Green Nazis in Space: New Essays in Literature, Art, and Culture
Page 19
“Because Jordan was Jordan”; meaning, we live in a thoroughly negrofied “society” in which ball-bouncers are worshipped as gods.433
So we have moved from a culture in which bloomers were “generally regarded as ridiculous” to one in which they are compulsory; from one where shorts, worn off the field, are mocked as implicitly homosexual, to one where shorts of any sort are mocked as being homo as such.
It’s even gotten to the point where, clueless or impudent, Judaic curmudgeon Jim Kunstler—the Apocalyptic Grouch of the Capital District—finds it to be yet another problem . . . with the goyim:
I went to a sporting goods chain store at the mall—where else?—seeking a new bathing suit (pardon the quaint locution). The store was curiously named Dick’s. All they had were clown trunks. By this I mean a garment designed to hang somewhere around mid-calf, instantly transforming a normally-proportioned adult male into a stock slapstick character: the oafish man-child.
This being a commodious warehouse-style store, there was rack upon rack of different brands of bathing suits, all cut in the same clown style. I chanced by one of the sparsely-deployed employees and inquired if they had any swimming togs in a shorter cut.
“What you see is alls we got,” he said.
Even the Speedo brand had gone clown—except for the bikini brief, which I wore back during 30 years of lap-swimming, but which I deemed not quite okay for an elderly gentleman on the casual summer swim scene. So I left Dick’s without a new suit, but not before having a completely unsatisfying conversation with one of the managers.
“In the old days,” I explained, “bathing suits were designed to minimize the amount of cloth one dragged around in the water. These clown trunks you sell not only make a person look ridiculous, but they must be an awful drag in the water.”434
“That’s what they send us,” he said. “It’s alls we got.”435
(I can just hear MST3k’s “comic redneck voice” delivering that line.)
Now, all this might be dismissed as “fashions just change” or “everything’s relative” but as the latter phrase implies, that’s a rather Lefty response, don’t you think?
As MST3K demonstrates, this negrofication of our clothing cuts us off from our own white history—the “dead white men” are usually also wearing powdered wigs, silk stockings and . . . short pants; just a buncha fags, turn on the ball game.436 Just as PC vocabulary makes crimethink impossible, so PC fashion makes even a decade in the past unusable. Consider, then, these comments on an episode of the ’60s TV show, The Outer Limits: “Just found this on YouTube, there is an episode from The Outer Limits posted called ‘Tourist Attraction.’ Ralph Meeker is seen mostly in a t-shirt and black speedo. Won’t see THAT on TV, except for Spanish telenovelas.”437 And these: “PE: I could have easily gone another 49 years without seeing Ralph Meeker in a speedo.”438 Though others disagree:439 “Ralph Meeker is a God! Us mere mortals should consider ourselves lucky that a man of his caliber would even be gracious enough to allow us to see him in all his speedo-wearing glory.”440
Even the military itself has been affected; the uniform itself seems to have disappeared, replaced by the ubiquitous desert fatigues. Obviously providing not camouflage (like the impractical clown shorts), one wonders what it is intended to symbolize—submission to our desert overlords in Tel Aviv?
Needless to say, the whole outfit, including the ridiculous yellow suede boots (the most impractical footwear imaginable441), is greatly favored by the urban Negro. The only remaining touch of swank, as Watts would say, is the beret, which of course our manly, non-winning army boys consider to be “gay.” As always, the choice remains: homo or negro.442
Back when America was winning wars, Gen. Patton designed a uniform for his boys: a green leather jumpsuit and gold helmet. The modern fatigues on the other hand, are indistinguishable from casual slob wear, such as the track suit. It is often worn, and not only by ex-servicemen, as street wear, while an old style uniform could only be worn as camp (or as one of Kesey’s “Merry Pranksters”).
