Dresden: death from above

by Tom Sunic

Originally published
in The Occidental Observer

Image of Dresden during
the 1890s before extensive
World War II destruction

What follows below is the English translation of my speech in German which I was scheduled to deliver on February 13, 2013, around 7:00 PM in downtown Dresden. The commemoration of the Dresden February 13, 1945 victims was organized by Aktionsbündnis gegen das Vergessen (action committee against oblivion), NPD deputies and officials from the local state assembly in Dresden.

There were 3,000 leftist antifa demonstrators. The city was under siege, cordoned off into sections by 4,000 riot policemen. The bulk of the nationalist participants, approximately 1,000, who had previously arrived at the central station, were split up and prevented from joining with our group at the original place of gathering. Toward 11:00 PM, when the event was practically over, the riot police did allow our small group of organizers and speakers to march past the barricades down to the central station. There were approximately 40 of us—mostly local NPD officials. On February 14, while still in Dresden, I provided more information as a guest on the Deanna Spingola’s RBN radio show: Hour 1, Hour 2.


Human improvement by terror bombardment

Dresden is only one single symbol of the Allied crime, a symbol unwillingly discussed by establishment politicians. The destruction of Dresden and its casualties are trivialized in the mainstream historiography and depicted as “collateral damage in the fight against the absolute evil—fascism.” The problem, however, lies in the fact that there was not just one bombing of one Dresden, but also many bombings of countless other Dresdens in all corners of Germany and in all parts of Europe. The topography of death, marked by the antifascists, is a very problematic issue for their descendants, indeed.

In today’s “struggle for historical memory,” not all victims are entitled to the same rights. Some victimhoods must be first on the list, whereas others are slated for oblivion. Our establishment politicians are up in arms when it comes to erecting monuments to peoples and tribes, especially those who were once the victims of the Europeans. An increasing number of commemoration days, an increasing number of financial compensation days show up in our wall calendars. Over and over again European and American establishment politicians pay tribute to non-European victims. Rarely, almost never, do they commemorate the victims of their own peoples who suffered under communist and liberal world improvers. Europeans and especially Germans are viewed as evil perpetrators, who are therefore obliged to perpetual atonement rituals.

Dresden is not only a German city, or the symbol of a German destiny. Dresden is also the universal symbol of countless German and countless European, Croatian, Hungarian, Italian, Belgian and French cities that were bombed by the Western Allies, or for that matter that were fully bombed out. What connects me to Dresden connects me also to Lisieux, a place of pilgrimage in France, bombed by the Allies in June 1944; also to Monte Cassino, an Italian place of pilgrimage, bombed by the Allies in February 1944. On 10 June 1944, at Lisieux, a small town that had been dedicated to Saint Theresa, 1.200 people were killed, the Benedictine monastery was completely burnt out, with 20 nuns therein. To enumerate a list of the bombed-out European cultural cities would require an entire library—provided that this library would not be again bombed out by the world improvers. Provided that the books and the documents inside are not confiscated.

In France, during the Second World War, about 70,000 civilians found death under the Anglo-American democratic bombs, the figure reluctantly mentioned by establishment historians. From 1941 to 1944, 600,000 tons of bombs were dropped on France; 90,000 buildings and houses were destroyed.

The establishment politicians often use the word “culture” and “multi-culture.” But their military predecessors distinguished themselves in the destruction of different European cultural sites. European churches and museums had to be destroyed, in view of the fact that these places could not be ascribed to the category of human culture. Further south, in Vienna, in March 1945, the Burgtheater was hit by the American bombers; further to the West in northern Italy, the opera house La Scala in Milan was bombed, as were hundreds of libraries throughout Central Europe. Further south in Croatia the ancient cities of Zadar and Split were bombed in 1944 by the Western world improvers and this panorama of horror knew no end. The Croatian culture town Zadar, on the Adriatic coast, was bombed by the Allies in 1943 and 1944. German politicians and German tourists often make holiday on the Croatian coast; yet along the coast there are many mass graves of German soldiers. On the Croatian island of Rab, where the German nudists like to have fun, there is a huge mass grave containing the bones of hundreds of Germans who were murdered by the Yugo-communists. German diplomats in Croatia have shown no effort to build monuments for those martyred soldiers.

