Tag Archives: llibre

Trobadors de l’Apocalipsi

Accompanying the collapse of a civilisation are the prophets, the doomsayers and those who inevitably seek to hasten the process, but there is also a role for the poet, the artist and the musician. As far as the latter is concerned, one of the chief bastions of the prevailing apocalyptic mentality has been the Neofolk, Industrial and Neoclassical genre. Indeed, buried deep within our European and North American subculture, its purveyors and protagonists do not simply reach for the proverbial fiddle as the flames begin to spread through the heart of Rome itself, but they provide us with new insights into the causes of our demise and remind us of the cultural traces which – for better or worse – have made us who we are. Gathered together in this new volume are some of the most popular names in the field and, in a series of fascinating biographical essays, each participant recalls their origins and musical development; their personal hopes and aspirations; the things in life that motivate and inspire them; and their plans for the future. Contributors include Francesca Nicoli (Ataraxia), Riccardo Prencipe (Corde Oblique), Gerhard Hallstatt (Allerseelen), Miklós Hoffer (H.E.R.R.), Raymond P (Von Thronstahl / The Days of the Trumpet Call), Richard Leviathan (Strength Through Joy / Ostara), Robert Taylor (Changes), Grzegorz Siedlecki (Horologium), Daniel Pablo & Carles Jiménez (Àrnica), Christopher Walton (AbRAXAS / Endura / TenHornedBeast) and Kristian Olsson (Survival Unit / Alfarmania). Edited by Troy Southgate, himself a participant in this remarkable musical genre, this book will lead you through the classical and the romantic, the sinister and the enlightening, the tragic and the triumphant.

 

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Filed under Actualitat, Catalunya, Europa, Jovent, Revolució

Visit to Godenholm, d’Ernst Jünger

Translated by Annabel Lee. Published with original paintings of the magnificent, menacing North Sea by Edda Publishing, Stockholm. A bewildering story, written in 1953 and permeated by the devastation of the war. A visit among friends turns from congenial conversation to hallucinations of the Fenris Wolf, Ragnarok, the dead and other myths and sagas. The descriptions ring true to being the kind experienced on LSD, but there are other nightmares and dreams at work. Like Jünger’s work in general, it is not ‘enlightening’ -he is never didactic. Unlike most of his other work, this story is darker, murkier, and more psychedelic.

Edda

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Ernst von Salomon: Els Fora de la Llei

És Novembre del 1918. Alemanya s’acaba de rendir després de quatre anys de la més salvatge guerra de la història. Està trontollant al caire del col·lapse social i econòmic total, i el poble alemany viu a mercè de polítics nous, liberals, que menystenen tot allò que Alemanya havia una vegada defensat. Els comunistes cometen aldarulls als carrers, amenaçant d’enderrocar el nou govern a Weimar i fer la seva pròpia revolució. Els soldats del front estan tornant des de l’infern de la guerra per trobar-se una terra irreconeixible, els principis i les tradicions pels que s’havien sacrificat tant per defensar-les ara fetes material de befa. El narrador de Els Fora de la Llei, un cadet militar de 16 anys d’edat, és massa jove per haver servit a les trinxeres, però sent el fibló d’aquesta traïció no menys que ells. En haver estat desmantellats els exèrcits alemanys, s’uneix als paramilitars Freikorps -grups de veterans que es neguen a deposar les armes, i que s’han compromès a detenir els comunistes- i comença a lluitar, primer als carrers de les ciutats d’Alemanya, i després a els països bàltics, defensant les fronteres orientals d’Alemanya de la subversió comunista alhora que ignorant les crides per retirar-se dels polítics dòcils a casa. Després de mesos d’intensos combats a l’estranger, els soldats del Freikorps tornen per passar comptes amb els seus enemics a Alemanya, somiant amb una contra-revolució nacionalista, i amb els dits amb que premien el gallet encara coents, fixen les seves mirades en enderrocar el nou i odiat govern d’una vegada i per totes…