Speaking of street wear, even Ignatius Reilly’s outlandish outfit is more of a uniform than this; he wears it constantly—one imagines it is seldom washed—and each element, from the duck hunting cap’s earflaps to the ability of the baggy pants to retain warmth and bodily gases—is carefully designed within the rules of geometry and theology. Distinctive, informed with intelligence, practical—true Aryan attire.
No wonder, after the collapse of the Crusade for Moorish Dignity—negroes and uniforms, hence political movements, don’t mix—Ignatius is “picked up” on the street, in pirate costume, by a French Quarter fag, whose coterie is subject to Ignatius’ next attempt to recruit a paramilitary rebel force for theology and geometry.
Jonathan Bowden has suggested that the Right lives on in the unconscious. Perhaps we might amend that to say that the Right doesn’t arise from the irrational Id (as the Frankfurt School would have it) but, though thoroughly rational, has been exiled to the irrational Id. Like many such exiled forces, it bides its time in the liminal wastelands. Perhaps its strongest camps are to be found among homosexuals and the devotees of S/M, being the last members of the Rainbow Coalition still allowed—for now—to exercise their love of uniforms and dressing up.443
But enough of these speculations. What are we to do? As Evola suggests, we must “ride the tiger.” We must seize the opportunities we are given, play the hand we are dealt.
We have sunk so low that even what was once an ordinary business suit is seen as “over-dressed.” Here, however, lies the key to getting up out of the abyss. If suits now look like uniforms, then suits can be our uniforms: we are the new Mad Men.444
The Talented 10th of the Negroes, though too small in numbers to affect their own culture, has already figured this out: the Fruit of Islam with their terrifying black suits, white shirts, and red bow ties.445
Or consider the Men in Black, originally the tormentors of UFOlogists, who have now spread throughout popular culture.
Black suit. White shirt. Black tie. Sinister Shades. Ominous and overbearing manner. Speaking in code. No indication of emotions or a personality. Ostensibly some kind of covert operative, but very conspicuous. They are simultaneously imposing and nondescript, which fits their mission perfectly.446
We have plenty of actual New or Alt-Right role models—Gianfranco Fini, (president of Alleanza Nazionale), Gerolf Annemans, (Vlaams Belang), and good old Pym Fortuyn: all successful politicians; European, of course.447 But apart from all the other advantages we hear about that third parties or nationalist movements have over there, I can’t help but think that in today’s world, the sharp suit, the true analogue of the fascist uniform, can’t be ignored as a factor in electoral success.
Despite being the symbolic presence of The Oppression of The Man, The Men in Black have the mystique of being Badass and Cool, so heroes can be associated with them. In those cases they are merely protecting panicky Muggles by doing what’s ultimately best. [The essence of Fascism]
Watch out for Conspiracy Redemption if they go too far, though.448
And “Conspiracy Redemption” occurs when, despite all the MSM propaganda the voters start saying, “Hey, wouldn’t we actually be better off it B.I.G.O. really did take over?” Or to paraphrase Jef Costello, “Give me the lightning bolt and pass me the black Hugo Boss449 suit, I want to join Thrush!”
Counter-Currents/North American New Right
November 26, 2014
ABOUT THE AUTHOR
James J. O’Meara was born in Detroit, educated in Canada, and now lives in an abandoned glove factory in America’s Rust Belt. He is the author of The Homo & the Negro: Masculinist Meditations on Politics & Popular Culture, ed. Greg Johnson (San Francisco: Counter-Currents, 2012); A Review of James Neill’s “The Origins and Role of Same-Sex Relations in Human Societies” (Amazon.com: Kindle Editions, 2013); The Eldritch Evola . . . & Others: Traditionalist Meditations on Literature, Art, & Culture, ed. Greg
Johnson (San Francisco: Counter-Currents, 2014); and End of an Era: Mad Men & the Ordeal of Civility (San Francisco: Counter-Currents, 2015). His articles and reviews have also been published by Counter-Currents/North American New Right, The Occidental Observer, Alexandria, FringeWare Review, Aristokratia, and Judaic Book News.