Recently, the so called democratic community put on display a big concern about the ethnic cleansing and the destruction in the former Yugoslavia. It was also quite busy in bringing the Yugoslav and Serbian perpetrators to justice at the Hague tribunal. But those Serbian and Yugoslav perpetrators had already had a perfect role model in Communist predecessors and in their Anglo-American allies. By the late 1944 and early 1945, there were massive ethnic cleansings of Germans in the Yugoslav communist areas. In May 1945, hundreds of thousands of fleeing Croats, mostly civilians, surrendered to the English Allied authorities near Klagenfurt, in southern Carinthia, only to be handed over in the following days to the Yugoslav Communist thugs.

I could talk for hours about the millions of displaced Germans from Silesia, Pomerania, the Sudetenland and the Danube region. In view of the fact that those victims do not fall into the category of communist perpetrators, for the time being I’m not going to ascribe them to the Western world improvers. In hindsight, though, we can observe that the Western world improvers would have never been able to complete their world improvement job without the aid of the Communist thugs, the so-called anti-fascists. Clearly, the largest mass migration in European history, from Central and Eastern Europe, was the work of the Communists and the Red Army, but never would have their gigantic crimes against the German civilians and other Central European nations taken place without deliberate help of the Western world improvers. Well, we are still dealing with double standards when commemorating the WWII dead.

What was crossing the minds of those world improvers during the bombing raids of European cities? Those democratic pilots had good conscience because they sincerely felt that they had to carry out a God-ordained democratic mission. Their missions of destruction were conducted in the name of human rights, tolerance and world peace. Pursuant to their messianic attitudes, down under and below in Central Europe—not to mention down here in Dresden—lived no human beings, but a peculiar variety of monsters without culture. Accordingly, in order to remain faithful to their democratic dogma, those airborne Samaritans had always good conscience to bomb out the monsters below.

As the great German scholar of international law, Carl Schmitt, taught us, there is a dangerous problem with modern international law and the ideology of human rights. As soon as one declares his military opponent a “monster” or “an insect,” human rights cease to apply to him. This is the main component of the modern System.

Likewise, as soon as some European intellectual, or an academic, or a journalist critically voices doubts about the myths of the System, he runs the risk of being branded as a “rightwing radical,” “a fascist,” or “a monster.” As a monster he is no longer human, and cannot be therefore legally entitled to protection from the ideology of human rights. He is ostracized and professionally shut up. The System boasts today about its tolerance toward all people and all the nations on Earth, but not toward those that are initially labeled as monsters or right-wing extremists, or fundamentalists. In the eyes of the world improvers the German civilians standing on this spot in February 1945, were not humans, but a bizarre type of insect that needed to be annihilated along with their material culture. Such a mindset we encounter today among world do-gooders, especially in their military engagement in Iraq or Afghanistan.

We are often criticized for playing up the Dresden victims in order to trivialize the fascist crimes. This is nonsense. This thesis can be easily reversed. The establishment historians and opinion-makers, 70 years after the war, are in need of forever renewing the fascist danger in order to cover up their own catastrophic economic failures and their own war crimes.

Moreover, establishment historians do not wish to tell us that that each victimhood in the multicultural System is conflict prone; each victimhood harps on its own uniqueness and thrives at the expense of other victimhoods. This only points to the weakness of the multicultural System, ultimately leading up to the balkanization, civil war and the collapse of the System. An example: The current victimological atmosphere in today’s multicultural System prompts every tribe, every community, and every non-European immigrant to believe that only his victimhood is important and unique. This is a dangerous phenomenon because each victimhood stands in the competition with the victimhood of the Other. Such victimhood mentality is not conducive to peace. It leads to multiethnic violence and makes future conflict inevitable.

With today’s trivialization and denial of the liberal-communist crimes against the German people, inflicted before, during, and after the Second World War, there can be no climate of mutual understanding and reconciliation, but only an atmosphere of false myths and conflicting victimhoods, whereby each person and each tribe conceives of himself as a victim of his respective neighbor.

The classic example is again the collapse of the former state of Yugoslavia, an artificial state in which for fifty years different peoples were the victims of Communist historians and propaganda, with the Croatian people being demonized as a “Nazi nation.” In 1991, after the end of communism, the result was not mutual interethnic understanding, but mutual hatred and a terrible war in which each side called the other “fascist.” What awaits us soon here in the EU, is not some exotic and multicultural utopia, but a balkanesque cycle of violence and civil wars.

