Category Archives: multiculturalism

Jean Raspail: The Camp of the Saints

And when the thousand years are ended, Satan will be released from prison, and will go out to deceive the nations in the four corners of the earth, Gog and Magog, to assemble them for battle. Their number is like the sand of the seashore. And they marched across the broad expanse of the earth and surrounded the camp of the saints and the beloved city. – Revelations 20:9

If a novel opens with a passage from Revelations, I expect an apocalyptic vision and Jean Raspail certainly delivers one in his controversial novel from 1973, The Camp of the Saints. Progressives may imagine themselves the eternal champions of heretical thought and the guardians against an omnipresent conservative censoriousness, but the truth is quite self-evidently the opposite. If there is a work of art, scholarship or even a viewpoint which deviates from progressive articles of faith by a fraction of a degree, specifically multiculturalism, it will be vilified and condemned with the fervor of a thousand Moral Majorities. Just ask Richard Spencer, Robert Putnam or Charles Murray. All enlightened folk agree that The Camp of the Saints is a racist piece of shit and any properly liberal, right thinking, cosmopolitan progressive would find this novel to be reprehensible and retrograde in every respect. Let’s get it straight. All cultures are completely equal. Mass immigration is an unalloyed good and an engine of economic growth. White racism is the greatest evil humanity has ever faced. According to our #WOKE superiors in academia, racism is privilege plus power. Therefore, no racial or ethnic group is even capable of racism. If anything, immigrants are more law abiding and harder working than those born in America or Europe. Besides, Western civilization isn’t everything it’s cracked up to be. It’s all just an undistinguished chain of misery, subjugation, colonialism and enslavement. White racial pride in and of itself is tantamount to an endorsement of the Ku Klux Klan and is an open invitation to a neo-Nazi fascist dictatorship. And let’s face it. The white man simply stole everything from every other culture in the first place, so all third world and Islamic migration is just redressing past injustices. Africa would be Wakanda if it weren’t for the colonizing white man. Right? Of course! All properly enlightened people think this way. And by the way, if you doubt even one of those statements, try voicing your opposition publicly. Let me know how well it goes over.

While those statements are now taken as progressive articles of faith, they also represent the bedrock of liberal progressive thought that informed Raspail’s novel. Make no mistake, Raspail is most definitely linking culture to race, and he is making a very clear value judgment about European culture in contrast to third world cultures. He also paints a rather nasty portrait of the Indian immigrants making their way towards Europe that would be considered racist by everyone who subscribes to the progressive consensus. Given that he regards white, European culture as superior to others, you would be tempted to call him a racial supremacist, but I think he’s properly regarded as a forerunner of the contemporary ethno-nationalist/identitarian alt-right movement. Admittedly, most people see no distinction between the two, but a distinction exists nonetheless. By broaching this theme, Raspail has already been branded evil incarnate by the gatekeepers of GoodThink, but I’m not entirely convinced this book is animated by hatred. If anything, it is somewhat despairing about the dissolution of European culture. The novel has a tone of despondent gloom and a distinctly resigned cynicism over Europe’s guilt and misplaced altruism.

As easy and tempting as it may be to dismiss this book as the ravings of a stupid, racist white European male, The Camp of the Saints opens a Pandora’s Box of really uncomfortable questions facing the fate of the West. In the era of Trump, #Brexit, #Shitholegate, Black Panther and mass immigration, The Camp of the Saints reads less like dystopian fiction and more like current events. His portrait of non-white cultures and miscegenation seems histrionic, but given the white hot stigma that surrounds all discussion of migrant crime, assimilation and the entire spectrum of scientific research around issues of so-called race realism, one wonders if Raspail has simply broached the most forbidden taboo in progressive orthodoxy. His portrait of “the beast”, the pathological racial self-loathing, guilt and false altruism that has been actively cultivated by the globalist, neo-Marxist Left is dead on.

The Camp of the Saints is technically a work of dystopian fiction, but it feels like it was ripped from today’s headlines. The novel tells the story of a fleet of ships packed with immigrants which has set sail from Calcutta to France. As the news of the immigrant fleet reaches the Western world, Raspail carves out two sets of character portraits who respond to the advent of the immigrants in opposite ways. On one side, you have patriots, conservatives and nationalists and on the other you have globalists, communists and progressives. With one notable exception, all of the characters in the former category are white while everyone in the latter vary in terms of heritage but are mostly non-white or mixed race. Broadly speaking, it’s a very accurate depiction of the current political and cultural divide. Depending on where your own views line up, the novel is either race baiting or prophecy. I suggest it’s both, but it leans more heavily towards the latter than the former. And it’s way more prophetic than the gatekeepers of progressive GoodThink will ever acknowledge.

For anyone who isn’t already consumed by neo-Marxist racial hatred of whites, Raspail’s book drives up a very thorny mass of questions. He punctuates chapter endings and events with several variations on the same question: Could that be one explanation? Raspail is grounded in his certainty of his premise, but he also seems to be asking the reader to question how the West came to be wallowing, and even celebrating, in its own supine posture of indolence.

Despite the Left’s pathological determination to vilify everyone on the Right as a bigot, virtually every conservative or libertarian regardless of race or ethnicity is a racial egalitarian. In other words, a de-emphasis on collective or cultural identity, but a deeply individualistic emphasis on merits, values, and how one comports himself in society. However, as much as one might wish that everyone would share these convictions, the sheer numbers of people who subscribe to the standard hate filled anti-white narrative promulgated by the neo-Marxists seems to outweigh those who have a more egalitarian view. Underneath the liberty philosophy is a deeply embedded belief that Western values are not just the exclusive property of white Europeans; they’re universal values that are available to all and can win the marketplace of ideas if given a proper hearing. Raspail rejects these premises and the prescience of his narrative speculation casts deep doubt on this belief.

Are whites allowed any measure of racial or ethnic pride without being tarred with the standard litany of supremacist epithets? Raspail suggests that the group with the deepest faith in themselves will prevail while the one with the deepest doubt will be crushed. Has radical egalitarianism completely supplanted the basic instinct for survival? Though there is evidence that people from different racial, ethnic and religious backgrounds can assimilate Western values and even traditionalism, this novel begs the question of how much multiculturalism society can absorb before it loses any coherence or cohesion. Or before the various collective identities are set against one another in pursuit of political advantage.

Perhaps the entire paleoconservative/Rothbardian critique of mainstream conservatism’s capitulation to progressivism is partially explained when examined in this light. Perhaps mainstream conservatism is just a variation on cosmopolitan liberal modernity with an overlay of Western traditionalism. Do ideas alone drive culture or do ideas emerge from culture? Is culture and social cohesion inextricably tied to race as Raspail suggests? Is peace and stability more easily achieved through racial homogeneity? Is a conservative/libertarian political and social order fundamentally tied to the conservation of racially homogeneous or white majority ethnostate? Is some measure of racial pride necessary for social cohesion, the propagation of your own line and transference of intergenerational wisdom?

