by the internal glow of electric hearts. And trampling underfoot our native sloth on opulent Persian carpets, we have been discussing right up to the limits of logic and scrawling the paper with demented writing.
Arno Breker (1900–1991) was the leading proponent of the neo-classical school in the twentieth century, but he was not alone by any stretch of the imagination. If we gaze upon a great retinue of his figurines, which can be seen assembled in the Studio at Jackesbruch (1941), (more…)
A. R. D. Fairburn, 1904–1957, is not usually identified with the “Right.” As a central figure in the development of a New Zealand national literature, much of the contemporary self-appointed literary establishment would wish to identify Fairburn with Marxism or liberalism, as were other leading literary friends of Fairburn’s such as the Communist R. A. K. Mason. (more…)
In a recent article on this site entitled “Violence and ‘Soft Commerce’” Dominique Venner spoke about leftist radicals being absorbed by the system which they affect to detest. He was referring in particular to the collected manuscripts of Guy Debord, the left-wing revolutionary and situationist, whose pabulum was recently saved for the national library by Chirac’s minister of culture.
London: The Spinning Top Club, 2007
Apocalypse TV was published in August 2007 by the Spinning Top Club. It runs to 239 pages and contains a pencil sketch of the author in the frontispiece or prelims by Michael Woodbridge. It is quite different to the other books which I have reviewed by this author — novels and plays, etc. . . . — by being directly non-fictional in character. (more…)
I would like to take this opportunity to respond to various postings which have been placed on the website ‘Stormfront’ in recent weeks. I would like to thank those people who have been supportive of my efforts. [. . .] Other correspondents have been less charitable however. [. . .] But amidst all of the silliness and abuse these people are contriving to make a serious point, and this is: the status of modern or modernist art.