March of the Titans

The following sentences of March of the Titans: The Complete History of the White Race by Arthur Kemp caught my attention:

Flamboyance and ferment – France

The history of France is bathed in blood. Millions of White Frenchmen have been slaughtered in what seems like an endless array of wars, military adventures and natural disasters.

• His [Clovis I] most significant deed was his conversion to Christianity in 496 AD—without this conversion it is doubtful that Christianity would ever have taken hold on the European mainland. He initiated the practice of converting White pagans by the sword when he invaded the Visigoth Empire in 507 AD, causing them to flee south into Spain.

• After fighting off the non-White Muslim invaders to the south, Charlemagne then proceeded to launch a bloody war of extermination against the Saxon and other pagan German tribes under his control. The full story of this process—which saw the last paganism on the western part of the continent of Europe exterminated—has already been recounted in chapter 17 of this book which deals with Christianity. Suffice to say here that after killing thousands of pagans, Charlemagne managed to create a virtually uniform Christian kingdom—even if many of his subjects only paid lip service to the new religion.

Charlemagne_denier_Mayence

A coin of Charlemagne with the inscription KAROLVS IMP AVG (Karolus Imperator Augustus)

• They were all of the same Germanic stock, but the wholesale slaughter of those Whites who were not Christians, or refused to become Christians, unquestionably had an impact upon White numbers and quality in these regions. This was particularly the case with the leadership element of these Germanic tribes. Usually the biggest, bravest and strongest members of these tribes (the original Germanics actually voted for their chiefs), were the first to be targeted for execution by the Christian “missionaries”. As such the Germanics lost entire generations of their best sorts to the Christian sword.


After recounting the history of Joan of Arc, Kemp writes on the French expansion under King Francis I (1515-1547):

• France continued to be a powerful nation, and although engaging in the slave trade along with some other European nations, did not follow the path of Spain and especially Portugal in importing non-White slaves into France itself. Only a very small number of Black slaves were ever taken back into France, but they were so rare that they were of curiosity value only.


What most Westerners are all too blind to recognize is the devastating effects of the French Revolution, about which Kemp has a subsection titled, “The Reign of Terror—Nordics Targeted:

The French Revolution soon took a sub-racial undertone—often it was enough to have blond hair to be declared a noble and be beheaded. This was taken to an extreme under a bloodthirsty period known as the “reign of terror” and led to civil and foreign wars for ten years.

During this period, revolutionary tribunals and commissions beheaded close on 17,000 people—when the numbers of Frenchmen who died in prison or who were shot out of hand is added in, the victims of the Reign of Terror totaled approximately 40,000.

colhaze5

Of those executed, approximately 8 percent were nobles, 6 percent were members of the clergy, 14 percent belonged to the middle class, and 70 percent were workers or peasants charged with draft dodging, desertion, hoarding, rebellion, and various other “anti-revolutionary” crimes.

One step taken by the new French Republic was the official emancipation of the French Jews, and for the first time they were allowed to participate fully in public office in France. For this reason French and European Jewry became outspoken supporters of the revolution.

Striving to establish a “Republic of Virtue,” the leaders of the revolution stressed devotion to the republic and instituted measures against corruption and hoarding—two trademarks of the Church. This led directly to the November 1793 closing of all churches in the Commune of Paris, a measure soon copied by authorities elsewhere in France. A non-Christian cult was established, known as the Cult of Reason, with its main center being the then desanctified Notre Dame Cathedral in Paris.

Although the French Revolution and the Napoleonic Wars did not result in the importation of any large numbers of non-Whites into France, huge numbers of White Frenchmen, both nobles and commoners, lost their lives in the period from 1789 to 1815, with the Napoleonic Wars alone resulting in the deaths of over a million White Frenchmen—a huge slice of the population at that time, possibly as much as 35 per cent of all able bodied Frenchmen of all ages. The French Revolution itself had dealt a serious blow to the Nordic element of French society, as Nordic features were associated with nobility and made immediate targets for the revolutionary mobs. This led to a denordicization of the French population which is still evident today in the relatively small number of blonds amongst the modern French population.