Notes
[←1]
The Homo & the Negro: Masculinist Meditations on Politics & Popular Culture, ed. Greg Johnson (San Francisco: Counter-Currents, 2012) and The Eldritch Evola . . . & Others: Traditionalist Meditations on Literature, Art, & Culture, ed. Greg Johnson (San Francisco: Counter-Currents, 2014).
[←2]
See Male Mysteries and the Secret of the Männerbund by Wulf Grimsson, reviewed in The Homo & the Negro, op. cit., and Alisdair Clarke, “Männerbund: Aspects of Male Mystery Cults” (published in New Imperium magazine March 2006), http://aryanfuturism.blogspot.com/2006
/03/mannerbund-and-homosexuality.html.
[←3]
“The dear, the blessed nouvelle!”—Henry James.
[←4]
End of an Era: Mad Men & the Ordeal of Civility (San Francisco: Counter-Currents, 2015).
[←5]
Jeremy Reed: “Poetry, Madness and Masturbation,” in Angels, Demons and Blacklisted Heroes (London: Peter Owen, 1999), p. 133.
[←6]
And not the good kind, like Iggy Pop.
[←7]
At the same time, a similar process, thanks to the Civil Rights Movement, was unfolding amongst the American Negro, who, no longer expected to “act white” and in fact encouraged to “express himself” was embarking on the slow devolution from Cab Calloway to Fitty; and what you lookin’ at? Correspondingly, the Judaics have become yet more pushy and vulgar, a Third Wave in which schlubby George Costanza is replaced by the in-your-face Sandra Bernhard or Sarah Silverman.
[←8]
See Jay Geller’s “(G)nos(e)ology: The Cultural Construction of the Other” in People of the Body: Jews and Judaism from an Embodied Perspective, ed. Howard Eilberg-Schwartz (Albany: SUNY Press, 1992), who notes that Schopenhauer was “perhaps the most celebrated modern disseminator” of the notion.
[←9]
The more anodyne way of expressing the DC/Marvel difference, is that DC is “plot driven” while Marvel is “character driven.” This is fine as far as it goes, but every Marvel “hero” is a pathetic loser; every origin story could be summarized this way: “As Gregor Samsa awoke one morning from unruly dreams, he found himself transformed in his own bed into a monstrous cockroach.”
[←10]
http://www.dialbforblog.com/archives/594/
[←11]
http://www.dvdverdict.com/juryroom/viewtopic.php?t=5195%20
%20p66521
[←12]
http://www.dvdverdict.com/printer/greenlanternbluray.php
[←13]
And who, in addition to playing the chrome-domed villain in every single movie—Kick Ass, Sherlock Holmes, Robin Hood, Green Lantern, John Carter—shares the cutest little snaggle-toothed smile with your humble author.
[←14]
Or, to some, a “rich mythology that has developed around the Emerald Knight over the course of more than seven decades,” http://www.geeksofdoom.com/2011/06/20/green-lantern-was-almost-a-jack-black-comedy
[←15]
Reviewing Arie Kaplan’s From Krakow to Krypton: Jews and Comic Books (Philadelphia: Jewish Publication Society, 2008) on Counter-Currents, Ted Sallis notes, “The same thing was going on at DC comics. Kaplan writes: ‘And the fact that Broome and Kane were “members of the Tribe” meant that occasional Jewish signifiers filtered into the stories . . . The intergalactic diversity of the Green Lantern Corps is a metaphor for the ethnic diversity Broome wished for all peoples.’ All peoples? Including Israel?” http://www.counter-currents.com/
2011/10/from-krakow-to-krypton-jews-and-comic-books/
[←16]
And it could have been worse; as the aforementioned Geeks of Doom report, the original idea was a comedy starring Jack Black. “It’s indicative of Hollywood’s simmering contempt for comic book properties and sadistic desire to milk every last cent they can out of them that they were willing to transform an iconic superhero like the Green Lantern into a one-note comic buffoon in the desperate hope their devious effort would make them a profit.” For a review of the similar attempt to re-boot the Green Hornet as Seth Rogan, see my Counter-Currents review “The Green Cockroach,” http://www.counter-currents.com/2011/01/the-green-cockroach/
[←17]
Who directed the rather successful Bond re-boot, Casino Royale, which indeed is more of a “hero’s quest” showing how Bond becomes Bond rather than super-agent heroics.
