Northwest Volunteer Army’s

General Order Number Four:

“No Jew or other non-white person, no homosexual, and no white person engaged in interracial sexual activity shall reside within the boundaries of the Northwest American Republic, or within any area of NVA operations. NVA field commanders shall deal with violators of this General Order at their discretion…”

For the context of General Order #4 see here; for excerpts of the whole book see here; for obtaining a copy of the book or joining the Northwest Front, visit the webpage (see first comment below).

“Once Obama amnesties those wetbacks…”

Rarely do I follow the news in this blog. But the recent Supreme Court decisions against Arizona and for ObamaCare—the Old United States no longer exists: those decisions were the final nail in the coffin—remind me Harold Covington’s scolding of coward conservatives:

Tom Sunic on Covington’s novels

One must mention the name of Harold A. Covington, a postmodern novelist whose works represent a good Bildungsroman for any White nationalist. Over several thousand pages, Covington uses the classic approach in the description of postmodern heroes who always try to surpass themselves—in the face of cosmic vagaries.

However, the plots of his best-known war novels are not situated in ancient Greece or Rome, but in a balkanized and dying America. Covington is also an author of several historical novels whose plots revolve around 15th- and 16th-century Europe. His war novels, therefore, may be the reason why his message may be closer and more comprehensible to a modern reader than Homer and the ancient classics.

♣

Let us leave aside the political plausibility or post-historical veracity of Covington’s novels dealing with the war of White independence at the beginning of the 21st century in the Pacific Northwest. What needs to be singled out in Covington’s prose is his language, his ability to construct both real and surreal plots, and above all his skill to administer a good dose of empathy with his diverse characters.

And indeed there is a whole gallery of diverse characters in his novels—from disfranchised poor Whites from the South who were once victims of positive discrimination and who have now landed in the embattled Northwest, to ritzy and sold-out WASP politicians in DC, vying to be more Jewish than the Jews themselves. Each of his numerous characters is carefully situated in his own timeframe, each carrying his own clusters of conflicting memories, often haunting him for the rest of his life.

Covington, as much as he dissects the mindset of his warring heroes does not just examine their self-proclaimed racial awareness, but focuses instead on their historical consciousness. The reader won’t find characters blaring “White power!” or sporting swastikas, or endlessly debating about the ominous Jews. The frequent monologues by his characters bear witness that their individual memories are seldom sweet. Even in a pristine environment of the Northwest Republic, residents are immersed in their own Shakespearean dilemmas of being vs. not being.

In most cases the racial awareness of Covington’s characters is coupled with their reminiscences of the haunting times of bygone eras. Thus, in his latest novel Freedom’s Sons depicting the nascent Northwest Republic, we come across a man who serves as one of the chiefs of the Northwest secret police. But this man has also a past; he is not just an empty White slate. His grandparents, back in the mid-20th century had fled communist Czechoslovakia and settled in the city of Chicago—only to discover another form of paleo-communist aka liberal insanity. Their progeny, the future settlers in the Northwest, realized that in the land of the free and the home of the brave, they were not just subjects to the terror of affirmative action, but also victims of serial burglaries and rampant Black crime. Finally, after much procrastination they decided to move to the Northwest, encountering on their way both physical and psychological roadblocks which in many ways reflected the predicaments they had once encountered in communist Europe.

__________________________

Tom Sunic’s full article can be read here and here.

Fuck Hollywood!

Now that we are talking about why overt, out-of-the-closet homos such as James O’Meara (who must not be confused with Michael O’Meara) and Jack Donovan should not be given platforms in white nationalist forums, a recent comment in a previous post moved me to collect the following comments in related threaded discussions.

I refer to Greg Johnson who, under the penname of Trevor Lynch, extraordinarily reviewed Quentin Tarantino’s Pulp Fiction (below I changed textual references to “Lynch” as “Johnson”). Johnson’s review was sectioned in two parts. Let’s start with the second.

