Artists of the Right
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[1] D. H. Lawrence, letter to Ernest Collings, January 17, 1913, The Letters of D. H. Lawrence, vol. 1, ed. James T. Boulton (Cambridge: Cambridge University Press, 1979), p. 503.
[2] Graham Hough, The Dark Sun: A Study of D. H. Lawrence (London: Duckworth, 1956), pp. 223–24.
[3] John Carey, The Intellectuals and the Masses: Pride and Prejudice Among the Literary Intelligentsia, 1880–1939 (London: Faber & Faber, 1992), p. 75.
[4] Hough, The Dark Sun, p. 240.
[5] D. H. Lawrence, Kangaroo (1923) (London: Heinemann, 1955), ch. 9, “Harriet and Lovat at Sea in Marriage.”
[6] D. H. Lawrence, Selected Literary Criticism (London: Heinemann, 1955), p. 236.
[7] D. H. Lawrence, Apocalypse (London: Secker, 1932), p. 217.
[8] Lawrence, Selected Literary Criticism, p. 105.
[9] Warren Roberts, James T. Boulton, and Elisabeth Mansfield, eds., The Letters of D. H. Lawrence, vol. 4, 1921–1924 (Cambridge: Cambridge University Press, 1987), p. 227.
[10] John R. Harrison, The Reactionaries: A Study of the Anti-Democratic Intelligentisa (London: Gollancz, 1966), p. 167.
[11] D. H. Lawrence, A Propos of Lady Chatterley’s Lover (London: Secker and Warburg, 1941), p. 333.
[12] Lawrence, letter of January, 17, 1913, Letters, vol. 1, p. 503.
[13] Lawrence, Letter to Robert Mountsier, July 17, 1922, Letters, vol. 4, p. 277.
[14] Oswald Spengler, The Decline of the West, trans. Charles Francis Atkinson, 2 vols. (London: George Allen and Unwin, 1971).
[15] D. H. Lawrence, “America, Listen to Your Own,” Phoenix: The Posthumous Papers of D. H. Lawrence (1936), ed. Edward MacDonald (Harmondsworth: Penguin, 1978), p. 90.
[16] Lawrence, Phoenix, p. 90.
[17] D. H. Lawrence, The Plumed Serpent (London: Secker, 1926), ch. 17, “Fourth Hymn and the Bishop.”
[18] Lawrence, Phoenix, p. 99.
[19] D. H. Lawrence, The Woman Who Rode Away and Other Stories (London: Secker, 1928).
[20] Hough, The Dark Sun, p. 224.
[21] D. H. Lawrence, “The Crown,” Reflections on the Death of a Porcupine & Other Essays (Philadelphia: The Centaur Press, 1925).
[22] Hough, The Dark Sun, 226.
[23] C. G. Jung, Alchemical Studies, Collected Works of C. G. Jung, vol. 13 (Princeton: Princeton University Press, 1938).
[24] Zeev Sternhell, Neither Left nor Right: Fascist Ideology in France, trans. David Maisel (Princeton: Princeton University Press, 1986).
[25] Oscar Wilde, “The Soul of Man Under Socialism” (1891), in The Complete Works of Oscar Wilde, ed. Merlin Holland (London: HarperCollins, 2003).
[26] After the tour of C. H. Douglas to New Zealand, the banking system and usury were very well understood by the masses of people, and banking reform was a major platform that achieved Labour’s victory. As it transpired, they attempted to renege, but Lee succeeded in getting the government to issue 1% Reserve Bank state credit to build the iconic and enduring State Housing project that in one fell swoop reduced unemployment by 75%. Lee soon became a bitter opponent of the opportunism of the Labour politicians. However the state credit, albeit forgotten by most, stands as a permanent example of how a government can bypass private banking and issue its own credit.
[27] Erik Olssen, John A. Lee (Dunedin, New Zealand: University of Otago Press, 1977), p. 66.
[28] H. P. Lovecraft: Selected Letters: 1932–1934, vol. 4, ed. August Derleth and James Turner (Sauk City, Wis.: Arkham House, 1976), p. 93.
[29] Lovecraft, Selected Letters, vol. 4, p. 93.
[30] Lovecraft, Selected Letters: 1934–1937, vol. 5, ed. August Derleth and James Turner (Sauk City, Wis.: Arkham House, 1976), p. 162.