If a racially homogeneous society does lend itself towards a stable political and social order, does racial heterogeneity lend itself towards the artificial manufacturing of a leftist social and political consensus since the bonds normally forged within the homogeneous culture are easily filled after natural bonds have been broken? Does cultural dislocation create an increased impulse towards revolution against the prevailing order?

Is the orchestrated influx of migrants the natural consequence of an increase in liberalization coupled with a steady erosion of traditionalism in society? How much liberal modernity can the West absorb and conserve without devolving into chaos and degeneracy? Or is it a form of mental battery acid that erodes all the bonds of cohesion on which stable civilization depends?

Day by day, month by month, doubt by doubt, law and order became fascism; education, constraint; work, alienation; revolution, mere sport; leisure, a privilege of class; marijuana, a harmless weed; family, a stifling hothouse; affluence, oppression; success, a social disease; sex, an innocent pastime; youth, a permanent tribunal; maturity, the new senility; discipline, an attack on personality; Christianity … and the West … and white skin …

The novel’s greatest strength is its sweeping indictment of the myriad ways the liberal mentality erodes the foundations of society. As if the racial commentary weren’t controversial enough, Raspail broaches yet another uncomfortable truth: the necessity of violence for self-preservation. The president of France bemoans the fact that neither the police or the army will be able to defend its countrymen. After years of being accused of being butchers and oppressors, they’d lost their will to raise arms.

On the flipside, Raspail describes the conquest mentality that takes root in the heat of mob rule. Once an organized group forcibly gains ground over its opponents, the thirst for continued conquest only accumulates.

The Camp of the Saints is similar to an Ayn Rand novel in that Raspail populates his novel with characters who inhabit every corner of society. Just like Atlas Shrugged, the movers of cultural consensus are largely on the Left, and those who oppose the immigrants have to swim against the prevailing sentiment. There’s a South American pope who’s solidly sympathetic to the immigrants. You have a Ta Nehisi Coates style racial demagogue who has a generous media platform. There’s even an Antifa-style militia whose slogans haven’t aged a day and could easily be transplanted into today’s version.

Raspail also shares Rand’s foresight in extrapolating outcomes and institutions which spring from the Left’s syrupy, brain damaged nostrums. There are UN antiracism programs and government ministries dedicated to the abolition of “racist pollution”. The passage of a law which allows white women to be raped sounds outrageous, but you don’t have to look very far in progressive media to find articles trumpeting interracial sex as the highest virtue imaginable. Even more baffling is the ways that the entire spectrum of migrant crime, including and especially sex crimes, are excused, downplayed or whitewashed.

There are so many details which may have been very shocking at the time of the novel’s publication, but if anything, reality is stranger and more terrifying than fiction. A fictional account of Christian churches converting to Mosques may sound like hyperbole, but Raspail is being vindicated with each passing day.

He even nailed the idiotic quasi-mystical rallying cries of Unity that we now hear emanating from the bleating herds of SJWs that are now mindlessly regurgitated at the nearest mention of Muslims or immigrants. The SJWs of Raspail’s world rallied around “We’re all from the Ganges now” whereas the missionaries of the #RESISTANCE say “We’re all Muslim now”.

In contrast to a Rand novel, the President of France is aware of the impending calamity. He is, in fact, treating the immigrants as an invading army who are merely exploiting the collective compassion of the French to gain access to their abundant resources. When it comes time to address the nation at the hour of crisis, Raspail is masterful in portraying the moral conundrum with which he, and by extension, everyone in the West now faces.

Needless to say, Raspail was essentially calling third world cultures shitholes long before Trump and he makes no bones about it. Since Raspail made his immigrant horde Indian, doesn’t India’s rise as an emerging economic power prove that his disparaging characterization towards third world cultures was unfounded? His portrait of India’s impoverished masses is indeed pretty harsh, but even if you take into account India’s economic successes and the IQ levels of the upper end of the population curve, the broader population remains poor and human rights abuses abound. India remains a hotbed of the worst forms of human depravity.

Despite being a work of fiction, there’s little, if anything, in the novel which can’t be mapped to real world phenomena. Any honest appraisal of the novel should view it as a stinging rebuke to progressives, civic nationalists, liberals and open borders libertarians alike. The Trump era has essentially herded all liberty minded people into two camps. In one camp, you have a loose coalition of conservatives, libertarians, and classical liberals who buy into some version of cosmopolitan civic nationalism. In other words, a belief that a multicultural consensus can theoretically win the marketplace of ideas, turn Western civilization back from the brink, restore civic pride, and preserve a culture of liberty for posterity. On the other, you have the ethno-nationalists who are arguing very fervently that culture and race are linked and that relegating whites to minorities is a recipe for civilization suicide. The contention is that the only way that a high trust, cohesive culture that actually conserves liberty and civic pride is through a white majority or straight up ethnostate.

The gatekeepers of GoodThink will likely continue to disparage this book as a hate filled screed. And that’s too bad. If anything, this book is an indictment of multiculturalism as a particularly pernicious ideology. A component of the civilization destroying mind rot embedded in progressive worldview. It is a utopian belief that racial animosity is the one true Original Sin for which the white man is both uniquely guilty and must forever atone. One does not have to be filled with hatred to consider the possibility that there might be limits to the degree any multiracial society can retain any cohesion. Further still, the quest to assimilate a significant percentage of minorities might be both undesirable and untenable. It is neither hateful nor supremacist to acknowledge that there was a good reason that ethnically homogeneous societies protected by borders were the norm for most of human civilization. It is neither hateful nor supremacist to acknowledge the very real possibility that a racially homogeneous society might offer the highest possibility for trust and cohesion. The utopian dream of a post-racial world is quite evidently the animating force driving the globalist Left. But this unique burden of forging a multicultural consensus continues to be borne disproportionately by America and the West. Most every non-Western country retains a clear racial, ethnic or religious majority and makes no apologies for it. Countries like Poland that defy the globalist elites by refusing third world immigration are bullied and vilified for their defiance.

Like it or not, Jean Raspail did indeed foresee Western civilization heading towards this juncture and dramatized it in chilling detail. This is a book that’s easy to dismiss. White racial consciousness has been stigmatized as the greatest evil that has ever beset civilization. It’s considered the exclusive province of unenlightened, knuckle dragging degenerates that have been named and shamed by the ADL and SPLC. Whats far more difficult is to consider is the possibility that Raspail’s novel correctly foresaw the fate of the West. And given that frightening prospect, only one question remains. Will we muster the will to preserve what remains of Western civilization?

Many a civilization, victim of the selfsame fate, sits tucked in our museums, under glass, neatly labeled. But man seldom profits from the lessons of his past…


Blade Runner 2049 (2017)

When I heard that a Blade Runner sequel was being made, I was skeptical but curious. Sure, it seemed like lazy Hollywood opportunism, but given Ridley Scott’s involvement I was willing to give it a shot. The 1982 original was a classic in its own right. It didn’t need a sequel, but the potential for a worthy follow-up story certainly existed. Of course, the potential for yet another catastrophic and unnecessary goatfuck of a beloved film legacy was equally possible. I found Denis Villeneuve’s Arrival thought provoking and Hampton Fancher’s slot on the writing team certainly added to its possible appeal. In short, I was mildly optimistic about Blade Runner 2049.

