by Kerry Bolton
The rejection of Europe would be the role that the Jewish immigrant would impart to the United States on the road to a Universal Republic where tradition was dead:
David [Struggling with himself] Yes, I will calm myself—but how else shall I calm myself save by forgetting all that nightmare of religions and races, save by holding out my hands with prayer and music toward the Republic of Man and the Kingdom of God! The Past I cannot mend—its evil outlines are stamped in immortal rigidity. Take away the hope that I can mend the Future, and you make me mad. . . . I keep faith with America. I have faith America will keep faith with us. [He raises his hands in religious rapture toward the flag over the door.] Flag of our great Republic, guardian of our homes . . .[19]
With appeals to the American Flag and the greatness of the Republic, this is the type of facile ‘patriotism’ that today informs what it is to be ‘American.’ The American’s patriotism is based on that of a Zionist playwright and novelist. He saw Europe through the lens of ‘Jewish persecution.’ He perceived the United States as it has been constituted since the Pilgrim Fathers, as having a messianic herald of a world ‘Crucible’ where all races, peoples, cultures, and tongues would be thrown together into a world Melting-Pot, from which will emerge a new breed.
Zangwill’s call is for the creation of a new American nationality formed by the assimilation of Jews and various ethnic groups and races in the American ‘Crucible.’ In the final act Zangwill makes it clearer that he is not only talking of a crucible that will amalgamate Jews and sundry European ethnicities into a single American race, but all races:
David [Prophetically exalted by the spectacle] It is the fires of God round His Crucible. [He drops her hand and points downward.] There she lies, the great Melting Pot—listen! Can’t you hear the roaring and the bubbling? There gapes her mouth [He points east]—the harbour where a thousand mammoth feeders come from the ends of the world to pour in their human freight. Ah, what a stirring and a seething! Celt and Latin, Slav and Teuton, Greek and Syrian,—black and yellow . . . Yes, East and West, and North and South, the palm and the pine, the pole and the equator, the crescent and the cross—how the great Alchemist melts and fuses them with his purging flame! Here shall they all unite to build the Republic of Man and the Kingdom of God. Ah, Vera, what is the glory of Rome and Jerusalem where all nations and races come to worship and look back, compared with the glory of America, where all races and nations come to labour and look forward! [He raises his hands in benediction over the shining city.][20]
The play ends in a dramatic climax of what remains today the banal substance of ‘American patriotism’ defined by a Jewish universalist and Zionist:
An instant’s solemn pause. The sunset is swiftly fading, and the vast panorama is suffused with a more restful twilight, to which the many-gleaming lights of the town add the tender poetry of the night. Far back, like a lonely, guiding star, twinkles over the darkening water the torch of the Statue of Liberty. From below comes up the softened sound of voices and instruments joining in ‘My Country, ’tis of Thee.’ The curtain falls slowly.[21]
Zangwill envisaged mankind in a universal brotherhood under the auspices of the League of Nations, predecessor of the United Nations Organization, with the world capital in Jerusalem, under tutelage of Jewish holy law. He wrote in 1914 on the impact of the play:
Played throughout the length and breadth of the States since its original production in 1908, given, moreover, in Universities and Women’s Colleges, passing through edition after edition in book form, cited by preachers and journalists, politicians and Presidential candidates, even calling into existence a ‘Melting Pot’ Club in Boston, it has had the happy fortune to contribute its title to current thought, and, in the testimony of Jane Addams, to ‘perform a great service to America by reminding us of the high hopes of the founders of the Republic.’[22]
