The last of the Starks

‘The Last of the Starks’ is the fourth episode of the eighth season of HBO’s fantasy television series Game of Thrones, and the 71st overall.

As I said in the previous instalment of this series, ‘The Long Night’ is so exciting that the anticlimax is unwatchable. If I had directed the show, in addition to removing feminism from it; the soft-porn scenes, Arya’s psycho traits, and putting Theon as the late hero instead of an heroine, I would’ve ended the series by filming, in this episode, Bran’s coronation after Jon led a mass cremation funeral for the dead (the latter we do see in the HBO series).

In that way the series wouldn’t have ended in the eighth season but in the seventh, in 2017: this eleventh episode being the anticlimax (something common in masterpieces of literature).

If you look at the popularity statistics for Game of Thrones, after Arya killed the monarch of the white walkers and the wights, the Night King, the fan acceptance plummeted. On the one hand I am pleased, although anti-feminism wasn’t the cause of the repudiation of this season but the blunder of squeezing all the complex plots pending in a couple of episodes.

The feminist messages that continue in this episode are not worth describing further, except that while watching ‘The Last of the Starks’ tonight I counted two of them.

Against Semitic verbiage

Vig said:

Studying the Aryan (European) history it is obvious that we are gifted with a tremendous capacity to create visual beauty in art. The Greeks were a shining example of this. This is a right brain faculty.

So the Aryan mind prefers to think in pictures but spoiled his mind by getting used to this rotten alphabet. The Anglo Saxons are proof of it.

My two cents:

This is exactly why I decorate this site with the images that can be seen both on the sidebar and in my very brief entries: something that doesn’t exist in the verbiage of left-brain white nationalism.

The ideal would be to rebuild the handsome temples that the Christians demolished to follow the advice of Manu Rodríguez (pages 148-50 of The Fair Race).

Pride and Prejudice (2005 adaptation)

In the early hours of the day after midnight, I began to watch once again the 2005 film Pride and Prejudice, based on Jane Austen’s novel. I felt really tired and had to suspend the function, already after two in the morning. I left when, advised by Mr. Darcy, Mr. Bingley struggles with himself to propose to Jane Bennet. Tonight I will see the rest.

Over the years I have talked about that movie, even since the old incarnation of this site. While what I said last week is true, that even seemingly benign films contain a subversive mustard seed that can grow, in this P&P adaptation there is no bad seed. It is a movie that may well have been filmed in a parallel world in which Hitler had won the war.

There are several readings we could make of the film. Personally, the actress who plays the blonde Jane represents, in flesh and blood, the ethereal nymphs that I place on the sidebar: the inspiration of David Lane. If there is something that I fail to understand in the white nationalist movement, it is this lack of praise for the most beautiful specimens of the Aryan race. I just do not get it. Eros’ force about women like Jane should, on its own, move millions of whites to Lane’s words. And I don’t mean only ‘That the beauty of the white Aryan women shall not perish from the earth’, but the consequence of Eros, lots of children: ‘We must secure the existence of our people and a future for white children’.

The other issue is marriage. If ours is the darkest of all times, it is because they inverted values in everything related to sexuality and the reproduction of the Aryan race. Needless to say, salvation consists of transvaluing values as they were before, in the world of Austen. But with the exception of Anglin and Devlin, who, among the white nationalists, insists so much on the subject? This is one of the many reasons I don’t take the movement seriously. In Hitler’s Germany, on the other hand, the sacredness of marriage and Aryan reproduction was primordial.

As I said, tonight I will finish watching the movie where I left after midnight. Those who want to capture the spirit of this site, what moves me to write, will have to buy the DVD of P&P and watch it from time to time. The music of Dario Marianelli, the landscapes of bucolic England, and even the buildings—for example when Mr. Darcy proposes to Elizabeth—should move the deepest fibre of the white man.