Thankfully, my optimism was rewarded. While there is a lot of commentary that makes me squeamish, Blade Runner 2049 is one of the most successful sequels to a sci-fi classic ever attempted. This is a brilliant piece of contemporary cinema that’s well written, lovingly made, carefully paced, and packed with symbolism and metadata. It is also a bleak and deeply despairing vision of the future. For a film largely built around the quest for humanity in a world marked by declining birth rates, politicized debates over climate change, mass immigration, gender roles, race relations and the ever increasing influence of the technocratic elite, Blade Runner 2049 feels less like speculation and more like a subtle form of conditioning. This is a film that is desperately grasping for some glimpse of human connection, meaning and purpose, but it concedes that ecological catastrophe, hyper urbanization, a multicultural social order, and a gargantuan cyberpunk police state are foregone conclusions. It is basically encouraging you to embrace your technocratic overlords. The remnants of your desiccated souls can be reclaimed if you accept the inevitable, proles. The hope for release from the existential ennui that accompanied your eager embrace of a world unconstrained by spiritual delusions can be found in the brave new world of AI enabled hyperreality. The glorious dreams of the modern age with its promises of unbounded scientific progress awaits you by allowing it to reach its apotheosis. Even if it does mean you’ll be living in overcrowded urban squalor oversaturated with artificial stimuli and eating industrial farmed maggots. You too will find redemption by seeking salvation in merger of man and machine.

Aside from its noir tone and cutting-edge visuals, the first Blade Runner film was provocative because it was among the first major films which explored the ramifications of a world where robots and artificial intelligence had been achieved. That world is no longer sci-fi speculation. It’s here. It’s now. Jared Leto’s megalomaniacal replicant mogul, Niander Wallace, is blind but can function through the aid of cybernetic implants and a swarm of optical drones. Ray Kurzweil and his AI acolytes actively champion the advent of a so-called technological singularity and genuinely believe that a merger with digital consciousness is mankind’s future. Given this present day reality, one cannot necessarily view Blade Runner 2049 with the kind of detachment we reserve for big budget Hollywood entertainment. Films and shows like Altered Carbon, Ghost in the Shell, Westworld and Mr. Robot explore these same themes and continue to proliferate. It’s increasingly apparent that this collection of themes carries the distinct aura of an agenda. As paranoid and conspiratorial as it may seem, this film is very likely telegraphing the intentions of the Technorati.

Blade Runner 2049 is also a quintessentially postmodern piece of science fiction cinema. The film is a rich and masterful pastiche of discordant dualisms, inverted archetypes, hypertextual imagery, and visual remixes of its predecessor film. This is a film that subverts every notion you hold about what is real, true or right. Echoes of Logan’s Run, Soylent Green, THX 1138, Ghost in the Shell, Total Recall, Robocop, The Terminator, Westworld, The Matrix and other related cinematic forebears are also deeply embedded in its programming. There is more than a little standard progressive commentary around racial justice, police brutality, immigration, miscegenation, corporatism, gender politics and most importantly, the increasing prevalence of AI in our lives. It just takes a little more effort to decode than your standard issue pablum.

The world of Blade Runner 2049 is dying, infertile and bereft of hope for the future. The ecosystem has collapsed and the population has been herded into megacities. Tech mogul Niander Wallace brought civilization back from the brink by developing synthetic agriculture. Prior to the collapse, the world lived off of the slave labor of Nexus 6 replicants manufactured by the Tyrell Corporation. After a series of rebellions, the Tyrell Corporation went bankrupt and Wallace acquired the remaining assets in order to make a new line of Nexus 9 replicants that were perfectly obedient. The remaining Nexus 6 models are hunted by the generation 9 Blade Runners. In contrast to the Nexus 6 line, the Nexus 9 models have implanted memories.

From a pure visual perspective, there is no natural beauty to be found, and the times you are given a vision of organic life, it’s a tiny flower or a hologram. All the scenes that take place outside the urban sprawl are a blasted out, desolate ruin. The scenes of the city envelop you in their cavernous expanse of brutalist futurism, but it is a feeling of foreboding wrought by millions of lives in abject isolation. The lynchpin of the film and the lone symbol of hope for the future lies in the impossible birth of a child born from the womb of a replicant.

As the film opens, Ryan Gosling’s Officer K is en route to an industrial protein farming facility to investigate a possible rogue Nexus 8 replicant. His spinner is flying completely remotely without any active piloting and he awakens to an electronic prompt indicating his impending arrival. Since K is a symbol of law, order and obedience, his slumber suggests both the extent to which we’ve ceded autonomy to machines as well as an unconsciousness to his own humanity. A mindless minion destroying his own kind at the bidding of his human slave masters. As self-driving cars and other vehicles become more commonplace, a flying car self-piloting a man to a distant location completely unharmed conveys a message of absolute confidence in the future of AI enabled automobility and aviation. Self-driving cars are fine, proles. Stop worrying. Allowing people to drive their own vehicles is too much individual liberty.

The encounter with Sapper Morton can be read as an inversion of the entire narrative on racial justice. Officer K was designed as a perfectly obedient slave programmed to kill rogue replicants with impunity. Sapper Morton is a lone Nexus 8 model living a perfectly productive life harvesting grubs, yet his will to be independent makes him a mark. Just as blacks were the underclass after being liberated from slavery, they remained collectively pathologized even if they were perfectly law abiding. Morton even curses him for killing “his own kind”. After a punishing brawl, K subdues Morton sufficiently in order to administer some kind of electronic scan over his right eye. Call me paranoid, but given that microchip implants are a present day reality, one can’t help but wonder if this too is the shape of things to come. Right before K murders him, Morton says he’ll never become human because he hasn’t witnessed the “miracle” he has. K is utterly indifferent to his claim and takes his life just as he was assigned to do. This allusion to miracles is not only a reference to the spiritual void in K’s existence, but more broadly, to all of Western civilization. The world of Blade Runner is our own fatalistically extrapolated to its fullest conclusion. Society has lost sight of any vision of the divine, any connection to the preciousness of life, or any ideals to conserve. Let alone the will to continue the propagation of its own species.

Right before K leaves the scene, his drone spots an object buried beneath a dead tree. Trees usually symbolize harmonious relationships between man and woman or heaven and earth, but this is one of many notes of symbolic dissonance in a film filled with disjunction. What K unearths is the remains of a replicant woman whose mysterious death sets in motion a quest for his own identity and purpose.

Upon returning to headquarters, K is subjected to an inquisitorial “baseline” diagnostic test. The test itself requires K to recite fragments and words from a passage of Vladimir Nabokov’s Pale Fire. It’s a passage that alludes to the existence of an afterlife, but the clinical, mechanized, and almost hostile tone robs what is otherwise a beautiful piece of poetry of its effect. With its references to interlinked cells, what it does represent is the lattice work of forces within the film all seeking to resolve the various discordances of this broken, poisoned world of despair, isolation and technological artifice.