Dear ladies and gentlemen, dear friends. Let us not fall prey to illusions. Dresden must serve as a warning sign against all wars, as well as a place for commemorating the innocent victims. But Dresden can become tomorrow a symbol of titanic catastrophes. What awaits us in the coming years, one can already imagine. Some of you, some of us, with a longer historical memory, know well that a world has come to an end. The age of liberalism has been dead for a long time. The incoming times will be bad. But these incoming and approaching times offer us all a chance.

______________________

For the broad context of what the Allies did to Germany
see Hellstorm: The Death of Nazi Germany
(1944-1947)

On Kenneth Clark’s “Civilisation”

Kenneth Clark may have been clueless about the fact that race matters. Yet, that our rot goes much deeper than what white nationalists realize is all too obvious once we leave, for a while, the ghetto of nationalism and take a look at the classics, just as Clark showed us through his 1969 TV series Civilisation.

Compared to the other famous series, Clark’s was unsurpassed in the sense that, as I have implied elsewhere, only genuine art—not science—has a chance to fulfill David Lane’s fourteen words.

By “art” I mean an evolved sense of beauty which is almost completely absent in today’s nationalists. Most of them are quite a product of Jewish modernity whether with their music, lifestyles or Hollywood tastes, to a much greater degree than what they think. For nationalism to succeed an evolved sense of female beauty has to be the starting point to see the divine nature of the white race. In Clark’s own words, “For all these reasons I think it is permissible to associate the cult of ideal love with the ravishing beauty and delicacy that one finds in the madonnas of the thirteenth century. Were there ever more delicate creatures than the ladies on Gothic ivories? How gross, compared to them, are the great beauties of other woman-worshiping epochs.”

Below, links to excerpts of most of the chapters of the 1969 series, where Clark followed the ups and downs of our civilisation historically:

“The Skin of our Teeth”

“The Great Thaw”

“Romance and Reality”

“Man—the Measure of all Things”

“The Hero as Artist”

“Protest and Communication”

“Grandeur and Obedience”

“The Light of Experience”

“Heroic Materialism”

Civilisation’s “The Hero as Artist”

For an introduction to these series, see here.

Below, some indented excerpts of “The Hero as Artist,” the fifth chapter of Civilisation by Kenneth Clark, after which I offer my comments.

Ellipsis omitted between unquoted passages:

In the Middle Ages men had been crushed by this [ancient Roman] gigantic scale. They said that these buildings must be the work of demons, or at best they treated them simply as natural phenomena—like mountains—and built their huts in them.

But by 1500 the Romans had begun to realise that they had been built by men. The lively and intelligent individuals who created the Renaissance, bursting with vitality and confidence, were not in a mood to be crushed by antiquity. They meant to absorb it, to equal it, to master it. They were going to produce their own race of giants and heroes.

In what is commonly described as the decadence of the papacy, the Popes were men of unusual ability who used their international contacts, their great civil service and their increasing wealth in the interests of civilisation. Nicholas V, the friend of Alberti and the humanists, was the first man who saw that papal Rome could revive the grandeurs of pagan Rome.

Pius II, a poet, a lover of nature and of beauty in all its forms, yet gave up his life in an attempt to save Christendom from the Turks. Even Sixtus IV, who was as brutal and cunning as he looks in the wall-painting by Melozzo da Forlo, founded the Vatican library and made the great humanist, Platina, its first prefect. Pope Julius II was able by magnanimity and strength of will to inspire and bully three men of genius—Bramante, Michelangelo and Raphael. Without him Michelangelo would not have painted the Sistine Ceiling, nor Raphael decorated the papal apartments, and so we should have been without two of the greatest visible expressions of spiritual power and humanist philosophy.

The above paragraphs remind me what Nietzsche said almost at the end of his Antichrist: that without the Reformation and Counter-Reformation these rather pagan popes would have brought Christianity down. Clark continues:

The old St Peter’s was one of the largest and most ancient churches in the western world, and certainly the most venerable. Julius decided to pull it down and put something far more splendid in its place. The first step in this visible alliance between Christianity and antiquity was taken when Julius decided to pull down the old basilica.

The men of fifteenth-century Florence had looked back eagerly to the civilisation of Greece and Rome. They sought for ancient authors and read them with passion, and wrote to each other in Latin. Their greatest source of pride was to write prose like Cicero. But the man who really assimilated antique art and recreated it, with all its expressive power made more vital and more intense, was Michelangelo.