After explaining how the Second Republic’s constitution created a presidential republic with a parliament elected by universal male suffrage—one of the greatest blunders that with time would provoke the suffrage for women and non-whites—, Kemp writes about white suicide:

By 1919, the French population had been battered by more than two centuries of major wars, and had started to go into a serious decline. The French government then started allowing French speaking Black Africans and non-White Algerians into France, mainly for use as labor, but also as army troops, in order to make up population shortfalls. In this way the German territory of the Rhineland was occupied by Black French troops, creating much anger amongst the Germans and becoming a political issue in the latter country.

mulatos-franceses

French women with non-white blood


According to official French statistics, some three million North African Arabic mixed race and African Blacks, all from the French colonies, immigrated into France itself during the period 1919 to 1927. (This figure is probably an underestimation, as it does not take into account illegal immigration, which probably accounted for a least half a million more).

Although the majority of Frenchmen did not integrate with this non-White influx, a significant minority did, creating the inappropriately named “Mediterranean” look associated with the French in certain areas. This integration process did not however reach anywhere near the level of the Spanish, and was certainly nowhere near the Portuguese example. Nonetheless, it is possible to see the traces of the large Black influx in a minority of modern Frenchmen to this day.

Tribute to Dominique Venner

by Guillaume Faye

Translated by Greg Johnson

Veneer

Dominique Venner’s suicide on May 21 at Notre Dame: Marine Le Pen bowed to this gesture of awakening consciousness, which may seem surprising, but it is to her credit. A topless representative of Femen, a group of feminist buffoons, tried to smear his memory the next day, mimicking his suicide in the choir of Notre Dame. On her flat chest was painted: “May Fascism rest in Hell.” It is the second time that these naked groupies entered the cathedral with impunity, even though there is security screening at the entrance. AFP journalists were notified in advance to cover this “happening” and are therefore probably complicit.

The Leftist media and politicians (especially the pathetic Harlem Désir) together accused Venner, post mortem, of incitement to violence, of provocation. Spitting toads. Clearly Venner’s Roman gesture, as tragic as history itself, scared these people, who spend their whole lives crawling.

Venner has given his death as an example, not from despair but from hope: the symbolic sacrifice encourages our youth, in the face of the ongoing foundering of European civilization in its bloodlines and its values, to resist and fight at the cost of death, which is the price of war. A war that has begun. Venner wanted us to understand that victory can be achieved in the history of peoples if the fighters are ready to die for their cause. It is for the future generations of resistant and fighting Europeans that Dominique Venner gave his life. He was an “awakener of the people,” in the words of his friend Jean Mabire.

And he killed himself, though he was not a Christian in the ordinary sense, on the central altar of Notre Dame de Paris, that is to say, the heart of one of the busiest sacred and historical places of all Europe. (Europe: Venner’s real, authentic homeland, not the marshmallow sham of the current European Union.) Notre Dame, a place of memory much richer than, for example, the Tomb of the Unknown Soldier under the Arc de Triomphe. He wanted to give his sacrifice a special meaning, like the old Roman traditions in which the life of a man, to the end, is devoted to the country he loves and must serve. Like Cato, Venner never compromised on principles. Nor on matters of necessary style—of comportment, writing, and ideas—which have nothing to do with posturing, looks, and pedantry. His sobriety displayed, in essence, the power of his lesson. A distant master, which was not unrelated to the Stoic tradition, a rebel with heart and courage not vanity and imposture, a complete man of action and reflection, he never deviated from his path. One day he told me that you should never waste time criticizing traitors, cowards, self-interested bellwethers; nor, of course, should you forgive them; just ignore them and press on. The silence of contempt.

This is the Dominique Venner who, in 1970, brought me into the Resistance, which I have never denied or left since. He was my recruiting sergeant. His voluntary death — echoing Mishima’s more than Montherlant’s – is a founding act. And it filled me with a joyful sadness, like a flash of lightning. A warrior does not die in bed. The sacrificial death of this man of honor demands that we honor his memory and his work, not to mourn but to fight. But fight for what?

Not just for resistance, but for reconquest. The counter-offensive, in other words. After one of my essays in which I developed this idea, Venner sent me letter of approval in his elegant handwriting. His sacrifice will not be vain or ridiculous. The voluntary death of Dominique Venner is a call to victory.

Venner’s suicide note

venner

(translated by Greg Johnson)


I am healthy in body and mind, and I am filled with love for my wife and children. I love life and expect nothing beyond, if not the perpetuation of my race and my mind. However, in the evening of my life, facing immense dangers to my French and European homeland, I feel the duty to act as long as I still have strength. I believe it necessary to sacrifice myself to break the lethargy that plagues us. I give up what life remains to me in order to protest and to found. I chose a highly symbolic place, the Cathedral of Notre Dame de Paris, which I respect and admire: she was built by the genius of my ancestors on the site of cults still more ancient, recalling our immemorial origins.