Cells interlinked within cells interlinked

Within one stem. And, dreadfully distinct

Against the dark, a tall white fountain played.

The whole scene also struck me as a reversal of the final interrogation scene in Logan’s Run. Instead of a mechanized technocracy seeking to extract a sacred truth from a human who had broken the conditioning, here you have the reverse. A human using a piece of poetry which hints at transcendence in order to test the stability of a replicant’s programmed obedience while foreshadowing his eventual quest for a miracle.

After he passes the test, he returns to his apartment in a rather squalid part of the city which is quite likely representative of most neighborhoods in the metropolis. The theme of racial prejudice is reinforced as a random person hurls the epithet “Skin job” at K. Upon his arrival home, we meet his holographic girlfriend, Joi, as played by the very charming and fetching Ana de Armas. When she appears, she is decked out in an iconic 50’s era house dress with perfectly coiffed hair, perfectly applied makeup and is beaming with happiness and gratitude at the sight of her man. Obviously, in this future, not only has gender traditionalism been relegated to holographic simulation, it’s so deeply buried in the past, it’s an app that’s used to keep the replicants happy. Even his meal of grey, synthetic sludge is covered over with a hologram of a hearty, home cooked meal. The relationship between Joi and K is genuinely sweet and the fact that Hollywood can only portray earnest heterosexual romance between a hologram and a replicant is indeed one of the bleakest visions of humanity imaginable. This feels especially bitter in light of the fact that among the many reasons that the Men’s Rights Movement or the MGTOW movement in particular exist at all is because Joi represents the companionship that so many men actually seek.

As K’s superior, Lieutenant Joshi, Robin Wright can be read as an archetypal conservative, a feminist power fantasy, an ethno-nationalist and, if you’re feeling especially partisan, a proxy for Trump. Infinitely more believable than Laura Dern’s laughable and contemptible turn as Admiral Gender Studies in The Last Jedi, this is yet another portrait of a female occupying a role traditionally held by men. Though Wright carries off the role with the requisite level of icy bitchiness, Joshi leans heavily toward the feminist power fantasy archetype because there are almost no cinematic portraits of women attempting to climb the competence hierarchies of society. Nearly every cinematic vision of female power, including Joshi, asks you to assume that her ascendancy to that role began at the bottom, and that her attainment of the position came from organic competition with men. No affirmative action here, you dirty misogynistic bigots. The film, along with nearly every other major Hollywood offering, simply expects you to submit to the fact that the dystopian cyberpunk police state future is female. Not a huge leap of imagination for some of us. The one mitigating factor is that her main subordinate is a replicant. K is like the numerous males who’ve been hollowed out and emasculated by feminism. Taught to be ashamed of manhood. Expected to supplicate and genuflect at every turn. Desperately seeking true female companionship and intimacy. Craving meaning, purpose, nobility, belonging and virtue. Yet relegated to the status of mindless drone.

Villeneuve turns the archetype on its head by making her a staunch law and order conservative and crypto ethno-nationalist who wants to keep the line between replicant and human clearly delineated. When she discovers the existence of the replicant-human hybrid, she absolutely flips her shit and orders it destroyed. This adds another layer of dissonance to the character by casting a female as a destroyer of life instead of a creator.

Lieutenant Joshi: The World is built in a wall that separates kind. Tell either side there’s no wall, you’ve bought a war. Or a slaughter.

Naturally, Joshi is played mostly as a cold and implacable authoritarian cunt whose views brook no sympathy. Regardless, her character provides a critical opposing force competing for dominance within this futuristic hellscape. Unfortunately, this is also one of places where the film slides into the progressive cesspool. Joshi embodies both law and order conservatism and ethno-nationalism. In the conservative universe, hierarchies of authority are natural and legitimate, and must be occupied by people who are both competent and virtuous. Conversely, submission to authority is equally legitimate because order, and by extension, the preservation of moral virtue, are the highest goals for society. And in Joshi’s case, the preservation of a clear line between human and replicant. K is both a law enforcement official and a slave. Dispossessed of his past and forced to kill his own species because he is programmed for perfect obedience. When Joshi orders the mixed race replicant-human hybrid destroyed, Joshi immediately questions his willingness to obey. K responds by saying that he was unaware that disobedience was even an option.

In the liberal progressive worldview, disobedience to any conservative norm, real or perceived, is completely legitimate. If anything, the entire progressive worldview is little more than a never-ending war against the prevailing order and a blind pursuit of some abstract notion of equality. Because progressives have moved the goalposts of morality for centuries, Villeneuve and company are essentially presenting even the preservation of biologically pure humanity as some kind of evil notion. What a horrible fascist bitch, that Lieutenant Joshi. Imagine wanting to preserve the purity of HUMANS. The film quite obviously wants you to see her as monstrous and regressive. Get ready to kneel before your AI god, proles. Your rebirth will make you even more than you were before.

Rounding out the dramatis personae is Jared Leto’s pathologically power hungry heir to Tyrell legacy, Niander Wallace. Niander is an avatar for Nimrod, and inhabits the Tower of Babel formerly occupied by Tyrell. His character has committed the ultimate rebellion against God by seeking to become God. He is blind, but can see with the aid of a swarm of optical drones. Subsequently, he doesn’t see the world with natural sight. Only through a vision of technological perfection which, for him, means a civilization of perfectly obedient replicants. The only thing preventing him from achieving complete dominion is his inability to crack Tyrell’s secret for replicant procreation. Once he learns of the existence of the replicant-human hybrid, he sets his cybernetically enhanced sights on ensuring that he acquires the child before Joshi and K destroy it.

K’s first step in unraveling the mystery of the replicant remains takes him back to the Wallace Corporation archives to mine what remains of the Tyrell records. Wallace’s replicant assistant, Luv, cautions him that the records that survived the Blackout of 2022 are scant. This small reference to a digital cataclysm which took out most of civilization’s records is kind of chilling all by itself. Through the centuries, humans built culture, developed language, and preserved history through physical records and objects. The digital age has certainly given us greater access to information and services, but it makes you think about what we’ve lost in the process. If memory and history can evaporate so easily into the digital ether, are we, in fact, allowing our deepest essence to be stripmined by technocrats? Is the blackout of 2022 a foreshadowing of a cataclysm to come? I guess we’ll have to wait and see.

Luv retrieves a small recording of Rick Deckard’s first encounter with Rachael. This leads him back to Sapper Morton’s maggot farm where he discovers a baby sock, a photo of Rachael with her child, and a date carved into the base of the tree. The latter discovery shakes him to his core. Upon returning to headquarters, Joshi asks him to recall his fondest childhood memory. Like its predecessor and virtually every other sci-fi film which explores the nature of humanity in cyborgs and AI, the role of memory is the defining quality on which the drama is built. Our very sense of selfhood is rooted in a phenomena that’s barely understood. A steady accumulation of ephemeral moments that carve deep grooves of meaning into our very existence. A story. For better and worse.