For obvious reasons, the first commenters to jump on that thread were O’Meara and Donovan. I was the third one to comment, the dissident voice. Pay special attention to my words way below in this post in the context of what I recently said in Gitone’s magic (“Just compare this homosexual shit [two whites raping a Negro] with the Platonic love for Tadzio in Death in Venice: one inspires the sensitive soul and the other trashes the god Eros”).

After the cheers that Johnson got from O’Meara and Donovan for his favorable review of this filthy film, the most frank criticism I found about Johnson’s bizarre review came out from Howard.


John Norman Howard commenting on Johnson’s review…

 “Yes, Pulp Fiction contains interracial couples, villainous bumbling whites, and noble, eloquent blacks. One just has to look beyond the casting to the story itself.”
[in Johnson’s review]

The eyes are the window to the soul. The outward appearance of the characters is anything but superficial: one would have to look beyond the casting, the scenes, and the dialog as well. Sorry, but Fail one.

 “Pulp Fiction is only superficially anti-white. On a deeper level, it can aid us in rejecting modernity and recovering the spiritual foundations of something better.”
[in Johnson’s review]

Fail two. It’s overtly anti-White or at best, pro-diversity: which in the end analysis is White genocide. Big talk of “honor” yet admitting it was merely an opportunistic double-cross in the end? Can’t have it both ways, mate. And the whole “watch in the rectum” thing was just another of Tarantino’s gratuitous homosexual jokes. Just like the whole hillbilly pawnshop luridness. Whether you want to credit him for using Walken in the way Walken seems to work best, well. Funny in the usual South Park manner, but certainly not “genius”.

Greg Johnson said…

Your eyes might be the windows to your soul, which is what that saying means. But it certainly does not mean that your eyes are the windows to other people’s souls, or that they penetrate to the essence of whatever surface they light on.

John Norman Howard said…

I know what the saying means. My point is, the outward appearance of the characters in the movie are said movie’s “eyes”, as it were. Hence, one can readily see the indisputable “soul” of the movie. Leastwise, those of us with eyes to see, and without the scales of our pet theories, notions, and pseudo-intellectual baggage covering them.

I said…

I cannot conceive any good film featuring a black married to a white girl [as in Pulp Fiction] unless the film has an explicitly pro-white message, which obviously every film by this repulsive being [Tarantino] lacks.

The film starts with a white man with his white girlfriend assaulting a restaurant: the opposite of what usually happens in the real world, as revealed by color of crime stats. At the end of the film we see a flashback in that very restaurant with a spiritually powerful black man lecturing the weakling white robbers. Other instances of inverted travesties in Pulp Fiction could be cited, but it is unnecessary.

Art

True filmic art, like Death in Venice or Andrei Rublev inspires people. But in this decadent century only a handful of Hollywood films have inspired me. Ninety-nine per cent of them are so replete with anti-West, multicult messages that almost every time I visit the theaters I feel morally raped.

In the other thread I said that one of my sisters sings classical music hymns. When Pulp Fiction appeared instead of finding inspiration she felt visually raped. My sister is very sensitive, and the scene of the silent masked man referred to as “the gimp” (the one who was awakened up from a S&M dungeon to watch a tied-up Butch) shocked her deeply. Just compare this homosexual shit with the Platonic love for Tadzio in Death in Venice: one inspires the sensitive soul and the other trashes the god Eros. The same with Tarantino’s violence: unlike the gratuitous violence in Pulp Fiction a group of Tatars raid the city of Vladimir in Andrei Rublev: a historically accurate and shocking yet inspiring sequence for white viewers.

It could be argued that art depicting a decadent culture is still art, for instance Polanski’s Bitter Moon; the film by the Mexican director Alfonso Cuarón, Children of Men and, according to Johnson, Pulp Fiction.

My trouble with this approach is that all of these films have contributed to debilitate the spirit of the westerners. Like the character Vincent in Pulp Fiction, Bitter Moon reflects how the extremes of the hedonistic lifestyle in Paris are leading the French to ethnical suicide, literally. Like Pulp Fiction, in Children of Men the message is traitorously inverted: the white hero must save a black baby from extinction in a dying world that is no longer breeding any babies.