Although Zangwill’s assimilationist advocacy caused concern among the synagogues of the United States, as The Melting-Pot seems to be calling for the assimilation of Jews, Zangwill became ‘one of the leading spirits of Zionism.’ Where he differed from later mainstream Zionism was in his acceptance of possibilities of a Jewish Homeland somewhere other than Palestine. When the Zionists were offered British East Africa for a Jewish colony, but declined, Zangwill formed the Jewish Territorial Organisation.[23]
The other significant proponent of the Melting-Pot for all peoples other than Jews was the poetess Emma Lazarus. Zangwill ended his play The Melting-Pot with reference to the holy image of the Masonic Goddess, the Statue of Liberty,[24] that greeted all the new emigrants to the United States about to disembark on to Ellis Island. It is to Lazarus that the famous sonnet affixed to the statue owes its authorship. During the 1880s Lazarus wrote both of the need of Jews to establish themselves as a strong nation and in her book The New Colossus of the United States as the ‘Mother of Exiles.’ Hence the views of Lazarus and Zangwill were in accord. It is from here that the sonnet on the State of Liberty derives, which is heralded as the basis of the ‘American Dream’:
. . . Give me your tired, your poor
Your huddled masses yearning to breath free
The wretched refuse of your teeming shore
Send these the homeless, tempest-tost to me
I lift my lamp beside the golden door![25]
The poem was written to raise funds for the pedestal of the Statue of Liberty.[26] On the other hand, to The American Hebrew she wrote:
Wake, Israel, wake! Recall to-day
The glorious Maccabean rage,
The sire heroic, hoary-gray,
His five-fold lion-lineage:
The Wise, the Elect, the Help-of-God,
The Burst-of-Spring, the Avenging Rod. . . .
With Moses’ law and David’s lyre
Your ancient strength remains unbent
Let but an Ezra rise anew
To lift the Banner of the Jew! . . .[27]
Lazarus held to Palestine as the homeland for the Jews, and ‘promoted Zionism throughout the 1880s.’[28]
The Melting-Pot, or ‘the Crucible,’ as Zangwill called it, allows Jews to become inconspicuous among the multitude of other nationalities and races in a multicultural society, while their rabbinate and community organisations and ancient Law allow them to retain their identity as no other people have. Hence, we read for example of Isi Leibler, a former Chairman of the World Jewish Congress, when president of the Executive Council of Australian Jewry, stating to Australians: ‘there is a need to sit together and establish a way in which Australians can recapture the spirit of multiculturalism which I think we are all proud of, and which is really under threat’; while stating to Jews: ‘Multiculturalism has no place in Israel, created as a Jewish state for Jews.’[29]
In 1993, during the furore over the relative success of Pauline Hanson’s One Nation Party, Leibler stated: ‘There is a need to sit together and establish a way in which Australians can recapture that spirit of multiculturalism which I think we are all proud being part and parcel of, and which is really under threat.’[30]
Jewish intellectuals, bankers, and activists have provided the ideology and funding for assimilationist and multicultural doctrines that today converge, whether by accident or design or both, with the globalising demands of international capitalism. In Jewish nationalists such as Zangwill and Lazarus we find the duality of both Jewish separatism and universalism.[31]
[1] Refer to the chapter, ‘Purse Strings.’
[2] Bolton, Revolution from Above, 57–60.
[3] Leo Trachtenberg, ‘Philanthropy That Worked,’ City Journal (Winter 1998), http://www.city-journal.org/html/8_1_urbanities-philanthropy.html.
[4] Peter Kihss, ‘Dr. W. E. B. Du Bois Joins Communist Party at 93,’ New York Times, 23 November 1961.
[5] Bolton, Revolution from Above, 40–41.
Also see K. R. Bolton, ‘Joe McCarthy’s Real Enemies,’ The Occidental Quarterly 10, no. 4 (Winter 2010–2011), http://toqonline.com/archives/v10n4/TOQv10n4Bolton.pdf.
[6] Warburg banking dynasty. Frieda Schiff, daughter of Jacob H. Schiff.
[7] Edsel Ford, Ford Motor Company.
[8] Peter F. Lau, Democracy Rising: South Carolina and the Fight for Black Equality Since 1865 (University Press of Kentucky, 2006), 73–74.
[9] Uriel Heilman, ‘Soros Says Jews and Israel Cause Anti-Semitism,’ Jewish Telegraphic Agency, 3 August 2011, http://rense.com/general44/soros.htm.