If you visit my Facebook or Twitter pages, you will find the same painting of Claude le Lorrain above the pages. It is known that the wealthy 19th-century English tried to bring the beautiful architecture of some paintings of le Lorrain (paintings that I contemplated during my last visit to London’s museums) to the countryside of the island. The building that served as a refuge from the copious rain for the future couple, when Mr. Darcy proposes to Elizabeth, is the perfect framework for the fourteen words (or twenty-eight, if we are to count the two meanings of the Lane words).

Art, architecture, Aryan beauty, Puritan sexual customs, the 14 words, good music (the very antithesis of what whites listen today), bucolic landscapes—it is all the same. Hitler, who sometime in his life wanted to be an artist, saw it clearly. When will white nationalists see something so obvious?

Hitler v Siege

Face it: The Aryan race is so starved of inspiring stories like LOTR that you ought not to be surprised that GOT (visually, pure Aryan esthetics), which was written as a response to Tolkien, became the most popular series of the decade. But since the grand finale it has come to my attention that, unlike Patrick, very few commenters add something substantial about what I have been saying about Game of Thrones.

I think that is due to a terrible way of understanding education. Except for Vig, few commenters have an artistic background. Unlike Hitler, who liked classical music, painting and the old architecture of Italy so much, the common white advocate lives under the mistaken impression that the West can be recovered using only the left hemisphere of his brain (say, the dry academic articles published by MacDonald in his webzine).

That could not be farther from the truth! Remember that it is the stories that galvanise the white population, like all those stories of the epics that inspired J.R.R. Tolkien and George R.R. Martin for their novels. Only this explains the tremendous success of LOTR and GOT in the Aryan community. Hitler also understood this by wanting to popularise the Germanic myths that Richard Wagner rescued for his people. What we see in the revolutionary wing of the white cause is exactly the opposite of Hitler’s spirit, and Siege’s case symbolizes it.

Before I distanced myself from James Mason because of his ignorance, I tried to Europeanise Siege a bit using, for my Daybreak Press, a cover with a painting by Spanish painter Francisco Goya.

But I was wrong: the stark illustration of the original (reproduced below) is the one that actually reflects the content of the book. Two days ago Krist Krusher said in the comments section of this site:

“Siege-tard” is a term I myself created to describe those who you would call crazed dogs howling at the moon [Note of the Ed.: see The Fair Race, pages 647-51]. In the past I read Siege around the same time I read Ironmarch and was not very impressed. I investigated James Mason and became thoroughly unimpressed after I noticed his sudden change of personal faith: he went from being an atheist to being a sucker for the Jebus myth after the Larsson interview! Why?

Sometimes I still try to read what former Ironmarchers write these days and the current “successor” website is a shell. Ironmarch had problems but it was a decent communication center for real fascists. The present “continuation” [like James Mason, they admire Charles Manson too – Ed.] is an abomination.

“Fascist Forge” is about as fascist as Deviantart; garish web design that even the Italian futurists would reject, hideous psychedelic imagery masquerading as art on one thread, degenerate stories with themes of homosex and vore on another, caricatures of real NS—men photoshopped to have glowing red eyes and inverted xtian symbols for user avatars—, it stands as a proud bastion of what Siege readers become as a group. They even call historical fascists like Jose Antonio Primo de Riveria and Mosley “archaeo-fascists” and think everything on the line of “those guys like Hitler are dead. We live therefore we decide everything”!

Even on /pol/ Siege is seen as a joke. To read or write anything on Siege—even regarding the merits of what it has to offer revolutionaries—is to be seen as the dumbest of subhumans.

But it is useless to ask these people to abandon their ways and begin to make some contact with the old culture.

I would like to confess something that happened in my mind in 1996, when I got in my car and drove to the border with the United States in order to emigrate. Already on the other side (I passed legally), the first thought that came to me was that what I saw was ‘the country of absolute Neandertalism’ in the sense that, compared to the old European architecture (and remember that that was Hitler’s inspiration for his New Europe), the US was an empty shell. That happened to me while I was already driving on the roads of Texas on my route to Houston.