Yes: there is art in both Polanski and Cuarón’s films. But since their message hurts the Western soul Howard’s reply to me in the other thread is worth reciting: “Exactly… and kudos on mention The Brigade for its much-needed hammer on Hollywood and how to handle that sewer”.

Johnson deleted this comment by Howard.
In the other thread about the same film,
Part 1 of Johnson’s review:

Joe Owens said…

Whatever moral message Pulp Fiction is supposed to convey is well and truly lost in all the filth it’s wrapped up in. I’m sure we can find some moral reasoning in all this twisted rubbish. Yes, what about Inglourious Basterds or Hostel: Part II by Quentin Jerome Tarantino? Come on, time to leave this filth to the cranks and Jews who produce it!

Uncle Fritz said…

Good heavens: I thought it was just me!! I couldn’t even get through the damned film—after two attempts. Maybe too much philosophical immersion really is a dangerous thing…

John Norman Howard said…

Exactly. Pulp Fiction is the product of an unsound mind, and bestowing it with all this metaphysical mumbo-jumbo accolades is laughable.

It’s natural that a generation raised upon South Park would find it “deep” and “innovative”. But the bottom-line is this: The only thing remarkable about the film is that it marks a true line of demarcation in American culture (such as it is) whereby trash cinema passes as art, and an overt “up yours” to Whitey previously witnessed only in the most prurient blaxploitation junk of the seventies.
I’ve always found it serendipitous that this film’s release and subsequent lionization occurred at about the same time as the O.J. murders. Another stark line of demarcation in America’s racial demise.

Iranian for Aryans said…

Amen! The same can be said of everything popular, especially what passes for music.

Joe Owens said…

Why are you spoiling the pages of Counter Currents with this rubbish??? Shabbos Goy movies shouldn’t be praised by white nationalists. Come on, let’s get back to basics, Greg Johnson, I think you’re partying too much!

I said… (responding to Meh)

“Anyone expecting explicitly pro-white movies in this era might just as well stop watching movies.”

Ergo, I have stopped watching films—though as a big fan of the seventh art I still continue to watch the classics. Yesterday for example I saw the original, black-and-white version of The Hunchback of Notre Dame.

“Art, even decadent art, can be worth something…”

Rubbish. Please, see “The Philosophy of Beauty”, a six-video series in the playlist presently featured at The Occidental Observer.

I was born in a family of artists. Real artists I mean. So it’s easy for me to distinguish real art from “decadent art” (an oxymoron).

If I had children I would never allow any of them watching how two white males sodomize a Neanderthalesque nigger [see the Pulp Fiction photo above]. Never. How grotesque! (Not grotesque of the sublime kind, like the shots of Quasimodo at the upper balcony of the cathedral, saying to the gargoyles, “Why was I not made of stone, like thee?”) What a travesty of what is really happening in America (blacks raping whites)!

In The Brigade Covington makes a point: when secession war begins, the only thing that could defeat white revolutionaries is… Hollywood! Actually the climax of the novel is the way the revolutionaries finally hit Hollywood.

I would recommend all nationalists to stop watching modern films and use that time to read The Brigade.


Postscript note:

In Covington’s latest novel about how our new country will look like, all of this Hollywood rape scenes, which can only turn on our decadent nationalists, will be forbidden for our budding families (“The theaters were showing virtually nothing made after 1965 or so”). Instead, inspiring films, the polar opposite of the Tarantino degenerate scum, will be exhibited in the theaters such as Frank Capra’s It’s a Wonderful Life.

Let me finish this post with another comment that Johnson deleted when, last year at Counter Currents, I dared to criticize another silly review of another Hollywood movie.

When Johnson argued that his deep philosophical interpretations of the movies were pertinent, my response was: “I prefer Covington’s approach,” and quoted directly from his last novel:

“The once vibrant city of San Francisco, officially deeded by the Aztlan government to a huge ‘gay community,’ had lost two thirds of its population owing either to death from phosgene and sarin gas, or else through flight away from the V-3s. The section of the white and Jewish entertainment industry that had remained in Hollywood and their mansions in Beverly Hills, Santa Monica and Carmel being sacked and plundered by mobs of campesinos.”