Seen by itself the David’s body might be some unusually taut and vivid work of antiquity; it is only when we come to the head that we are aware of a spiritual force that the ancient world never knew. I suppose that this quality, which I may call heroic, is not part of most people’s idea of civilisation. It involves a contempt for convenience and a sacrifice of all those pleasures that contribute to what we call civilised life. It is the enemy of happiness.

And this of course can only remind me of Harold Covington’s extreme contempt for those so-called “nationalists” who watch TV while eating so tasty Nachos that only grow their bellies; always reluctant to come home and fight for the creation of a new nation. Clark continues:

And yet we recognise that to despise material obstacles, and even to defy the blind forces of fate, is man’s supreme achievement; and since, in the end, civilisation depends of man extending his powers of mind and spirit to the utmost, we must reckon the emergence of Michelangelo as one of the great events in the history of western man.

[His drawing of Battle of Cascina] was the first authoritative statement that the human body—that body which, in Gothic times, had been the subject of shame and concealment, that body which Alberti has praised so extravagantly—could be made the means of expressing noble sentiments, life-giving energy and God-like perfection. It was an idea that was to have an incalculable influence on the human mind for four hundred years.

And this brings us back to Rome, and to the terrible Pope. Julius II was not only ambitious for the Catholic Church: he was ambitious for Julius II, and in his new temple he planned to erect the greatest tomb of any ruler since the time of Hadrian. It was a staggering example of superbia; and Michelangelo at that time was not without the same characteristic. I need not go into the question of why the tomb was never built. There was a quarrel—heroes do not easily tolerate the company of other heroes. Nor does it matter to us what the tomb was going to look like. All that matters is that some of the figures made for it survive, and they add something new to the European spirit—something that neither antiquity nor the great civilisations of India and China had ever dreamed of. As a matter of fact the two most finished of them were derived from antiques, but Michelangelo has turned them from athletes to captives, one of them struggling to be free—freedom from mortality?—and the other sensuously resigned.

People sometimes wonder why the Renaissance Italians, with their intelligent curiosity, didn’t make more of a contribution to the history of thought. The reason is that the most profound thought of the time was not expressed in words, but in visual imagery.

For centuries writers on Michelangelo have criticised Julius for taking him off the tomb, on which he had set his heart, and putting him to work on the painting of the Sistine Ceiling, although he always said he hated the act of painting.

Michelangelo’s power of prophetic insight gives one the feeling that he belongs to every epoch, and most of all, perhaps, to the epoch of the great Romantics, of which we are still the most bankrupt heirs. It is the attribute that distinguishes him most sharply from his brilliant rival, Raphael. Michelangelo took no interest in the opposite sex; Leonardo thought of women solely as reproductive mechanisms. But Raphael loved girls as much as any Venetian.

The convention by which great events in biblical or secular history could be enacted only by magnificent physical specimens, handsome and well-groomed, went on for a long time—till the middle of the nineteenth century. Only a very few artists—perhaps only Rembrandt and Caravaggio in the first rank—were independent enough to stand against it. And I think that this convention, which was an element in the so-called grand manner, became a deadening influence on the European mind. It deadened our sense of truth, even our sense of moral responsibility; and led, as we now see, to a hideous reaction.

Civilisation’s “Man—the Measure of all Things”

For an introduction to these series, see here.

Below, some indented excerpts of “Man—the Measure of all Things,” the fourth chapter of Civilisation by Kenneth Clark, after which I offer my comments.

Ellipsis omitted between unquoted passages:

The Pazzi Chapel, built by the great Florentine Brunellesco in about 1430, is in a style that has been called the architecture of humanism. His friend and fellow-architect, Leon Battista Alberti, addressed man in these words: ‘To you is given a body more graceful than other animals.’

There is no better instance of how a burst of civilisation depends on confidence than the Florentine state of mind in the early fifteenth century. For fifty years the fortunes of the republic, which in a material sense had declined, were directed by a group of the most intelligent individuals who have ever been elected to power by a democratic government. From Salutati onwards the Florentine chancellors were scholars, believers in the studia humanitatis, in which learning could be used to achieve a happy life.

