Modernist Elite Belief is a Reliable Contraindicator

Apart from the obviously incontrovertible stuff like sunrise, whatever the Modern Elite believe is true is almost certainly in fact false. Whatever they think is good is almost certainly in fact bad. This has been true since about a decade after the dawn of the television age.

When this realization first struck me, my first interpretation was to treat it as generational: whatever the Boomers thought was true and good back in 1972 was actually false or bad or both. But then I realized that the Boomers were right about a few things, like organic food, fitness, diversity of seed stock, and traditional buildings and neighbourhoods. And Early Music.

It wasn’t the Boomers. It was the elites, whether of the Boomer generation, or earlier generations, or later. Whatever the elites have ever advocated via the Establishment Propaganda Machine: it’s all been fake. And none of the really absurd stuff they’ve been pushing at us would have been entertained for a moment by almost anyone prior to the television. People had back then too much contact with real reality – as opposed to the artificial stuff the elites broadcast.

The toxic brew seems to consist of modernism and electronic media: crank nominalist insouciance about stubborn truth through an electronic media economy that is desperate to attract eyeballs, and you get all sorts of crazy stuff pumped out of the screens. That suffices to generate fads and fashions at odds with reality: with health, and sanity, and life.

Superstition & Subscendence: An Essay in Honor of Tom Bertonneau

Bear with me here. I hardly know where I am going with this, although I feel I have caught the spoor of something Tom would find delightful – that he would join with me joyfully in this new hunt. I’m confused because all I have is that spoor, and my spirits are in a hurry and a muddle due to his too soon death. I miss my friend of many years – of too few! I am not yet sure how to do with the world that, henceforth, shall miss him.

Tom has been a valued colleague since we first encountered each other. We corresponded often – not often enough, alas – about our hopes and worries in respect to our work, much of it coordinate here. We sometimes asked each other for editorial advice upon that work. I could rely on Tom for sound counsel. I hardly know how I shall manage without his sagacity.

But I must. I bid you all help me in that project, in which we may hope we can all together proceed for many more years to come. That would be a fitting legacy of his penetrant honest cheerful mind.

I propose that this essay be an early installment in something like a festschrift for Tom. Let us all try to limn what it was that he taught us. Perhaps we might make a book out of it. Or maybe just something on the scale of an issue of Amazing Stories, circa 1935: the sort of thing that was an important source of grist for the mill of his wits. That would please him, perhaps above all things we might do to honor him.

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Christian Focus on Sempiternity → Long Term Approach to Mundane Affairs

If there is heaven, you would be stupid to forego it by some short term evanescent and unrighteous, ergo in all likelihood maladaptive worldly foolishness. So you would be less likely to engage in short term and mere worldly foolishness (on the contrary, you’d want to be a holy fool!). With eyes always turned to the infinite prize, you would be less likely to grab at – or, a fortiori, work for, or pay for, or sacrifice for – any other, lesser good in contravention thereto.

The intention toward sempiternal life in Heaven, then, tends to social health here below.

This is why it is so important to social health to take religion seriously.

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On Conflation of Grammatical Persons as a Tactic of Our Enemy

I harp from time to time on the first and crucial importance of linguistic tradition, as the indispensable foundation of almost all others. We cannot very well maintain a social order if in discussing it we have no way to be each and all clear on what it is, exactly, we are talking about.

This is no original thought. Confucius was saying the same thing 2500 years ago. And Orwell saw clearly that deforming the language would deform – and ruin – culture.

The Leftist Establishment is hard at the ruin of language, with the recent risible emphasis on pronoun protocol.

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Traditionalism is the Reductio of Modernity

The tradition of modernity is to repudiate tradition per se. It’s right there in the term: ‘modern’ is from Late Latin modernus, from Latin modo, “just now.” So ‘modern’ means “what is just now.”

Traditionalists take the modern tradition with utmost seriousness, thoroughness, and consistency: they repudiate the tradition of modernity.

Traditionalists are the iconoclasts of iconoclasm. So likewise are they then the true postmodernists. In their hearts and in their minds, and so far as is possible in their acts, they live into whatever it is that shall inevitably ensue, once modernity has finished eating itself, and collapsed; once the people have awakened and shaken it off like a nightmare or Soviet Communism.

Traditionalists are ransacking the cupboards on the morning after Belshazzar’s Feast, looking for the coffee as the sour dregs of the Party lapse into biliary nausea, bitter existential regret, and alcoholic coma, and as the Persians begin to assemble their siege engines.

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Redundancy as a Tell

Redundancy is a sure sign of disordered thought. Consider the recently popular term, “lived experience.” What other sort of experience might humans have, than such as are suffered by living beings? Or again, “social justice:” there are no other sorts of justice than the social sort.

Such locutions are usually obfuscate. “Lived experience” means really “my experience, which trumps yours;” “social justice” means really “socialism.”

Watch out then for modifiers that perform no real rhetorical work. They are trying to fool us into accepting their real denotations as just, and so to dull our moral wits.

We can extend this charge to any newly fashionable locution. Any such are likely to be propaganda. Beware them.

A Bit More on Amtor – Is Carson of Venus a Paracletic Hero?