While many men are slaves of their lives, my gesture embodies an ethic of will. I give myself over to death to awaken slumbering consciences. I rebel against fate. I protest against poisons of the soul and the desires of invasive individuals to destroy the anchors of our identity, including the family, the intimate basis of our multi-millennial civilization. While I defend the identity of all peoples in their homes, I also rebel against the crime of the replacement of our people.

The dominant discourse cannot leave behind its toxic ambiguities, and Europeans must bear the consequences. Lacking an identitarian religion to moor us, we share a common memory going back to Homer, a repository of all the values on which our future rebirth will be founded once we break with the metaphysics of the unlimited, the baleful source of all modern excesses.

I apologize in advance to anyone who will suffer due to my death, first and foremost to my wife, my children, and my grandchildren, as well as my friends and followers. But once the pain and shock fade, I do not doubt that they will understand the meaning of my gesture and transcend their sorrow with pride. I hope that they shall endure together. They will find in my recent writings intimations and explanations of my actions.

Note. For more information, one can go to my publisher, Pierre-Guillaume Roux. He was not informed of my decision, but he has known me a long time.

______________

(Source: here.)

Kemp on France

Excerpted from chapter 26 of March of the Titans: A History of the White Race by Arthur Kemp:


The French Revolution soon took a sub-racial undertone—often it was enough to have blond hair to be declared a noble and be beheaded. This was taken to an extreme under a bloodthirsty period known as the “reign of terror” and led to civil and foreign wars for ten years.

During this period, revolutionary tribunals and commissions beheaded close on 17,000 people—when the numbers of Frenchmen who died in prison or who were shot out of hand is added in, the victims of the Reign of Terror totaled approximately 40,000.

Of those executed, approximately 8 percent were nobles, 6 percent were members of the clergy, 14 percent belonged to the middle class, and 70 percent were workers or peasants charged with draft dodging, desertion, hoarding, rebellion, and various other “anti-revolutionary” crimes.

One step taken by the new French Republic was the official emancipation of the French Jews, and for the first time they were allowed to participate fully in public office in France. For this reason French and European Jewry became outspoken supporters of the revolution.

Striving to establish a “Republic of Virtue,” the leaders of the revolution stressed devotion to the republic and instituted measures against corruption and hoarding—two trademarks of the Church. This led directly to the November 1793 closing of all churches in the Commune of Paris, a measure soon copied by authorities elsewhere in France. A non-Christian cult was established, known as the Cult of Reason, with its main center being the then desanctified Notre Dame Cathedral in Paris.

Although the French Revolution and the Napoleonic Wars did not result in the importation of any large numbers of non-Whites into France, huge numbers of White Frenchmen, both nobles and commoners, lost their lives in the period from 1789 to 1815, with the Napoleonic Wars alone resulting in the deaths of over a million White Frenchmen—a huge slice of the population at that time, possibly as much as 35 per cent of all able bodied Frenchmen of all ages. The French Revolution itself had dealt a serious blow to the Nordic element of French society, as Nordic features were associated with nobility and made immediate targets for the revolutionary mobs. This led to a denordicization of the French population which is still evident today in the relatively small number of blonds amongst the modern French population.

[After explaining how the Second Republic’s constitution created a presidential republic with a parliament elected by universal male suffrage—one of the greatest blunders of the West that with time would provoke the suffrage for women and non-whites—, Kemp writes about white suicide:]

By 1919, the French population had been battered by more than two centuries of major wars, and had started to go into a serious decline. The French government then started allowing French speaking Black Africans and non-White Algerians into France, mainly for use as labor, but also as army troops, in order to make up population shortfalls. In this way the German territory of the Rhineland was occupied by Black French troops, creating much anger amongst the Germans and becoming a political issue in the latter country.

According to official French statistics, some three million North African Arabic mixed race and African Blacks, all from the French colonies, immigrated into France itself during the period 1919 to 1927. (This figure is probably an underestimation, as it does not take into account illegal immigration, which probably accounted for a least half a million more).

Although the majority of Frenchmen did not integrate with this non-White influx, a significant minority did, creating the inappropriately named “Mediterranean” look associated with the French in certain areas. This integration process did not however reach anywhere near the level of the Spanish, and was certainly nowhere near the Portuguese example. Nonetheless, it is possible to see the traces of the large Black influx in a minority of modern Frenchmen to this day.

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…