[31] Lovecraft, Selected Letters, vol. 4, pp. 105–108.
[32] Quoted by E. Fuller Torrey, The Roots of Treason: Ezra Pound and the Secrets of St. Elizabeths (London: Sidgwick and Jackson, 1984), p. 138.
[33] Ezra Pound, Jefferson and/or Mussolini (1935) (New York: Liveright, 1970), pp. 33–34.
[34] Oswald Mosley, Europe: Faith and Plan (London: Euphorion, 1958), “The Doctrine of Higher Forms,” pp. 143–47.
[35] Friedrich Nietzsche, Thus Spoke Zarathustra, trans. R. J. Hollingdale (Middlesex: Penguin Books, 1975), “The Higher Man,” pp. 296–305. A glimpse of Nietzschean philosophy is alluded to in Lovecraft’s “Through the Gates of the Silver Key” where Randolph Carter discerns words from beyond the normal ken: “‘The man of Truth is beyond good and evil,’ intoned a voice that was not a voice. ‘The man of Truth has ridden to All-Is-One . . .’” (Lovecraft, “Through the Gates of the Silver Key,” The Dream-Quest of Unknown Kadath [New York: Ballantine Books, 1982], p. 189).
[36] Oswald Spengler, The Decline of the West, 2 vols., trans. Charles Francis Atkinson (London: George Allen and Unwin, 1971).
[37] “Fascism . . . was a movement to secure national renaissance by people who felt themselves threatened with decline into decadence and death and were determined to live, and to live greatly” (Oswald Mosley, My Life [London: Nelson, 1968], p. 287).
[38] Lovecraft, Selected Letters, vol. 4, p. 323.
[39] H. P. Lovecraft, “Editorial,” The Conservative, vol. I, July 1915.
[40] Lovecraft, Selected Letters, vol. 4, p. 133.
[41] Lovecraft, Selected Letters, vol. 5, pp. 330–33.
[42] Lovecraft, Selected Letters, vol. 5, p. 245.
[43] Lothrop Stoddard, The Revolt Against Civilization: The Menace of the Under-Man (London: Chapman and Hall, 1922).
[44] Lovecraft, Selected Letters, vol. 4, pp. 104–105.
[45] Lovecraft, Selected Letters, vol. 5, pp. 311–12.
[46] Lovecraft, Selected Letters, vol. 4, pp. 15–16.
[47] Lovecraft, Selected Letters, vol. 4, p. 22.
[48] Lovecraft, Selected Letters, vol. 4, pp. 311–12.
[49] Lovecraft, Selected Letters, vol. 4, p. 31.
[50] Lovecraft, Selected Letters, vol. 4, pp. 193–95.
[51] Anthony Rhodes, The Poet as Superman: D’Annunzio (London: Weidenfeld and Nicolson, 1959), p. 108.
[52] Rhodes, The Poet as Superman, p. 21.
[53] Rhodes, The Poet as Superman, pp. 25–26.
[54] Rhodes, The Poet as Superman, p. 48.
[55] Rhodes, The Poet as Superman, p. 51. A quadriga is a four- horse chariot.
[56] Filippo Marinetti, “The Futurist Manifesto” and “Old Ideas Which Always Go Hand in Hand and Must be Separated,” in Adrian Lyttelton, ed., Italian Fascisms: From Pareto to Gentile (London: Jonathan Cape, 1973).
[57] Rhodes, The Poet as Superman, p. 69.
[58] Rhodes, The Poet as Superman, p. 79.
[59] D’Annunzio, La Vergini della Rocce (1895).
[60] Margherita G. Sarfatti, The Life of Benito Mussolini (London: Thornton Butterworth, 1925), pp. 162–200.
[61] Sarfatti, The Life of Benito Mussolini, pp. 207–12.
[62] Rhodes, The Poet as Superman, p. 141.
[63] Rhodes, The Poet as Superman, p. 147.
[64] Rhodes, The Poet as Superman, p. 161, n1. Interestingly, this war cry was revived in 1985 by the Slovenian “collectivist” industrial music group Laibach in the lyrics of “Nova Akropola,” a clear tribute to D’Annunzzio’s Pola air raid. See New Collectivism, Neue Slowenische Kunst, trans. Marjan Golobič (Los Angeles: Amok Books, 1991).