[10] Ibid.
[11] Ibid.
[12] Bolton, Revolution from Above, 125–29.
[13] Horace M. Kallen, ‘Democracy versus the Meltingpot: A Study of American Nationality,’ The Nation, 25 February 1915, http://www.expo98.msu.edu/people/Kallen.htm.
[14] Sarah Schmidt, ‘The Parushim: A Secret Episode in American Zionist History,’ The Council for the National Interest, http://www.councilforthenationalinterest.org/news/israellobby/item/1217-the-parushim-a-secret-episode-in-american-zionist-history.
[15] Horace M. Kallen Papers, American Jewish Archives, http://americanjewisharchives.org/collections/ms0001/.
[16] Israel Zangwill, The Melting-Pot (New York: The American Jewish Publishing Company, 1921 [1909]), Appendix III. http://www.gutenberg.org/files/23893/23893-h/23893-h.htm.
[17] Ibid, Act II.
[18] Ibid.
[19] Ibid.
[20] Ibid., Act IV.
[21] Ibid.
[22] Israel Zangwill, ibid., Afterword VI, January 1914.
[23] ‘Zangwill, Israel,’ Jewish Encyclopaedia, 1906, http://www.jewishencyclopedia.com/articles/15162-zangwill-israel.
[24] The architect of the statue was Frédéric-Auguste Bartholdi, and the designer of the structural framework, Gustave Eiffel, both Masons. The principal architect of the pedestal was Bro. Richard M. Hunt. The Ceremony of Consecration of the statue was organised by the New York State Grand Lodge.
[25] Emma Lazarus, The New Colossus, 1883.
[26] Diane Lichtenstein, ‘Emma Lazarus (1849–1887),’ Jewish Virtual Library, http://www.jewishvirtuallibrary.org/jsource/biography/lazarus.html.
[27] Emma Lazarus, ‘The Banner of the Jew,’ 1882.
[28] Lichtenstein, op. cit.
[29] John Masanauskas, ‘Multiculturalism not for Israel—Leibler,’ Herald Sun (Melbourne), 27 September 2000.
[30] Ibid.
[31] The reader is referred to Professor Kevin MacDonald, The Culture of Critique: An Evolutionary Analysis of Jewish Involvement in Twentieth-Century Intellectual and Political Movements (1998), http://www.kevinmacdonald.net/books.htm.
Cultural Imperialism
The way ‘mongrel capitalism’ is being propagated throughout the world is by creating a global culture based around production and consumption. The new identity of Homo globicus is to be based around one’s loyalty to a corporation, one’s identity is being shaped by consumption patterns, which are being standardised across the world. As we have seen anomalies such as ‘cultural nationalism’ are regarded as barriers to the spreading of this monoculture. In the following chapter we shall considered a specific example of how the United States uses Muslim immigration to break down the cultural identities of nations that are regarded as being still too ‘xenophobic’ and not sufficiently cosmopolitan. For the moment we shall consider how the destruction of traditional cultures in the pursuit of globalisation works in tandem with American military and foreign policies in the pursuit of a ‘new world order.’