In Florence the first thirty years of the fifteenth century were the heroic age of scholarship when new texts were discovered and old texts edited. It was to house these precious texts, any one of which might contain some new revelation that might alter the course of human thought, that Cosimo de Medici built the library of San Marco. It looks to us peaceful and remote—but the first studies that took place there were not remote from life at all. It was the humanist equivalent of the Cavendish Laboratory. The manuscripts unpacked and studied under these harmonious vaults could alter the course of history with an explosion, not of matter, but of mind.

The discipline of trade and banking, in its most austere form, was beginning to be relaxed, and life—a full use of the human faculties—became more important than making money.

The dignity of man. Today these words die on our lips. But in the fifteenth century Florence their meaning was still a fresh and invigorating belief. Gianozzo Manetti, a humanist man of affection, who had seen the seamy side of politics, nevertheless wrote a book entitled On the Dignity and Excellence of Man. And this is the concept that Brunellesco’s friends were making visible.

Gravitas, the heavy tread of moral earnestness, becomes a bore if it is not accompanied by the light step of intelligence. Next to the Pazzi Chapel are the cloisters of Santa Croce, also built by Brunellesco. I said that the Gothic cathedrals were hymns to the divine light. These cloisters happily celebrate the light of human intelligence, and sitting in them I find it quite easy to believe in man. They have the qualities that give distinction to a mathematical theorem: clarity, economy, elegance.

Alberti, in his great book on building, describes the necessity of a public square ‘where young men may be diverted from the mischievousness and folly natural to their age.’ The early Florentine Renaissance was an urban culture, bourgeois properly so-called. Men spent their time in the streets and squares, and in the shops.

Elsewhere I’ve talked about how the modern world of money is inimical to racial interests. As to date, no white nationalist that I know has criticized the barbarous architecture, symptomatic in the worshiping of the new god of capitalism, so well epitomized in both London and New York: the subject of the last episode of Civilisation.

Together with the degenerate music, TV and Hollywood tastes and sexual lifestyles of some nationalists, architecture is another facet where the uncorrupted individual can read the signs of a decadent society; and why he cannot blame non-gentiles for all our problems when even the nationalists themselves are part of this problem.

Remember Clark’s words in the first episode? “If I had to say which was telling the truth about society, a speech by a Minister of Housing or the actual buildings put up in his time, I should believe the buildings.” One only has to contrast the completely soulless edifices we see everyday going to work with Raphael’s town square and see how extremely degraded, Mammonesque in fact our large cities have become.

In the popular imagination, the extreme examples of this degeneracy are the Foundation novels of Asimov and the latest Star Wars films, where a whole planet has become metropolis: the exact opposite of the most humane sci-fi novels by Arthur C. Clarke where, like the Florentines, the white people lived in small Elysian towns. Architecture today is so degenerate that even Roger Scruton in Why Beauty Matters—a 2009 BBC documentary that, unlike Clark’s Civilisation, is marred by the constant presence of non-whites—pays special attention to the sterile architectural forms of today’s world.

I wish young nationalists became believers in the studia humanitatis and familiarise themselves with those intellectuals in the movement that (like Clark) have a much broader sense of European culture than the common white nationalist blogger. I refer to people like Tom Sunic in Europe and Michael O’Meara in America. Both could help us to leave behind the provincial scene so common in the nationalist sphere as well as the simplistic single-cause hypothesis.

It is true that, unlike the Athenians, fifteenth century Florentines were chiefly interested, like contemporary western man, in making money. But like the Athenians the Florentines… loved beauty. Of the landscapes whose beauty mostly caught my attention during a trip through Europe by train, I still remember the Italian, about which Clark said:

Looking at the Tuscan landscape with its terraces of vines and olives and the dark vertical accents of the cypresses, one has the impression of timeless order. There must have been a time when it was all forest and swamp—shapeless, formless; and to bring order out of chaos is a process of civilisation.

Then, in the first years of the sixteenth century, the Venetian painter Giorgione transformed this happy contact with nature into something openly sensual. The ladies who, in the Gothic gardens, had been protected by voluminous draperies, are now naked; and, as a result, his Fête Champêtre opens a new chapter in European art. Giorgione was, indeed, one of the inspired, unpredictable innovators who disturb the course of history; and in this picture he has illustrated one of the comforting illusions of civilised man, the myth of Arcadia, which had been popularised some twenty years earlier by the poet Sannazaro. Of course, it is only a myth. Country life isn’t at all like this, and even on a picnic ants attack the sandwiches and wasps buzz round the wine glasses. But the pastoral fallacy had inspired Theocritus and Virgil, and had not been unknown in the Middle Ages. Giorgione has seen how fundamentally pagan it is.

