Tag: why we write

What could be more wholesome than a “Montana mom”?
Extortionist Tanya Gersh

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Given that my early political development was on the Left, I believe the earliest experiences exposing me to a macro view of Jewish political behavior were in debates on circumcision.

The matter seemed pretty clear cut to me for this reason: even if the proposed benefits of infant circumcision were real, they were still only even supposed to materialize in those who (a) were incapable of basic hygiene, or (b) were highly promiscuous.

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Edward Hopper, Office in a Small City, 1953

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If I ever get doxxed, I have prepared a simple explanation for why I write for Counter-Currents which I will share with family members, friends, colleagues, employers, neighbors, and anyone else who’ll listen:

I do not want to be a minority in my own country. (more…)

Gabriël Metsu, Man Writing a Letter, circa 1664-1666

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I grew up in an incredibly small, overwhelmingly Southern Baptist town. The kind of place where almost everyone had some idea of when any given person in town had or hadn’t walked up in the main church (stationed straight across from the main grocery store) during the altar call to ask the Holy Spirit to come into their hearts, and “conservatism” meant being among the people keeping track more than anything else.

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“Assume you are what you want to be. Walk in that assumption and it will harden into fact.” — Neville Goddard’s “Law of Assumption” (attributed to Anthony Eden)

“A man is, whatever room he is in.” — Bert Cooper’s supposed Japanese saying

“With such expert play-acting, you make this very room a theatre.” — Vandamm to Roger Thornhill, North by Northwest  (more…)

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Few readers have likely noticed, but my contributions to this site have fallen dramatically this year. The reason is simple: (more…)

You can buy Trevor Lynch’s Classics of Right-Wing Cinema here.

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Why do I write movie and television reviews from a White Nationalist perspective? It’s complicated.

First and foremost, I write because I love film. I think that film is the realization of Richard Wagner’s idea of the “complete work of art” (more…)

Carl Spitzweg, "The Butterfly Collector," 1840

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Editor’s Note:

The author asked me to include a note with this indicating that although his central positions as stated below are unaltered, his opinions of certain individuals, e.g., “Prozium,” have changed.

I have been asked to contribute to the “Why We Write” series. (more…)

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Several months back, I saw one of these “Why I Write” articles and resolved to write my own. I came up with several good reasons why one should write: to serve as a lightning rod around which to organize dissent, to expose my ideas to constructive criticism, to arrive at a rhetoric which is both radical and relevant, and so on. Those are all perfectly good reasons, but they’re unfortunately not my reasons. For me, writing is a compulsion, an itch that I can’t not scratch.

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Why I Write

I write because I could not bear the loss
Of all that makes this world worthwhile and grand:
Apollo, Odin, Vulcan, Perkanus,
Birch forests sprung from European land,
Marble arches, Doric columns, beer halls,
Vast castles perched upon the Thames and Rhine,
Blonde hair caught up in ringlets, Yuletide balls,
Maypoles, Shelley’s poems, Polish honey wine
In hive shaped bottles redolent of bees,
Van Gogh’s sunflowers in antique frames, beef
Wellington, cabbage rolls, bacon, blue cheese,
Saint George, King John, Hermanius. Belief
That such things — small or vast as each one might
Be — must not become lost . . . . is why I write.

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I write because I can’t stand what’s happening to whites.

It’s personal and it’s political. It’s as small as the chicken bones strewn in the gutter of the Grand Concourse in the Bronx, and it’s as big as the future of the United States and the rest of the West. It’s about the kind of world my white children will grow up in. It’s everywhere I look, so it’s no use trying to avert my eyes. I hate what I see, and I have to scream.

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I write because the future is not what it used to be.

I know, because I have lived in it. My parents had overseas jobs during the 1970s and early 80s, and, consequently, I spent part of my childhood and early teenage years in Latin America. Venezuelan schools — at least at the time — taught their students that the country’s population was racially diverse, going from White to Black, with eight shades in between. (more…)

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The most interesting thing about the writers of TOQ isn’t why we write, but why we came to write from the perspective that we have. Wanting to express oneself in print isn’t that rare. High IQ people have their journals and books while even the less intelligent have MySpace. (more…)