The souls of the Siege-tards are as desolate as the landscape I saw from my Shadow Chrysler more than twenty years ago. And that is an endemic problem even among non-revolutionaries, who also don’t make deep contact with European art.

Before the accident that forced me to become the Three-Eyed Raven (I don’t mean Bran, but the old man entangled in the tree) I had wanted to be a film director. Had I reached the peak and filmed Game of Thrones, my adaptation of Martin’s novels would not have been plagued by the feminism we saw in the HBO series. But the art that can potentially captivate the white race is all there, in those epic stories adapted to visual stories for the contemporary palate. Something like a Wagner of the 21st century: television series that the Nazis would surely be filming if Hitler had won the war.

What I want to communicate is the great going astray that represents everything related to American psycho Charles Manson. I would paraphrase Jordan Peterson in the sense that the recovery of the West must be initiated by cleaning our bedroom, yes: but emphasising that the bedroom—our soul—must be arranged based on the best art created by the fair race.

A grim vision like the one on the book-cover that appears within Krusher’s quote will never captivate the race. It’s time to leave Siege in the bookshelf and order a copy of Hitler’s Table Talk. After all, ‘The sign of the times is degeneracy. This term—degeneracy—sums up all that is happening to the West’. This includes Manson fans and SIEGE-tards.

Chirico’s gloomy melancholy

The previous epistle by Vig has reminded me Jungian Aniela Jaffé’s article ‘Symbolism in the visual arts’ in Man and his Symbols, where she wrote the following about the Italian Giorgio de Chirico’s paintings:

‘They are dreamlike transpositions of reality, which arise as visions from the unconscious. But his “metaphysical abstraction” is expressed in panic-stricken rigidity, and the atmosphere of the pictures is one of nightmare and fathomless melancholy. The city squares of Italy, the towers and objects, are set in an over-acute perspective, as if they were in a vacuum, illuminated by a merciless, cold light from an unseen source. Antique heads or statues of gods conjure up the classical past…

In Chirico’s Song of love the marble head of the goddess and the rubber glove are crass opposites. The green ball seems to act as a uniting symbol…

Some of his pictures are extremely disturbing; many are as terrifying as nightmares. But in his effort to find artistic expression for the void, he penetrated to the core of the existential dilemma of contemporary man…

Chirico never came to a solution of the problem presented to him by the unconscious. His failure may be seen most clearly in his representation of the human figure. Given the present religious situation, it is man himself to whom should be accorded a new, if impersonal, dignity and responsibility’.

Dear Cesar,

Listening to the Waves by Vig

Let me be clear, I don’t need any advertising or publishing in WDH of the image I sent you. I am a Dutch sculptor and painter and recently sold a number of my works to private people in Germany whom I consider to be part of the true Germans, the German resistance so to say.

But, if you like it you are free to use the image. When you think it useful and appropriate you may use the image with the only condition that you put my name under it.

The reason I sent it to you is that reading your before last post on WDH I understood that you were struggling to give a verbal title to your trilogy.

Having read your posts for a few years now and then, I perceive you as an exceptional clear and honest mind. Also you are very sensitive to Aryan art, all together making your WHD to an exceptional platform. Your consistent analysis of the whole issue of Christianity and Judaism in our history is so spot on that I have only praise for it.

But most essentially I recognize the depth of your perception by way of the openness that you have displayed about the story of your childhood. Just reading your last post with translations of your trilogy concerning your understanding of your parents behavior and their psychological wounds the phrases like “killing your inner father and mother” come as a liberating truth because that is exactly what I went through. Sorry I don’t read Spanish but your English is clear enough.

That is why I said that your path has led you to a recognition of true spiritual significance. I had to get rid of my parents’ minds by going to India and practice Tibetan tantric techniques to cleanse my whole being of the influence of their emotional wounds, which basically is a being stuck in adolescence (12 to 13 years of age when sexuality sets in). That is why your insights have vast extents of meaning. “The West is sexually diseased”. Humanity is a nice idea, it is time to really put it into practice.