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Roy Krenkel (1918 – 1983): Cover Art for the Ace Edition of Escape on Venus

In Burroughs’ Amtor — A Satire of Ideologies, I remarked that in Edgar Rice Burroughs’ Venus series, issued in four books from 1932 to 1944, the reader could discern the author’s theory of ideology or, at any rate, his notion (let us say) of ideology.  I wrote that, for Burroughs, “Ideology pits itself against life as such”; and that, “Every ideology is [in Burroughs’ judgment] a nihilism that, standing against vitality, beckons the moribund.”  The reader will find in the first three Amtor books (Pirates of Venus, Lost on Venus, and Carson of Venus) strong satirical rejections of Communism, Trans-Humanism, Eugenics, and National Socialism —  all four of which strike Burroughs as unjust because they exercise violence to coerce a grotesque and arbitrary conformity.*  In reference to Eugenics, the thesis is somewhat controversial.  Burroughs supported certain aspects of Eugenics, but earlier in his life than the Amtor series, and in Lost on Venus he has his hero, Carson Napier, repudiate the doctrine because a council of eugenicists has condemned his true love, Duare, to death.  Perhaps the association of Eugenics with the Nazis had changed Burroughs’ mind.  Whatever the case, the pattern in the Eugenics plotline corresponds to those in the Communist, Trans-human, and National Socialist plotlines.  It strikes me that Burroughs had seen the inexpugnable malevolence of any Eugenics-based polity and, through his hero, had turned his back on it.  No reference to my notion of the “Paracletic Hero”– which I had treated extensively in Robert E. Howard’s Conan – occurs in Burroughs’ Amtor but I was thinking about it as I wrote.  In brief, a Paracletic Hero is one who in his deeds conspicuously opposes the ancient ritual of sacrifice, on which a particular society founds itself, and seeks to free its pending victims.  Conan, like C. L. Moore’s Northwest Smith, achieves this goal and thereby deserves the appellation.  (See my Monstrous Theologies at The Orthosphere.)

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Burroughs’ Amtor – A Satire of Ideologies

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Roy Krenkel (1918 – 1983): Cover for the Ace edition of Pirates of Venus

Once upon a time – I believe it was twelve years ago – I published an article at the Brussels Journal, defunct since 2009 but still archived on the Internet, under the title Edgar Rice Burroughs and Masculine Narrative.  The article mainly addressed the author’s quasi-science fiction novels, but it also contained criticism of the stilted, politically correct apologies for Burroughs in otherwise handsome editions of his work reissued beginning in 2000 by the University of Nebraska Press under the Bison imprint.  The foreword writers ritually excoriated Burroughs for having exercised the usual list of phobic isms and inexcusable bigotries.  The article pointed to numerous counterexamples that, in particular, exonerated the Tarzan-author of having populated his stories with unrealistically weak or grotesquely male-deferential female characters.  The editorial matter accompanying the Burroughs sagas in the Bison editions anticipated today’s advancing disappearance of the Burroughs oeuvre from the marketplace, partly under influence of wokeness.  The stock of Bison editions nears depletion at Amazon.  Those that remain for sale are in short supply.  Used paperbacks from the 1960s and 70s are still for sale, but due to scarcity the prices are rising, especially for the Ace editions with cover-art by Roy Krenkel.  An Amazon customer may purchase publish-on-demand versions of some titles, but they make a poor comparison with the Dover, Ace, and Bison reprints of past decades.  The publish-on-demand editions often lack cover-art, coming with only title and author; and the printed page looks awkwardly composed, with no typographic grace.  The situation treats poorly a man who once enjoyed the status of the most-read popular author in the USA, if not also in the world at large.  (Burroughs’ adventures saw translation in a dozen languages, at least.)  It saddens me that a man of so great an imagination, and at his best, a master of sterling prose, should vanish from public knowledge.

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Pin-Up Art & the Metaphysics of Sex

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Peter Driben (1908 – 1968)

In an age, on the one hand, of renewed, anti-sexual Puritanism and, on the other, of freely available Internet pornography the names of Peter Driben (1908 – 1968), Gillette Elvgren (1914 – 1980), Earl Moran (1893 – 1984), Alberto Vargas (1896 – 1982), George Petty (1894 – 1975), and Earle K. Bergey (1908 -1985) are largely forgotten although from the late 1920s through the mid-1960s they held a place in the American popular imagination and not only among males.  Notoriety attached itself to these men because they produced the cover-art for a plethora of what went by the name of “glamour magazines,” with titles such as Wink, Flirt, Eyeful, and Beauty Parade, to list only a few.  Unlike Playboy and its later offshoots, which would drive them from the newsstands, the “girlie mags” featured no nudity, but limited themselves to what might be called the scantily clad or, on occasion, the accidentally scantily clad – young women in lingerie, bathing-suits, tennis outfits, and short skirts who sometimes by mischance display in public more limb than they would intend.  Whereas the interiors of these periodicals used black-and-white photography, the house always printed the covers in bright polychrome.  Often the poses are humorous.  The young woman is overburdened with packages, her shorts have come unbuttoned, and she bends her body and pins her elbows against her hips to keep her culottes from slipping away.  From the expression on her face, however, her plight and embarrassment communicate themselves, and her struggle to maintain dignity becomes sympathetic.  Ice-skating and roller-skating accidents sometimes occasion a revelatory maladroitness, but the revelation obeys strict limits.  Men never enter the picture.  The artist invariably portrays the female twenty-something as independent and as going – playfully, of course, but sometimes with bad luck – about her own business.  If she flaunted her comeliness, which qualifies as exceedingly comely, it would be in private and with an excusable girlish vanity.

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Despite Everything, It is Easter

When I confessed last week that I had for much of 2020 struggled against the sin of despair, my confessor replied: “I’m struggling with it myself. 90% of the confessions I hear these days include that one. I’ve never seen anything like it. I’m shocked.”

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