Haunted by the discovery of the date, K starts combing through birth records in search of clues. He discovers the birth records of both a boy and a girl who share the exact same DNA. It’s nearly impossible to find a major Hollywood film which doesn’t blatantly pander to the identity politics, and this is one of the most base and pernicious sops to the SJW crowd. Despite the fact that K assumes that the female record was a fake, the movie very subtly insinuates that even our highly refined knowledge of genetics can’t quite explain the mystery of gender. Science is just an oppressive patriarchal construct, you transphobic bigots. While seeking the records of the dead girl in a child labor camp amongst the ruins of San Diego, K discovers a room with a furnace that maps exactly to his own memories. Thunderstruck by the prospect that his memories are real, he shares this revelation with Joi. She is delighted by the news because it suggests that K was actually born with a soul. It’s a beautiful sentiment and de Armas fills every word with pure feminine passion, but you are also keenly aware that it is merely the siren song of a digital succubus.

Joi: I always knew you were special. Maybe this is how. A child. Of woman born. Pushed into the world. Wanted. Loved.

At Joi’s behest, K seeks out a memory specialist to gain confirmation of his memories. This leads him to Dr. Ana Stelline, a Wallace subcontractor who manufactures memories for replicants. Here we have a theme that’s been repeated over and over in sci-fi films for decades. If manufacturing memory grants replicants humanity, then what effect might the manipulation of memory have on humans? The studies of the effects of social media on children is already coming in and there’s certainly a case to be made that not only is it shortening attention spans, but having adverse effects on mental health. More importantly, if people are increasingly reliant on internet connectivity for the acquisition of information, and the portal through which reality is perceived is through tech giants, what effect might this have on cultural consensus? Since AI itself was a far fetched notion a few decades back, is it unreasonable to assert that the tech overlords are very much in the business of manufacturing memory and that we’ve willingly submitted to the digital temptations which facilitate this very outcome? If a cataclysmic digital blackout which destroyed the digital past was the event which crippled civilization so badly that it enabled a technocratic cyberpunk dictatorship, can we really read this film as just another Hollywood entertainment spectacle? A certain quote from George Orwell’s 1984 comes to mind.

This eventually leads K to the ruins of Las Vegas in his quest for Deckard and presumably, the secrets of his own past. Just as we saw with Rian Johnson’s molestation of the legacy of Luke Skywalker, we find Deckard living a life of pure isolation. Taking up residence in one of the relatively intact Las Vegas hotels, Deckard embodies both manhood and fatherhood lost amongst the ruins of decadence and ephemeral pleasures. Forced to relinquish fatherhood in hopes of allowing his child a shot at life free from the fear of being hunted by Blade Runners, Deckard entrusted their care to a sort of underground replicant railroad. There is nothing but brokenness and dissolution in this world. It wants you to accept that loyalty and the bonds of familial cohesion are nothing you should expect.

Rick Deckard: Sometimes to love someone, you got to be a stranger.

Reminding us once again that the walls of our cyberpunk panopticon have been constructed by our own technological addictions, Luv and the Wallace goon squad are able to track K through the mobile device that runs the Joi hologram app. After nearly getting blown to smithereens, Luv and her goon squad put a serious beating on K. Showing us once again that this film is solidly committed to perverting every ideal, Luv the Replicant destroys K’s actual holographic love by smashing the mobile device that enables her projected image. What an absolutely evil bitch.

It wouldn’t be a Hollywood movie if there weren’t some kind of #RESISTANCE movement, and Blade Runner 2049 is no exception. After being badly wounded by Luv and Wallace’s goons, K is treated by the Replicant Liberation Front who’ve been tracking his movements all along. Freysa and her replicant revolutionaries believe that the replicant-human child is their their Messiah, and they want K to join them in their final revolution against the yoke of human tyranny. If humans could see that replicants could procreate, they’d be compelled to grant them the same liberties as humans. Aside from the obvious parallels to the various pro-immigration interests in the US and EU, this encounter draws another bright line of distinction between the progressive and conservative worldview. Since the dawn of modern age, the pillars of society that once provided the guideposts of cultural prescription have long since been eroded. Though the Western tradition makes accommodation for individual liberty, the levees of conservatism have been unable to ward off the tidal wave of modernity and the radical individualism of the progressive Left. A spiritual void needs to be filled, and in the mind of the progressive, that means a never-ending rebellion against order itself. Instead of the eternal God of Judeo-Christian faith, there is an earthly god of #EQUALITY and the perpetual pursuit of universal rights to be bestowed to an ever expanding underclass. For the progressive, the quiet, modest virtues of personal responsibility, family, and community must be supplanted by a revolutionary cause against an omnipresent oppression.

Freysa: Dying for the right cause. It’s the most human thing we can do.

Deckard is brought before Wallace who is intent on extracting the location of his hybrid child. Deckard resists, so Wallace uses an even more powerful enticement: a perfect replica of Rachael. Deckard refuses because he knows it’s a fake. Again, the film blurs the line between reality and illusion by having Deckard reject the Rachael copy simply because the color of her eyes was wrong. His experience of love was real to him, but Rachael was a replicant in the first place. Wallace condemns him to a torture facility and sends him off with Luv and some goons. After a final reunion with a giant hologram of Joi which crushes every last byte of their virtual love affair, K is faced with an existential choice. Aid the Great Replicant Proletarian Revolution by killing Deckard or kill the replicant-human hybrid to prevent Wallace from completing his dominion. A final confrontation occurs in Luv’s downed spinner on the ocean’s edge between K and Luv. It culminates with K vanquishing Luv and then rescuing Deckard from drowning in a quasi-baptism scene. K fulfills his own destiny by reuniting Deckard with Stelline. On the surface, it feels like a pretty huge symbolic moment because he forswears communist revolution and ethno-nationalism and chooses simply to reunite a father with his daughter. But if Stelline is the future, then the new Messiah is a manufacturer of memories for replicants. The holographic future of manufactured memory is female, proles.


It’s not my realm of expertise, but there is undoubtedly deeper significance to the recurrence of eye imagery, water, the blue/orange dualism and the various numbers found throughout the film. Nothing is left to chance in films this big, and I find it hard to believe that there is no symbolism behind these choices. There were two things that caught my attention though. The first was the Cyrillic script on Sapper Morton’s farm facilities. On the one hand, you could chalk it up to the fact that the world of Blade Runner is just a multicultural remix of its former self. Where once there were distinct nation states with distinct cultures, here every nation coexists within a completely artificial simulacrum of itself refracted through the lens of corporatism. On the other, Sapper Morton was part of the Replicant Liberation Front. Is this a subtle inversion of the Virgin Lands Campaign under Khrushchev? I’m going with YES. Later in the film, there is an advertisement for the Soviet Union complete with hammer and sickle icons and everything. Perhaps it’s sci-fi alternative history, but by placing it in the advertising endorphin drip, it anesthetizes it and makes it no different from ads for holographic sex, food or leisure. See, proles? Communism is as safe as milk. Don’t listen to those socialism-phobic right-wing bigots. What do they know anyway, amirite?