It is November 1918. Germany has just surrendered after four years of the most savage warfare in history. It is teetering on the brink of total social and economic collapse, and the German people now lie at the mercy of new, liberal politicians who despise everything Germany once stood for. The Communists are rioting in the streets, threatening to topple the new government in Weimar and bring about their own revolution. The frontline soldiers are returning from the hell of the war to find an unrecognizable land, the principles and traditions they had sacrificed so much to defend now the stuff of mockery. The narrator of The Outlaws, a 16-year-old military cadet, is too young to have served in the trenches, but feels the sting of this betrayal no less than they. Since Germany’s armies have been all but disbanded, he joins the paramilitary Freikorps – groups of veterans who refuse to lay down their arms, and who have pledged to stop the Communists – and begins fighting, first in the streets of Germany’s cities, and then in the Baltic states, defending Germany’s eastern frontiers from Communist subversion while ignoring the calls to disengage by the meek politicians at home. After months of intense fighting abroad, the Freikorps soldiers return to settle scores with their enemies in Germany, dreaming of a nationalist counter-revolution, and, their trigger fingers still itchy, fix their sights on bringing down the hated new government once and for all…

Un llibre molt interessant.

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Filed under Actualitat, antiantifa, Europa, Jovent, nacionalisme, Revolució

Ricardo Duchesne: La Singularitat de la Civilització Occidental

(…)Duchesne argüeix que Europa ha assolit tant perquè el seu esperit és profundament diferent al de la resta del món. El seu esperit és “inquiet”, es troba constantment en moviment, en expansió cap a l’exterior en totes les àrees, esmerçant-se de fer seu el món. Abomina de restriccions de cap mena, especialment quant a la llibertat de pensament i la llibertat individual. A més, és altament competitiu i agonal -fins i tot els poetes competeixen entre si-. I és individualista, en honor a les gestes de grans herois i la iconoclàstia dels grans innovadors. Per descomptat, reclamacions similars han estat fetes -com veurem- per figures com Hegel, Nietzsche i Spengler. I Duchesne es basa en les seves idees. Això, tanmateix, també va més enllà d’aquests. Perquè malgrat tot el versemblant que suposi parlar sobre l’esperit d’Occident aquestes “explicacions” són en acabat insatisfactòries si el que algú cerca és una teoria d’origens històrics reals: d’on exactament prové aquest esperit? Per què és Occident qui va donar lloc a un esperit així? Les respostes d’en Duchesne a aquestes preguntes ens duen al que és veritablement la part més radical del seu llibre. Argüeix que la inquietud  i la creativitat d’Occident tenen el seu origen en la cultura  aristocràtica, guerrera, dels antics indoeuropeus. Ell escriu: “Com aquest llibre palesarà, la base primordial per l’oest de singularitat rau en l’ethos [indoeuropeu] de l’individualisme i la lluita. Per als indoeuropeus, l’ideal més alt era l’assoliment de prestigi honorable mitjançant la realització d’actes heroics “(p. x).

(…) Duchesne argues that Europe has achieved so much because its spirit is profoundly different from that of the rest of the world. Its spirit is “restless”; it is constantly on the move, expanding outwards in all areas, seeking to make the world its own. It abhors restraints of any kind, especially on freedom of thought and individual liberty. Furthermore, it is highly agonal and competitive – even the poets compete with each other. And it is individualistic, honoring the deeds of great heroes and the iconoclasm of the great innovators. Of course, similar claims have been made – as we shall see – by figures like Hegel, Nietzsche, and Spengler. And Duchesne builds upon their ideas. However, he also goes beyond them. For however true it may be to speak about the West’s spirit such “explanations” are ultimately unsatisfying if what one seeks is a theory of real historical origins: where does this spirit come from exactly? Why is it the West that gave rise to such a spirit? Duchesne’s answers to these questions take us into what is truly the most radical part of his book. He argues that the West’s restlessness and creativity have their origin in the aristocratic, warlike culture of the ancient Indo-Europeans. He writes: “As this book will demonstrate, the primordial basis for Western uniqueness lay in the [Indo-European] ethos of individualism and strife. For Indo-Europeans, the highest ideal was the attainment of honorable prestige through the performance of heroic deeds” (p. x).

Fragment de la primera part d’una punyent ressenya del llibre d’en Ricardo Duchesne titulat La Singularitat de la Civilització Occidental. Una excel·lent arma per combatre les collonades i mentides menystenidores de la nostra identitat etnocultural europea que alguns escampen aprofitant la seva posició de poder a les institucions.