True, but I don’t believe that the pastoral fallacy is childish. Pace Arthur Clarke, achieving Arcadia is an essentially psychogenic endeavour rather than a technological one. And I sincerely believe that utopia is feasible: only human primitivism, and especially the “monsters from the Id” currently affecting the white peoples, prevent it.

It has long seemed to me wise thinking about an ideal to direct our efforts toward it. It doesn’t matter if the ideal encounters numerous pitfalls: our will should incessantly be directional toward the worlds of the Florentine Fête. If the will of a sufficiently massive amount of white people is noble, the outside world can and will only represent the nobility of that will. Clark said:

With Giorgione’s picnic the balance and enjoyment of our human faculties seems to achieve perfection. But in history all points of supposed perfection have a hint of menace; and Giorgione himself discovers it in that mysterious picture known as the Tempesta.

What on earth is going on? What is the meaning of this half-naked woman suckling a baby, this flash of lightening, this broken column? Nobody knows; nobody has ever known.

To me the meaning is obvious. Even since the Renaissance artists started to see that the cities, more inclined to Mammon than to Raphael’s square, were places of tribulation in contrast to the madonna and her child with the man standing in contrapposto. Broken pillars often symbolize death (that bucolic world was about to die), and the painting’s storm in the background could be interpreted to symbolize urban turmoil.

In the last entry both Clark and I discussed Francis of Assisi: a saint who in Spanish language we call San Francisco. Colonists from Spain, who established a fort at the Golden Gate, named the Californian city after St Francis in 1776. Like London and New York, the modern city of San Francisco is a good paradigm to illustrate my interpretation of the Tempesta.

It should be a no brainer—and I am astounded that recently my frankness caused much offence in a well-known nationalist who lives in the Sin City—that white people of sound mind find it rather awkward to reproduce in such a town. I will repeat here my diatribes already written in the threads even if, by doing it, I completely part ways from the candid gentleness of the hero of this series, Kenneth Clark.

In the 1980s I lived in the Bay Area and noticed the cultural gulf between the inhabitants of the city of San Francisco and the family-oriented town of Novato in Marin County at the other side of the Golden Gate, where I lived. I felt the difference between the Sin City and Novato as conspicuous as the two sides of the border with my native Mexico. No hyperbole: that’s what I felt.

How could millions of healthy white families possibly thrive in Sodom, or in Gomorrah? The mere sight of the pink and blue sodomites inhibits altogether our wish to have lots of kids. The visual experience of constantly watching on the streets such rape—that is the exact word—of the beautiful San Francisco of yore inhibits the Aryan soul from founding large families. This is exactly the same psychological phenomenon of watching swarms of Mexican browns and even yellows throughout California.

A few months ago I rewatched Hitchcock’s Vertigo after decades of not seeing it. The movie made me feel extremely dismayed, and therefore my hatred skyrocketed toward the cultural rapists that turned such a beautiful city into Gomorrah. It doesn’t matter that, as an ultraliberal German blogger told me, “these gay demonstrations are neither frequent nor ubiquitous.” The general rape, not only by homos, of the old city is so ubiquitous that, if I had real political power, I’d send the cultural rapists straight to my trains with a one-way ticket you know where.

One of the reasons why I believe that American-style “white nationalism” is phony is precisely because the whole movement is, at least partially, dissociated. With the exception of Harold Covington the movement smells to ink, not gunpowder. Shouldn’t it be more than obvious that, for a nationalist of truly sound mind, the Gomorrahites that brought toddlers to a Sadomasochist Fair in San Fran would have to wear Rosa Winkel camp badges, and subsequently sent to Auschwitz II?

The only way that my passion would be misallocated is that the aggressiveness of the “gay movement” in San Francisco be perfectly compatible with Norman Rockwell’s America. But truly honest nation-builder nationalists know all too well in their hearts that pink and blue wild men (see link above) are inconceivable in the Rockwell world, don’t you?

Coup d’Etat in Greece and Italy?

These liberal guys are not exactly my kind of pals, but at least I admire their courage and make me wonder: Why are the recent happenings in Greece and Italy not been properly discussed in the nationalist blogosphere?