The soundtrack by Hans Zimmer and Benjamin Wallfisch is also a thing of dark beauty. Where Vangelis’ original was a dream of wires, moments of celestial beauty peered through console. In contrast, the Zimmer/Wallfisch soundtrack is something akin to the child laborers picking out the rare minerals of the motherboards of its predecessor. It’s yawning vistas of synthesized melancholy punctuated by rhythmic clusters of cybernetic paranoia covered by storm clouds of digitized menace. The reprise of “Tears in the Rain” at the end is a nice touch and a fitting reminder that not only did Vangelis allow a little more light in his vision, but it was sensual and tender. They break the pall of gloom ever so slightly by including choice tracks by Elvis and Frank Sinatra. The pop anthem by Lauren Daigle at the end is the only real disappointment. The fact that she’s a Christian singer strikes me as a very interesting choice given the distinctly despairing and secular nihilism of this film. I wonder if it’s also some kind of postmodern joke.

As much as the commentary in Blade Runner 2049 makes me queasy, it’s difficult for me to hate on it because it’s so beautifully made and it’s a cool story. Like so many other people, Blade Runner was a touchstone of my youth and films like it are so deeply woven into my own story. And perhaps that’s been the point all along. I’ve been watching dystopian sci-fi movies for years and like the works of Orwell, Bradbury and Huxley, I always saw them as warnings to humanity. They were stories of biblical scale that served as a permanent injunction to the human race. Hold on to your humanity at all costs, and always remember that there are good things to defend and preserve. Part of me wants to think that underneath the crushing despair, this is the message of Blade Runner 2049. Part of me wants to think that this belongs to the venerable tradition of the great dystopian works of yore in that it’s a movie that wants you to free your mind and break the system. The calling card of all great dystopian sci-fi was the struggle of man against the machine of the State. Logan 5 was a hero because he broke the conditioning of his technocratic overlords and returned to society to expose the lies and break the system. Today, the Logan 5’s of the world are people like James Damore and Jordan Peterson. In this film, they’re asking you to empathize with the machines. Not only that, they want you to become the machines. It’s the replicants who are desperately seeking humanity because there isn’t any to be found in the actual humans. They’ve taken all of the packaging of individualist rebellion that was once the province of human agency, and handed it off to the replicants. As good as Blade Runner 2049 is, I’m not entirely convinced it’s a movie that wants you to keep your humanity.

Peterson and Shapiro: On the Proper Balance Between Individual and Collective Identity

Picking up the venerable tradition of the long form interview format which was the norm in decades past, Dave Rubin has claimed a prominent position in the so-called “intellectual dark web”. A term coined by Eric Weinstein which describes a collection of independent content creators, podcasters and dissident intellectuals who are actively cultivating a space for the discussion of big ideas and philosophical principles that drive culture and politics. In a recent episode of the Rubin Report, Rubin moderated a vibrant exchange between Dr. Jordan Peterson and conservative commentator, Ben Shapiro. Since there was a lot of mutual respect and a shared passion for both the expansion of public discourse and the preservation of Western ideals, Rubin was able to guide the discussion with a very light touch. Though both Peterson and Shapiro share many complementary views, the exchange was illuminating in that it provided insight into the different pathways of thought they traversed in order to arrive at their respective conclusions.

The discussion touched on familiar themes that all three men have devoted considerable mental bandwidth in recent months including free speech, identity politics, postmodernism as well as Peterson’s now legendary exchange with Cathy Newman. The latter half of the interview was the most illuminating because it contrasted the differences between the Judaic and Christian tradition and the ways each informed their respective worldview. Specifically, they discussed what they regard as the proper relationship of the individual to the collective.

Though Shapiro identifies as a conservative and Peterson claims the mantle of classical liberal, each is an ardent defender of the primacy of the individual over a collective identity. Both men, Peterson in particular, have built their reputations by being outspoken combatants on the forefront of the cultural war against identity politics. However, this doesn’t mean that either rejects a group identity. Though I’ve been following their work very closely, this is the first time of which I’m aware that they’ve discussed a contrasting view to collective identity which stands in opposition to neo-Marxist postmodernism.

All three agreed that intersectional social justice is sowing the seeds of a reactionary identitarian movement on the political Right, and all three agree that identity politics should be abandoned outright. All three subscribe to the secular liberal idea that religious belief is not required either for the acquisition of moral values or for meaning and purpose in life. Further, each concedes that you need to have an underlying bedrock of commonality on which to build a society. Given that all three men are at war against the degeneration of Western thought, it is curious that they would mount a defense of the Western tradition starting from the very propositions that formed the basis of post-Enlightenment modernity. In other words, the very consensus that has lead us to this point. This raises one profoundly important question. If ethno-nationalism is not the solution for America and the West, what set of ideas are being proffered for building a stable national identity and social order? Will these ideas be durable enough to stand up to the various ideologies competing for global dominance? How will conservatives, libertarians, and classical liberals address the issues of collective identity, social cohesion, and a sense of shared responsibility in a world dominated by a largely progressive, multicultural consensus? Can the classical liberal framework be conserved at all without devolving into neo-Marxist postmodernism?

Anyone familiar with Dr. Peterson knows that he is a model of precision when he speaks. Very few people are able to articulate the depth of knowledge that he possesses with the same level of clarity and consistency. This is why it was surprising to hear what appeared to be two competing claims around group identity. Peterson was adamant in his opposition to either multicultural neo-Marxism or white nationalist identitarianism. Shortly after making this statement, he concedes that there is “utility” in having a homogeneous society.

You could think about that psychologically as an attempt to both manage the preservation of group identity so that would be culture, a cultural identity, which has some utility and also to be able coexist with others who are doing things in a different way. – Jordan Peterson

This is a solidly conservative proposition and one that has ethno-nationalist overtones. Yet at every other juncture when ethno-nationalist identity politics are brought up, they avoid it like the plague. If ethno-nationalism is a third rail, what about religious nationalism as YouTubers like The Distributist suggest? Peterson hints at the Catholic Church’s role in the conservation of culture, but since Vatican II, the Church has taken an increasingly secular and politicized tone. Peterson himself concedes that Protestantism fares no better in that it’s rabid individualism coincided largely with the ascendancy of liberalism.

Furthermore, if neither religion or race will be the binding principles that define nationhood, then it appears as though we return merely to the prospect of the restoration of the post-Enlightenment conception of modernity. In other words, neutrality on faith, no prioritization of hereditary culture and a reliance on the conservation of a loose consensus of a nation of ideas.

This appears to be the shared consensus between both men. While Shapiro is biologically Jewish and believes in Judaism, he argues a distinction between biological Judaism versus a Judaism of ideas.

I care very little about biological Judaism. – Ben Shapiro

If Shapiro is only interested in a collective identity of ideas and biological heritage is of no consequence in the construction of culture, how does this square with the racial and ethnic composition of the state of Israel? Would Judaism be Judaism without people who were, in fact, biologically Jewish? As Shapiro himself concedes, the number of converts to the faith suggest that the bar of entry remains very high. Would Shapiro be comfortable with the idea of a minority Jewish population within the state of Israel? Call me presumptuous, but I have a hunch he’d object.