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Dibuixos des del gulag

In the Soviet Union, desk drawers became sarcophagi; entombed within them were the creative endeavours of the most talented and perceptive Soviet citizens. Yet it is best not to idealise such hiding spaces as reserves of dormant illumination; indeed, there may have been no limit to the depths of darkness possible within them.

Consider the case of Danzig Baldaev. Born in 1925 in Ulan-Ude, in east-central Russia, Baldaev was the son of an ethnographer who was arrested as an “enemy of the people”. He grew up in an orphanage for the children of “enemies” and following his service in the second world war was “forced”, as he described it, by the NKVD (a forerunner of the KGB) to work as a warder at Kresty prison in Leningrad, now St Petersburg. His employment in the Soviet penal system took him all over the USSR, but in private, he poured the psychological detritus of his profession into a terrifying work of sadistic pornography, which he dedicated, in 1988, to Alexander Solzhenitsyn.

Baldaev was not a pornographer in any conventional sense, but was nevertheless inundated by pornography, for he was surrounded by the pornographic sadism that characterised – sometimes by design, sometimes by default – the Soviet punitive machine. An amateur anthropologist who had been denied an education because of his family’s political ignominy, Baldaev struggled to anatomise on paper the system that defined him, and in which he was complicit.

His drawings and descriptions imprint themselves awfully in the imagination: in one image, three nude, emaciated women, so wasted by hunger and work that their uteruses have prolapsed, line up before a camp doctor beneath a sign bearing Lenin’s dictate, “He who does not work, neither shall he eat.” In another, an unclothed university professor is lashed, sodomised and gloated over by his uneducated guards for his pursuit of an unapproved science. Elsewhere, sick workers are steamed in a sauna, and then hauled naked into temperatures below freezing to expire from shock. On the most nauseating page, a young woman who has refused the sexual advances of her captors sits tied to a tree atop an anthill in the notoriously insect-ridden Siberian woods with a tube “inserted into the vagina so the ants could crawl inside”.

Readers may wonder whether Baldaev’s illustrations are accurate documents of atrocities at all, or were intended as anti-Soviet polemic. The answer is both: Baldaev depicts the Bolshevik coup of 1917 as a national tragedy following which “the peoples of Russia recalled life under the tsar as a lost paradise”. He describes the Bolsheviks’ antireligious militancy as the sole impetus for the moral collapse he encountered. Yet while his analysis of the Soviet disaster rests upon simplistic nostalgia for a golden age of church and monarchy, the editors of this book have convincingly corroborated many of his representations with parallel accounts from the canon of Russian Gulag literature.

Viewers may also question whether the artistic merits of Baldaev’s drawings redeem their potential prurience. While it is necessary to know that “enemies of the people” were subjected to revolting forms of torture and humiliation, one may ask: are the interests of history in any way served by a graphic image of a bound woman with ants crawling into her vagina? There are strong artistic precedents to support Baldaev’s case: Goya’s Disasters of War, for example, recorded politically motivated atrocities in a similar manner and thus prophesied the modern conception of warfare. Gustave Doré’s macabre and meticulous engravings for each layer of hell in Dante’s inferno gave to posterity a necessary encouragement to contemplate the inverse side of heaven. Baldaev’s drawings resemble both artists’ works.

Yet they are not the work of a passive witness, nor are they products of the imagination. They are good art, but they bear the taint of his choice between authority and victimhood. While it would be naive to judge him from a position of safety and comfort, Baldaev dared only to hate the system and bear witness to it; he did not, as the intrepid Solzhenitsyn did, risk confronting it. The terrible truth he identified – that for many of its servile intermediaries, the Gulag had its contemptible pleasures – was one that could never justly remain buried. It is scarcely surprising that Baldaev longed for the old church, for the bottom drawer must have made a poor confessional. While his drawings may have unburdened him a little, his lengthy private lingerings over their horrors must also have enervated him, and have helped his superiors to secure his submission.