That’s the spirit! That’s the way all true nationalists should handle the Hollywood foe once our nation is established…

Pseudo-men in white nationalism

At Counter-Currents, today Greg Johnson did not let a comment of mine pass through (slightly edited below). Apparently, frank criticism of overt homosexuality is not allowed in his forum:

In previous entries I expressed my dismay about the degenerate musical tastes so common among white nationalists. And today I felt disappointed about the cheers that Jef Costello’s latest article has received here.

Last January, in his review of Fight Club Costello wanted us to believe that a film that starts with rock music, based upon a nihilistic novel authored by a homosexual author, Chuck Palahniuk, when properly interpreted deals with rebellious, healthy fascist moods that could lead our young toward masculine identity. Similarly, in today’s article Costello favorably reviews the book of another overt homosexual, Jack Donovan, again as exemplary to inspire the young on how to become more masculine.

Hello? I mean: Am I living in a different planet? How on Earth a nationalist site that purports to defend traditional, white interests ends up promoting the views of out-of-the-closet homosexuals?

In first place, neither Palahniuk nor Donovan—the latter, a featured author in Alternative Right—promote white interests. It should be a no-brainer obvious to Kindergarten kids that no overt homosexual who sells that sort of behavior as something healthy ought to be accepted in the white nationalist community.

And now that I have mentioned Alternative Right it’s worth saying that I find it ironic that Sebastian Ernst Ronin, who looks old, slim and weak in his videos is, according to my standards, far more manly, honorable, valiant and honest that the macho-type behavior that Palahniuk or Donovan promote. In his latest article Ronin wrote:

“White Nationalist” organizations and political parties indirectly endorse the betrayal of the White Race; they are reactionary and not, relative to current conditions, dynamics and opportunities, revolutionary…

This reactionary tendency in the White Nationalist community is most professionally exhibited by the American Third Position and most “unprofessionally” exhibited by the American National Socialist Movement. Between these two extremes of blind and blinder strategic forecasting are upstanding organizations such as American Renaissance, the Council of Conservative Citizens, and such minor New Right poseurs as Counter-Currents Publishing, Alternative Right, and Youth for Western Civilization, the latter being the most notorious for confusing crass Amerikan jingoism and exceptionalism for Occidental nobility.

I agree with Ronin’s last words in that article: “It is a binary world. One is either in or one is out” referring to the mental gulf between mere reactionaries and true revolutionaries. But promoting “gay” authors is not even “reactionary”! Furthermore, Alternative Right, where Donovan publishes, is a classic example of a “nationalist” organization repacked, as Alex Linder says, as implicitly conservative. This is not an organization that looks forward for a glove to be turned inside-out. Ronin reminds us that a paradigm shift literally means a transition onto and into a new world (see for example how my recent entries end with the Nietzschean call “Umwertung aller Werte!” here and here).

Ronin also points out, accurately, that these implicit conservatives ignore the fact that, due to the peak oil crisis (and I would add the coming crash of the dollar), both the US and Canada will collapse, and that the planet’s population will be reduced by the billions by the century’s end.

But back to Costello, Donovan, Palahniuk—and Greg Johnson who seems to be fond of such writers to the point of publishing them. See my lengthy response to Johnson’s views on homosexuality in “Gitone’s magic.”

Since out-of-the-closet homos obviously won’t be empowered in the coming ethnostate, it is refreshing to learn that Ronin spares the Northwest Front from his harsh criticism. Unlike the other blogsites and organizations, the NWF does not consist of implicit conservatives, gayish or pseudo-masculine, albeit “macho” types.

For an apatride like me, I am tempted to conclude this post saluting the banner that will be the banner of my Judenfrei, gay-free, feminist-free, truly manly country:

“Join me comrades. Join me here in the Northwest homeland, where you belong!”

“How long are we going to be yellow dogs?”

(Extracted from Harold Covington’s #5 Radio Free Northwest podcast.)

Listen to uncle Harold!

See also this recent entry