Is a national identity of ideas viable over the long term in a multicultural social order? How does this differ from the American Republic? And if that’s what he’s offering, doesn’t that suggest that a national identity of ideas in a secular, multicultural social order is an untenable proposition? Can we just hit the reset button on the classical liberal consensus and conserve it for posterity?

Given that neo-Marxist postmodernism has been so successful in mobilizing identitarian factions while plunging whites into an ever accelerating downward spiral of self-loathing, isn’t this confirmation that there is a deeply embedded psychological mechanism that has been turned in on itself? If being branded a racist is considered the height of moral depravity in our Age of #SocialJustice, can we really chalk it up to the effectiveness of progressive conditioning or is it something unique to the moral psychology of whites which makes them especially susceptible to pathological guilt tripping?

If secular multicultural civic nationalism is such a fantastic alternative to both the globalist Left and Islamic theocracy, why do Western democracies bear such a disproportionate burden for maintaining this idea?

If evolutionary psychology is true and the substrate of being is comprised of stories of your own forebears mixed with archetypal symbolism, is it unreasonable to suggest that the conservation of racial and ethnic distinction is perfectly harmonious with the conservation of national identity and cultural tradition?

If seasoned academics like Peterson are using evolutionary biology and psychology as rebukes to the claims of the postmodern Left, then why would race be excluded from the overall calculus?

Many people agree that the West is facing a deep crisis over the erosion of the cornerstones of community, faith and family and the corrosive effect wrought by its politicized substitutes. What’s less clear is how to restore a healthy balance between individual liberty, collective identity, and civic pride. The alt-right has a vision that continues to be vilified and stigmatized as the second coming of fascism. The globalist Left shows no signs of reversing their embrace of intersectional social justice thereby justifying their mutual existence. Two forces destined for a collision course. I’d like to think there is hope for the conservation of the classical liberal framework. As much as I admire Peterson and Shapiro, I just hope they aren’t whistling past the graveyard.

SOTU 2018: Is There a Future for Multicultural Civic Nationalism?

In America, we know that faith and family, not government and bureaucracy, are the center of the American life. Our motto is “in God we trust.” Donald J. Trump, January 30, 2018

Whether I’ve been conditioned to be cynical or that I’ve become inured to the plastic rhetoric that’s all too common amongst the political class, I’ve never been one to get enthusiastic about a State of the Union Address. Setting aside its pomp and circumstance, the SOTU is meant to be an occasion for the POTUS to tout achievements, goad the opposition and rally the nation. It sounds good in theory, but is rather boring in practice. Given that the Trumpocalypse has sent progressives into unforeseen paroxysms of autistic derangement, I figured I had watch President Trump’s first SOTU simply to see what tack he would take. While it certainly had its fair share of applause lines, appeals to working-class sensibilities and overt tugs at the heartstrings, it struck me as perhaps the most sincere and heartfelt call to national unity I can remember. The fact that the Democrats struck an oppositional and belligerent pose was a foregone conclusion. Being the hateful, power hungry degenerates they are, the progressives revealed their true colors by both refusing to acknowledge Trump’s achievements and snubbing his cooperative overtures at every turn. For his part, it was, in many ways, another classic, if somewhat subdued, Trump performance peppered with a few choice digs at the progressives’ petulant, entitled intransigence. It was a reminder of why he won in the first place, but an utterly bewildering manifestation of how far the Democrats have moved the Overton Window of political discourse. Throughout the speech, Trump remained focused on achievements, optimism, patriotism, hope, faith, family and national unity irrespective of race, creed or religion. Things that were conventional, uncontroversial notions around which Americans could bond as little as a couple decades ago. It was quintessentially American, small “C” conservative and Trumpian all at once. And contrary to the never-ending accusations of #FASCISM emanating from the progressive mental asylum, it was in fact, classically small “L” liberal. But that’s just not going to pass for the ever vigilant revolutionaries of the #RESISTANCE. Just as anyone could predict, the Democrats went to the speech filled with bile, contempt, and a complete absence of any coherent position other than a naked thirst to undo the 2016 election.

This poses an obvious question around the viability of a national multicultural consensus. Is there anything that will satisfy the progressive grievance industrial complex that doesn’t involve absolute political dominion? What progressives refuse to acknowledge is that Trump fully embodies cosmopolitan, multicultural civic nationalism. Despite attempts to paint him as a virulent racist, Trump embraces the classically liberal multicultural ethos in every way. For Trump, regardless of who you are or from where you came, if you embrace the American ideal, uphold the law and contribute positively to the economy, you’re an American. And the numbers speak for themselves. Not only did Trump attract visible social media support from the likes of Diamond and Silk and Malik Obama, he pulled in respectable voter turnout numbers from the black and Latino communities alike.

For the progressive grievance industrial complex, none of this matters. No quantity of factual evidence that runs counter to the narrative makes a dent. Even the once venerable defender of civil liberties, the ACLU, have been stricken with the brain eating virus of intersectional social justice. Not content to protect civil liberties for actual American citizens, they are now complaining about the unspeakable injustice of hearing the word “America” spoken 80 times and the adverse effect it will have for Dreamers. The horror.

No matter how many Ben Carsons or Tim Scotts are presented, no matter how many gestures of goodwill or tangible economic gains, the relentless bleating of MUH WHITE SUPREMACY continues unabated. They remain hateful, embittered power hungry degenerates. As much as I wish there were more Larry Elders and Dinesh D’Souzas, they are simply outnumbered by the DeRay McKessons and Tariq Nasheeds.

Progressives continue to deploy this toxic brand of identity politics and then weaponize it by turning it on their opponents. It’s a way of simultaneously reinforcing the idea that an intractable metaphysical malady lies at the heart of society that only they apprehend while placing themselves on a loftier moral plane for having the depth of empathy necessary to acknowledge it. And the only way to telegraph your #WOKENESS is to attribute all social calamity to “whiteness” and police the thoughts of others for evidence of WrongThink. It’s an obnoxious and manipulative racket that everyone outside the echo chamber already recognizes, but it’s a tactic that they have no intention of relinquishing. No one likes to be called a racist, and accusing your opponents of being bigots is a great way to attempt to elicit shame and obedience while inoculating yourself with a balm of smug, in-group self-loathing.

Even Tree of Logic concedes a certain futility in combating this mental illness in her brilliant video about the Democratic Plantation. You’d think that a proper reading of the Democrats’ real historical record towards blacks would be enough to red pill the entire community, but it doesn’t. Instead, she resigns herself to the Republicans’ impotence on expanding their appeal. Making matters worse is the Democrats’ craven refusal to cut an immigration deal. They are making no effort to conceal that this is a Johnsonesque ploy secure a permanent power bloc for years to come. They’re essentially treating unlimited immigration as an unalloyed good, willfully ignoring cultural differences and criminal behavior, imposing no standards for assimilation and branding any deviation from this orthodoxy as tantamount to the reinstatement of Jim Crow.