At present there is not much of a recognition publicly, but to my perception there is at least in Europe gathering an undercurrent of resistance which should not be underestimated.

The reason I responded to you with an image is that I think we have to support each other when recognition happens. I my case I can do that better with images because I am a visual thinker. Another thing is that although I am academically trained I see verbal expressions as necessary but only superficially penetrating peoples’ minds. The reality is that half of the mind is rational and verbal and the other half is visual and intuitive. That means an unbalance in using those capacities is reducing the effectiveness of communication.

I often wonder why you have so much energy responding to comments while it is often the question what is really the effect of it. For example, it is clear that the “Christian cucks” are souls that are emotionally false, very false, to the core even. The smell of it is intolerable. They will bend every word into a meaning suitable for them. So changing to Gestalt is more effective. Art could do the job.

So the whole thing of humanity is altogether of a different dimension. This whole modern indignation about the crimes of Nazi Germany is so thoroughly false and hollow seeing the present day practices of military powers like USA and UK and Israel, that one wonders how far we have sunk spiritually.

Your mention of a whole fresh start for humanity is a recognition of our spiritual nature. As far as the details of that is concerned the wisest of us will admit that it will not be a path of roses.

Hail to you,

Vig.

Darkening Age, 16

In chapter eight of The Darkening Age: The Christian Destruction of the Classical World, Catherine Nixey wrote:
 
People built themselves houses from the stones of the demolished temples. Look closely at the buildings in the east of the Roman Empire and you can see the remains of the classical tradition in the new Christian architecture: a pair of cut-off legs here; the top of a handsome Grecian column there.

One law announced that the stones from demolished temples should be used to repair roads, bridges and aqueducts. In Constantinople, a former temple of Aphrodite was used to store a bureaucrat’s chariots. Christian writers revelled in such little humiliations. As one exulted, ‘your statues, your busts, the instruments of your cult have all been overturned—they lie on the ground and everyone laughs at your deceptions’.

Darkening Age, 15

In chapter eight of The Darkening Age: The Christian Destruction of the Classical World, Catherine Nixey wrote:
 
Statues, the very seat of the demons themselves, suffered some of the most vicious attacks. It was not enough merely to take a statue down; the demon within it had to be humiliated, disgraced, tortured, dismembered and thus neutralized.

A Jewish tractate known as the Avodah Zarah provided detailed instructions on how to properly mistreat a statue. One can desecrate a statue, it advised, by ‘cutting off the tip of its ear or nose or finger, by battering it—even although its bulk be not diminished—it is desecrated’. Merely taking the statue down, or spitting at it, or dragging it about, or throwing dirt upon it, was not, the treatise warned, sufficient—though the resourceful Christian might indulge in all of these as an added humiliation to the demon within.

Sometimes, as was the case with the bust of Aphrodite in Athens, the statues appear to have been ‘baptized’, with deep crosses gouged on their foreheads. If this was a ‘baptism’ then it may have helped not only to neutralize the devil within, but also to vanquish any more personal demons that could arise when looking at such beautiful naked figures. A naked statue of Aphrodite was, wrote one Christian historian in disgust, ‘more shameless than that of any prostitute standing in front of a brothel’—and, like a prostitute, Aphrodite and her plump bottom and naked breasts might incite the demon of lust in the viewer.

Far less easy to feel desire for a statue who has had a cross gouged in her head, her eyes blinded and her nose sliced from her face. Erotically appealing statues suffered more than chastely clothed ones. We can still see the consequences of this rhetoric. Today, a once-handsome Apollo missing a nose stands in this museum; a statue of Venus that stood in a bathhouse has had her nipples and mons pubis chiselled away; a statue of Dionysus has had his nose mutilated and his genitalia removed.

Darkening Age, 14

In chapter eight of The Darkening Age: The Christian Destruction of the Classical World, Catherine Nixey wrote:
 
Further south, the firebrand preacher John Chrysostom—John ‘Goldenmouth’—weighed in. This man was so charismatic that crowds of Christians would pack into Antioch’s Great Church to hear him speak, his eyes flashing, then leave as soon as he was finished, ‘as if’, he observed, with a distinct want of monkish humility, ‘I were a concert performance.’ Chrysostom was nothing if not zealous.