[65] Rhodes, The Poet as Superman, pp. 175–77.
[66] Rhodes, The Poet as Superman, p. 179.
[67] Günter Berghaus, Futurism and
Politics: Between Anarchist Rebellion and Fascist Reaction, 1909–1944 (Oxford: Berghahn Books, 1995), p. 139.
[68] Hakim Bey, T.A.Z. The Temporary Autonomous Zone, Ontological Anarchy, Poetic Terrorism (Brooklyn: Autonomedia, 1985).
[69] Rhodes, The Poet as Superman, p. 183.
[70] Gabriele D’Annunzio and Alceste de Ambris, “The Constitution of Fiume,” September 8, 1920, in Roger Griffin, ed., Fascism (Oxford: Oxford University Press, 1995), pp. 35–37.
[71] Rhodes, The Poet as Superman, pp. 190–200.
[72] The Quirinal Palace in Rome was then the official residence of the King of Italy. It is now the official residence of the President of the Italian Republic.—Ed.
[73] Sarfatti, The Life of Benito Mussolini, pp. 269–270.
[74] Rhodes, The Poet as Superman, p. 220.
[75] Rhodes, The Poet as Superman, p. 236.
[76] Rhodes, The Poet as Superman, p. 233.
[77] Rhodes, The Poet as Superman, p. 242.
[78] Sarfatti, The Life of Benito Mussolini, p. 280.
[79] Sarfatti, The Life of Benito Mussolini, p. 281.
[80] Sarfatti, The Life of Benito Mussolini, p. 282.
[81] An example of a contemporary cultural movement analogous to Futurism is Neue Slowenische Kunst, which like Futurism embraces music, graphic arts, architecture, and drama. It is a movement whose influence is felt beyond the borders of Slovenia. The best-known manifestation of its aesthetic is the industrial music group Laibach. See New Collectivism, Neue Slowenische Kunst, trans. Marjan Golobič (Los Angeles: Amok Books, 1991).
A specifically neo-Futurist movement, aborted by the suicide of its founder, was Sarote Industries. This writer’s collection of Sarote and “Book and Sword” memorabilia was donated to the Sarote Industries Memorial Website: http://www.sarote.org/
[82] Günter Berghaus, Futurism and Politics: Between Anarchist Rebellion and Fascist Reaction, 1909–1944 (Oxford: Berghahn Books, 1996), p. 18.
[83] Berghaus, Futurism and Politics, p. 20.
[84] He became a millionaire. See Richard Jensen, “Futurism and Fascism,” History Today, vol. 45, no. 11, November 1995, p. 36.
[85] It was D’Annunzio’s novel Le Vergini delle Rocce that introduced Italians to Nietzsche’s ideal of the Overman. See Anthony Rhodes, The Poet as Superman: D’Annunzio (London: Weidenfeld and Nicholson, 1959), p. 48.
[86] Berghaus, Futurism and Politics, p. 25.
[87] Zeev Sternhell, Neither Left nor Right: Fascist Ideology in France, trans. David Maisel (Princeton: Princeton University Press, 1996). The situation is ironic, given the vigor with which present-day adolescent bourgeois “anarchists” try to attack anything of an even vaguely Rightist or “fascist” nature.
[88] Berghaus, Futurism and Politics, p. 9.
[89] Adrian Lyttelton, ed., Italian Fascisms: From Pareto to Gentile (London: Jonathan Cape, 1975), p. 207.
[90] For the ideological crisis in the Left in France and Italy resulting from dissatisfaction with the Marxian materialist conception of history, see Sternhell, Neither Left nor Right.
[91] Berghaus, Futurism and Politics, p. 9.
[92] Marinetti, “The Futurist Manifesto,” Point 4 (1909), Italian Fascisms, p. 211.
[93] Marinetti, “The Futurist Manifesto,” Point 4 (1909), Italian Fascisms, p. 211.
[94] Marinetti, “Manifesto of Futurism,” Italian Fascisms, pp. 211–15.
[95] As it was to have in the syndicalist movement under the influence of Sorel. See Sternhell, Neither Left nor Right.
[96] Marinetti, “The War as the Catharsis of Italian Society,” November 29, 1914, in Roger Griffin, ed., Fascism (Oxford: Oxford University Press, 1995), pp. 25–26.