It becomes evident, when seeing what is behind the promotion of cosmopolitan trends in culture, from what one drinks and eats to the clothing one wears, what one watches on television or at the movies and the type of music one listens to, is shaped and directed by globalist corporations. In particular, youth subcultures are formed in the boardrooms and advertising agencies of global corporations that are shaping new generations of youth to be malleable consumers. Ironically, this is generally promoted as something ‘rebellious’ or ‘nonconformist,’ as a departure from outmoded and ‘old-fashioned’ ideas. No thought is given as to why such rebellion’ or ‘nonconformity’ is being promoted by the biggest corporations in the world, and backed up by the military might of the United States. The cultural patterns of upcoming generations are as banal and phoney as the pseudo-rebels of the 1960s New Left. Their heirs today, like the 1960s generation of ‘radicals,’ are generously subsidised by the likes of the Ford Foundation, USAID, the National Endowment for Democracy, the Open Society Institute, etc.[1]
The globalist aim is to deconstruct nations, cultures and ethnicities, and the reconstruction all of humanity as ‘one world, one race,’ undertaken in the name of novelty and progress. In so doing, the anchorage of tradition and custom is being swept away so that everyone is supposed to be kept in a state of flux. Roots are cut away leaving nothing but transience. Therefore, without roots, individuals and even masses can be moved about as marketing and labour needs dictate. Apologists for corporate globalism such as G. Paschal Zachary state that this is giving new generations broader options as what many call ‘citizens of the world.’ Culture, despite what is claimed by ‘progressives,’ does not grow without roots. While it is fashionable to now claim that ‘culture’ belongs to everyone, and that a Caucasian can appreciate the culture of Africa just as much as a Bantu or a Kalahari Bushman can immerse himself is a Beethoven symphony, that all people are culturally interchangeable, and nothing is fixed, this is just another marketing ploy to create a global consumer culture for an expanding market. Culture is nothing if not the development and transmission of lines of tradition. Luminaries of culture such as T. S. Eliot explained very precisely that there is an objective criterion for culture, for the arts,[2] and that it is not just a matter of subjective personal likes and dislikes, the transience of which again serves mass marketing aims. Eliot, and many others such as Pound and Knutson, et al., explained that the artist (including the musician, the writer, poet, painter, sculptor) does not just exist as a rootless individual entertaining a mass of other rootless individuals, but is part of a cultural tradition of which he is one link in a chain connecting the past with the future, with an audience that can appreciate his gifts because they too are part of that cultural chain.[3] That is why folk culture is enduring and timeless and thrives in societies that do not measure all things by profit and loss.
While state or aristocratic patronage of the arts is now disparaged as limiting ‘artistic freedom,’ what this artistic freedom actually means is planned obsolescence, since the arts are treated as commodities, like cars, washing machines, computers, or televisions. If something is made to last then there is no room for continuing profits as there is no need for continuous sales of new products ad infinitum. The arts as commodities must have a quick turnover to ensure profitability. Classical music, for example, endures for generations, and is therefore of limited profitability. ‘Pop’ music, and all other manifestations of ‘pop’ culture, on the other hand last for a relative five minutes, before being replaced by something else to be marketed by the millions—throughout the world. A new pop song hence is as enduring as eating a Big Mac, and is as likely to be marketed to the same generation around the world in the same manner as its counterpart in the global fast food industry.
The Puritan Factor: The Anti-Traditional Foundations of the United States
The United States is the globalist aim in the process of fulfilment. Hence, it is the centre from which globalisation emerges in its most developed form, which U.S. strategist Ralph Peters[4] approvingly refers to as ‘culturally lethal.’ The United States was bor
n from a revolution not merely against the British Monarch but against the culture of traditional Europe. U.S. strategists such as Michael Ledeen[5] laud the United States as having a ‘revolutionary mission’ from its beginnings. Israel Zangwill sang the praises of the United States as a ‘Crucible’ and a Melting-Pot out of which a hybrid would emerge as the focus of a universal republic. As we have seen, he alluded to the foundations of this messianic destiny being laid at the birth of the American Republic with the arrival of the Puritans to the colonies, severing their roots with the Occident. The culture that developed from Puritan origins was augmented by the egalitarian doctrines of the 18th century, and from the late 19th century by the ‘Melting-Pot Crucible’ that imbued a new ‘American culture’ with Negroid and Judaic influences. Despite the difference of these strands, what they all have in common is a rejection of a thousand years of Western Civilisation.
We have already seen something of the cosmopolitan culture that was being formed in the ‘American Crucible,’ described by Zangwill, which combined elements of the Jewish and the African, from which emerged the present cacophony that passes for ‘culture’ especially among the young throughout much of the world. How these Puritan foundations of the American Republic, alluded to by Zangwill, have shaped the United States into secular forms, is instructive for the present.