Hearing that Phoenicia was still ‘suffering from the madness of the demons’ rites’, he sent violent bands of monks, funded by the faithful women in his congregation, to destroy the shrines in the area. ‘Thus,’ concludes the historian Theodoret, ‘the remaining shrines of the demons were utterly destroyed.’ A papyrus fragment shows Bishop Theophilus standing triumphantly over an image of Serapis, Bible in hand, while on the right-hand side monks can be seen attacking the temple. St Benedict, St Martin, St John Chrysostom; the men leading these campaigns of violence were not embarrassing eccentrics but men at the very heart of the Church.

Augustine evidently assumed his congregants would be taking part in the violence—and implied that they were right to do so: throwing down temples, idols and groves was, he said, no less than ‘clear proof of our not honouring, but rather abhorring, these things’. Such destruction, he reminded his flock, was the express commandment of God. In AD 401, Augustine told Christians in Carthage to smash pagan objects because, he said, that was what God wanted and commanded. It has been said that sixty died in riots inflamed by this burst of oratorical fire. A little earlier a congregation of Augustine’s, eager to sack the temples of Carthage, had started reciting Psalm 83. ‘Let them be humiliated and be downcast forever,’ they chanted with grim significance. ‘Let them perish in disgrace.’

It is obvious that this violence was not only one’s Christian duty; it was also, for many; a thoroughly enjoyable way to spend an afternoon. Those carrying out the attacks sang as they smashed the ancient marble and roared with laughter as they destroyed statues. In Alexandria, ‘idolatrous’ images were taken from private houses and baths, then burned and mutilated in a jubilant public demonstration. Once the assault was complete, the Christians ‘all went off, praising God for the destruction of such error of demons and idolatry’.

Broken statues themselves were another cause for hilarity; their fragmented remains an occasion for ‘laughter and scorn’.

Darkening Age, 13

In chapter eight of The Darkening Age: The Christian Destruction of the Classical World, Catherine Nixey wrote:
 
As the laws became increasingly shrill, the extent of the destruction increased, as too did the openness with which it was done. At some point, probably just before the attack on the temple of Serapis, a bishop named Marcellus became ‘the first of the bishops to put the edict in force and destroy the shrines in the city committed to his care’. Then, in 392, Serapis fell. Almost no event, with the exception of the Sack of Rome by the Visigoths in AD 410, would resound more loudly through literature of the time. Its collapse would not be heard by later centuries: in the newly Christian world this was one tale, one of many, that would be quietly forgotten.

The attacks were hymned by hagiographies and histories. In fourth-century France, St Martin, or so the Life of Martin proudly records, ‘set fire to a most ancient and famous shrine’ before moving on to a different village and a different temple. Here, he ‘completely demolished the temple belonging to the false religion and reduced all the altars and statues to dust’. Martin was no anomaly. Flushed by his success at the temple of Serapis, Bishop Theophilus went on to demolish numerous shrines in Egypt. Hagiography records such attacks not as dismal or even embarrassing acts of vandalism but as proof of a saint’s virtue. Some of the most famous saints in Western Christianity kicked off their careers—so the stories like, to boast—demolishing shrines.

Benedict of Nursia, the revered founder of Western monasticism, was also celebrated as a destroyer of antiquities. His first act upon arriving in Monte Cassino, just outside Rome, was to smash an ancient statue of Apollo and destroy the shrine’s altar. He didn’t stop there, but toured the area ‘pulling down the idols and destroying the groves on the mountain… and gave himself no rest until he had uprooted the last remnant of heathenism in those parts’. Of course hagiography is not history and one must read such accounts with, at best, caution. But even if they do not tell the whole truth, they certainly reveal a truth—namely that many Christians felt proud, even jubilant, about such destruction.