The Guardian

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Support popular i transversal pel Sarrazin

El 18% dels alemanys votarien per un partit polític encapçalat pel membre de la direcció del Bundesbank. Les seves idees són benvingudes per molts votants conservadors, amb un 17% dels votants de la Unió Demòcrata Cristiana (CDU) o la Unió Social Cristiana dient als enquestadors que el votarien si bastís un partit polític. Però resulta ser encara més popular entre els votants d’esquerres de L’Esquerra (Die Linke), amb un 29% dient que el votarien. El partit socialdemòcrata (SPD) malda d’expulsar en Sarrazin, malgrat que aquest diu estimar el partit i vol seguir sent-te membre. Els seus intents d’expulsar-lo, tanmateix, només fan que perjudicar la imatge del partit segons Manfred Güllner director de Polsa una altre empresa enquestadora. Va dir que el fet de centrar-se en Sarrazin –qui havia estat senador de finances per l’estat de Berlín– podria suposar-li al SPD de perdre-hi les properes eleccions.

El Geert Wilders alemany? Això, és clar, si sobreviu a l’acosament mediàtic i judici polític al que es sotmès pels immigracionistes en gosar de parlar de la realitat tal com és a Alemanya i arreu d’Europa.

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Guillaume Faye: Arqueofuturisme

Arqueofuturisme, una important obra en la tradició de la Nova Dreta Europea, es troba finalment a l’abast en anglès. Desafiant moltes convencions assumides per la Dreta, aquest llibre va generar un gran debat en ser publicat per primera vegada al 1998. Faye creu que el futur de la Dreta demana d’ultrapassar la divisió entre qui desitja la restauració de les tradicions del passat i qui vol formes socials i tecnològiques noves -creant una síntesi que amplificarà les virtuts i contindrà els excessos d’ambdós: l’Arqueofuturisme-. Faye també forneix de crítica a la Nova Dreta; una anàlisi sobre el continu dany desfermat pel liberalisme occidental, l’inèrcia política, l’immigració descontrolada i l’autoodi ètnic; i l’escaiença de deixar enrere posicions passades i gosar de fer front a les realitats del present per crear la ideologia del futur. Ell profetitza una sèrie de catàstrofes entre el 2010 i el 2020, arran la insostenibilitat de l’actual ordre mundial, que segons afirma suposarà la oportunitat de reconstruir l’Occident i posar l’arqueofuturisme en pràctica a gran escala. Aquest llibre és imprescindible per qualsevol interessat en la via que a la Dreta li cal seguir per fer front a les creixents crisis i reptes als que s’acararà al decurs de les properes dècades. Guillaume Faye va ser un dels principals membres de la coneguda organització GRECE de la Nova Dreta francesa als 1970’s i 80’s. Després de deixar-la arran la seva discrepància amb la seva estratègia, va gaudir d’una reeixida carrera a la televisió i la ràdio franceses abans de retornar a l’escena de la filosofia política com una potent alternativa mitjançant la publicació d’Arqueofuturisme. Des de llavors ençà ha seguit desafiant el statu quo dins la Dreta amb els seus escrits, atorgant-li alhora l’admiració i el menyspreu dels seus col·legues.

[Archeofuturism, an important work in the tradition of the European New Right, is finally now available in English. Challenging many assumptions held by the Right, this book generated much debate when it was first published in French in 1998. Faye believes that the future of the Right requires a transcendence of the division between those who wish for a restoration of the traditions of the past, and those who are calling for new social and technological forms – creating a synthesis which will amplify the strengths and restrain the excesses of both: Archeofuturism. Faye also provides a critique of the New Right; an analysis of the continuing damage being done by Western liberalism, political inertia, unrestrained immigration and ethnic self-hatred; and the need to abandon past positions and dare to face the realities of the present in order to realise the ideology of the future. He prophesises a series of catastrophes between 2010 and 2020, brought about by the unsustainability of the present world order, which he asserts will offer an opportunity to rebuild the West and put Archeofuturism into practice on a grand scale. This book is a must-read for anyone concerned with the course that the Right must chart in order to deal with the increasing crises and challenges it will face in the coming decades. Guillaume Faye was one of the principal members of the famed French New Right organisation GRECE in the 1970s and ’80s. After departing in 1986 due to his disagreement with its strategy, he had a successful career on French television and radio before returning to the stage of political philosophy as a powerful alternative voice with the publication of Archeofuturism. Since then he has continued to challenge the status quo within the Right in his writings, earning him both the admiration and disdain of his colleagues.]

Un llibre simplement imprescindible.

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Filed under Actualitat, antiantifa, Catalunya, Europa, identitari, immigració, immigracionisme, islam, islamització, Jovent, nacionalisme, Revolució