[←18]
See my “Evola on Wheels: Psychomania as Hermetic Initiation,” http://www.counter-currents.com/2013/10/evola-on-wheels-psychomania-as-a-hermetic-initiation/
[←19]
IronFanofSteelofThunder; “What Makes Green Lantern Great: A comparison with Lord of the Rings, Batman, CAPTAIN MARVEL, and Superman,” September 10, 2013, http://www.comicvine.com/
profile/ironfanofsteelofthunder/blog/what-makes-green-lantern-
great-a-comparison-with-l/93656/
[←20]
Evola discusses the various theories of pre-natal choice, and their implications, in the discussion of suicide in Ride the Tiger: A Survival Manual for Aristocrats of the Soul, trans. Joscelyn Godwin and Constance Fontana (Rochester, Vt.: Inner Traditions, 2003).
[←21]
Despite several repetitions in appropriately awed tones, I never shook off the feeling that his was from a Yaakov Smirnoff routine: “In America, you choose ring; in Soviet Union, ring chooses you!”
[←22]
Of course, Christopher Nolan’s Batman series has succeeded, by choice or not, in highlighting hermetic and Traditionalist elements, even questioning the validity of the whole “saving Gotham” motive.
[←23]
See his Men Among the Ruins, trans. Guido Stucco, ed. Michael Moynihan (Rochester, Vt.: Inner Traditions, 2002).
[←24]
Paris: “Wealthy, good-looking hedonistic heir to billion dollar multi-national media conglomerate moves to London and spends nights pining away for his college girlfriend—who’s watching that movie?” The Gilmore Girls, “The Long Morrow.”
[←25]
We see a similar set-up in the equally white movie Dune, where Paul Atreides shows his chosen-ness by conquering fear, although this is only a prelude to his actually transformation through the spice. There’s even a little oath, just like Hal’s:
I must not fear.
Fear is the mind-killer.
Fear is the little-death that brings total obliteration.
I will face my fear.
I will permit it to pass over me and through me.
And when it has gone past I will turn the inner eye to see its path.
Where the fear has gone there will be nothing.
Only I will remain.
[←26]
The Gnostics, some of whom did venerate Lucifer, called their Redeemer “The Alien God.” Alien, that is, from the world created by the false, deluded and deluding god, YHVH, whom they, like Blake, liked to call Nobodaddy or The Exterminator; appropriate names for Parallax. If Sur is Lucifer, then his enemy Parallax is the Abrahamic God, or rather, the false, deluded and deluding YHVH. An amorphous, cloudlike being, like Cthulhu, but animated by a malign intelligence. The Church of the Sub-genius returned the favor by designating its nemesis as “the orbital alien space-god, JHVH-1.”
[←27]
Thus, the desert world of Dune is obviously crypto-Arabic; we note also the Ra’s al Ghul—“Demon’s Head”—in Nolan’s Batman Begins. Since the Templars—who reportedly worshiped a head, Bathomet—presumably Lucifer’s—The Arab has functioned as a symbolic proxy for the Aryan Tradition, perhaps due to it seeming a more manly, thus more Aryan, version of the Abrahamic religion (as Evola thought;
see Revolt Against the Modern World); or perhaps “the enemy of my enemy”?
[←28]
“If one does as God does enough times, one will become as God is.”—Hannibal Lecter, Manhunter.
[←29]
New York: Tarcher, 2007; first published 1910; pp. 22–23.
[←30]
See Anderson and Whitehouse, New Thought: A Practical American Spirituality (Bloomington, Ind.: Authorhouse, 2012).