[97] Marinetti, “War: The World’s Only Hygiene,” 1915.
[98] Jensen, “Futurism and Fascism,” p. 37.
[99] Jensen, “Futurism and Fascism,” p. 37.
[100] Berghaus, Futurism and Politics, pp. 54–55.
[101] Berghaus, Futurism and Politics, p. 59.
[102] Enrico Corradini, “The Principles of Nationalism,” Report to the First Nationalist Congress, Florence, December 3, 1910, in Italian Fascisms, pp. 146–48. “Italy is, materially and morally, a proletarian nation.” See also Corradini’s “The Proletarian Nations and Nationalism” (1911), Italian Fascisms, pp. 148–51.
[103] Marinetti, “Political Program of Futurism,” October 11, 1913.
[104] Marinetti, “The War as the Catharsis of Italian Society.”
[105] Mussolini, “Courage,” Il Popolo d’Italia, November 15, 1914 and “The War as a Revolutionary Event,” in Griffin, Fascism, pp. 26–28.
[106] Marinetti, “The War as the Catharsis of Italian Society.”
[107] Jensen, “Futurism and Fascism,” p. 37.
[108] Berghaus, Futurism and Politics, p. 81.
[109] Berghaus, Futurism and Politics, p. 83.
[110] Marinetti, “Manifesto of the Futurist Political Party,” September 1918, in Griffin, Fascism, pp. 29–31.
[111] Berghaus, Futurism and Politics, p. 101.
[112] Jensen, “Futurism and Fascism,” p. 38.
[113] Jensen, “Futurism and Fascism,” p. 38.
[114] The Leagues (Fascio) of Revolutionary Action, revolutionary syndicalists who agitated for Italian entry into the war. Their appeal for war as a revolutionary cause, “To the Workers of Italy,” October 10, 1914, can be read in Griffin, Fascism, pp. 24–25.
[115] Jensen, “Futurism and Fascism,” p. 38.
[116] Jensen, “Futurism and Fascism,” p. 39. The riot became known as the “Battle of Via Mercanti.”
[117] Alastair Hamilton, The Appeal of Fascism: A Study of Intellectuals and Fascism, 1919–1945 (New York: The Macmillan Company, 1971), p. 21.
[118] Berghaus, Futurism and Politics, p. 209.
[119] Marinetti, “Benito Mussolini,” appendix to Antonio Beltramelli, L’uomo nuovo (Milan: Monadori, 1923), in Griffin, Fascism, p. 45.
[120] Berghaus, Futurism and Politics, pp. 219–20.
[121] Berghaus, Futurism and Politics, pp. 194–96.
[122] Hamilton, The Appeal of Fascism, pp. 51–52.
[123] Hamilton, The Appeal of Fascism, p. 65.
[124] Mussolini, speech at the opening of the Novecento Italiano exhibition, Milan, 1926, quoted in Simonetta Falasca-Zamponi, Fascist Spectacle: The Aesthetics of Power in Mussolini’s Italy (Berkeley: University of California Press, 1997), p. 15.
Margherita Sarfatti, a Jewess, was a luminary in the Novecento movement. A writer and art critic, she was also Mussolini’s first biographer and worked for Mussolini’s newspaper Il Popolo d’Italia. She was also Mussolini’s mistress. The movement vied with the Futurists to become the state’s official “Fascist Art,” but Mussolini left the issue open.
[125] Griffin, Fascism, p. 60.
[126] Griffin, Fascism, p. 61.
[127] Mino Maccari, Il Selvaggio, no. 2, 1927, in Griffin, Fascism, p. 60.
[128] Ex-Communist ideologue Nicola Bombacci was a prominent supporter of the Social Republic and co-authored the new program of the Fascist Republican Party (Griffin, Fascism, p. 86).
[129] Griffin, Fascism, pp. 86–87.
[130] Julius Evola, Revolt Against the Modern World, trans. Guido Stucco (Rochester, Ver.: Inner Traditions, 1995).
[131] Oswald Spengler, The Decline of the West, 2 vols., trans. Charles Francis Atkinson (London: George Allen and Unwin, 1971).
[132] W. B. Yeats, “Easter, 1916.”
[133] W. B. Yeats, Four Years, 1887–1891 (Dublin: The Cuala Press, 1921), ch. 1.