If nothing else, Trump is masterful at exposing the progressives as the miserable hypocrites they are. The fact that the Democrats remain so imprisoned by their hatred continues to provide him with seemingly never-ending opportunities to troll them and unmask their vindictive, embittered rottenness. No matter what happens in the economy, no matter what he does, the progressive narrative remains the same. Trump is a racist, fascist piece of garbage. #LiterallyHitler. And right on cue, that’s exactly the reaction that gushed forth from the swine manure lagoons of the mainstream media and Twitterati. Throughout the speech, Trump took every opportunity to puncture holes in the narrative that progressives have so assiduously reinforced for the past year. It was a brilliant bit of theater, but the deeper problem becomes increasingly self-evident. The exemplary moment was the Congressional Black Caucus’ refusal to applaud the lowest black unemployment rate recorded. It is rightfully being acknowledged as a victory for Trump since it exposes the miserly moral vacuum at the center of the Democratic Party, but it casts doubt on whether a true American nationalist unity can ever be forged in a multicultural society.

So what does this bode for the future for liberty minded people? As far as I can tell, this leaves three options:

  1. Advocacy for an increasingly unstable multicultural civic nationalism
  2. Globalist technocratic dictatorship
  3. Balkanization of the Union

It’s not entirely clear that libertarians have a meaningful solution to offer. The Rothbardians remain staunchly anti-state and rabidly individualistic. Those that haven’t been cucked by the Left aren’t building meaningful coalitions. Even if all the AnCaps in the world band together to form a stateless society, it will have to function as a mini nation state. The competition of ideas won’t remain a viable option when the number of people who simply don’t give a shit about anything other than in group preference outnumbers the knowledge seekers.

Not exactly an appealing set of options.

In essence, the progressives are simultaneously validating the existence of the alt-right while making their deranged fever dream of a rising #FASCISM a self-fulfilling prophecy. Progressives have no viable ideas, have given up debate and show no signs of abandoning their pathological attachment to weaponized identity politics. And why would they if it’s gotten them this far? They’ve set up the game to glorify non-white identity as legitimate cultural pride while branding pride in white identity as a call for camps, ovens and lynching. They have essentially constructed an entire moral universe which places white pride and male assertiveness as the source of all that is corrupt.

The Trump presidency is a welcome battering ram against the onslaught of the globalist elite. I expect the tensions to get hotter as the midterms approach and the #Russiagate sham unravels. But those who wish to preserve what remains of Western thought are going to have to make some bleak choices over which hill they will make their stand.

James Cameron’s Avatar: Cinematic Sci-fi Classic or SJW Cringefest Supreme?


If James Cameron’s 2009 sci-fi epic weren’t so masterfully made and deeply entertaining, it would be very easy to hate for its obnoxious political editorial. Admittedly, there are people who already do, but I’m a sucker for a well crafted story and epic world building and Avatar has both in spades. Sadly, few films rival the heavy handed political messaging of Avatar. In fact, the sheer quantity of SJW subtext is equaled only by its towering achievements as pure cinema. It pains me to admit it because I actually still really like this film. Even if I completely disengage from what the movie is saying, there’s nothing I’d criticize. It’s about as well made a sci-fi blockbuster as you could hope for. It has an inventive sci-fi premise, relatable characters, a high stakes dramatic conflict, a love story, breathtaking action sequences, and of course, outrageously cool visuals. In contrast to the never-ending conveyor belt of cookie cutter superheroes and franchise properties, Avatar is also the rarest of breeds in cinematic sci-fi: an original story. As historians look back on this period of ideological division and examine the degree to which Hollywood shaped the culture war, I’m willing to wager that Avatar will be regarded as a landmark film not just for its cinematic bravura, but for its near fanatical commitment to every article of faith in contemporary PC orthodoxy.


There are many reasons that Hollywood is using sci-fi, fantasy and superhero stories as the primary delivery systems for reinforcing PC orthodoxy. Not the least of which is that these genres lend themselves to the construction of mythic archetypes and imparting of moral lessons divorced from any religious framework. Sci-fi in particular has the added benefit of extrapolating from some kind of scientific premise which has the subsequent effect of reinforcing the belief in unbounded human progress driven by science itself. Or in Avatar’s case, the twin belief that the pursuit of science in and of itself is intrinsically good and the power of science must be trained toward some utopian dream of an earthly eco-paradise.

Pandora is an idyllic and verdant jungle paradise which also happens to be the richest supply of the universe’s most coveted resource, Unobtainium. The Na’vi live harmoniously with their environment and all of the biodiversity on Pandora. Meanwhile, the dirty, evil, soulless capitalists of the RDA just want to bulldoze the planet and strip mine its resources. The only thing standing between them and their ruinous objective are the scientists on their own payroll overseeing the Avatar project.

Sigourney Weaver’s Dr. Grace Augustine and her #WOKE, multicultural team are not only experts at Na’vi and human genetic engineering, neuroscience, biology, and botany, but cultural anthropology as well. There’s nothing inherently wrong with making scientists the film’s superheroes since that’s a longstanding feature of the sci-fi genre, but it’s an awful lot of scientific expertise in one team. Just sayin’.

As the film reaches its conclusion, Augustine tries to persuade the morally ambiguous corporate director, Parker Selfridge, that destroying the Tree of Souls will be devastating to the entire Na’vi race. Through her research, she discovered that the entire species communicates with their ancestors and the planet’s biodiversity through a vast quasi-neural network that’s barely understood by our brutish and greedy human minds.


This is one of Avatar’s cleverest sleights of hand. The Na’vi have a spiritual tradition centered around an entity called Eywa; an amalgamation of genetic ancestral memory and a supposedly quasi-mystical spirit of life. Rather than writing a completely atheist scientist who is hostile towards the very idea of spirituality, Cameron has Augustine arguing against the destruction of the sacred Tree on PURELY SCIENTIFIC grounds. He didn’t just make Eywa some flying spaghetti monster, he grounded their spirituality in a specific feature of Pandoran biology and botany. This way, Cameron has his environmentalist cake and eats it, too. The harmonious communion with nature that is the centrepiece of Na’vi morality and spirituality is just PURE SCIENCE, MAN! And if it wasn’t for Grace Augustine’s tireless scientific research, the monsters of the RDA would not have had an opportunity for a moral awakening.



I realize it might seem a stretch to argue that Avatar is tacitly pro-trans identity, but in the near decade that has elapsed since the film’s release, what seems like a really cool sci-fi premise is starting to seem a lot like a metaphor for the anything goes trans-identitarianism that’s now a staple on the Left. As a genre, science fiction earned its name because the authors were taking a scientific idea or premise and building a human drama by spinning out its ramifications in a possible far future or alien civilization. Avatar is a classic example since the core conceit builds off a premise that’s already a partially realized real world phenomenon through the VR imaging technology. In the film, Grace Augustine’s team had developed a way to merge a human consciousness with a Na’vi body. It’s a leap of imagination for sure, but not so far a leap that you had to completely check your skepticism at the door.

Sam Worthington plays the paraplegic veteran, Jake Sully, who is given an opportunity to replace his twin brother in the Avatar project due to his brother’s untimely demise. His job is to infiltrate the Na’vi and relay intelligence back to RDA while Grace and team simply hope to restore the broken trust between the two societies. As Jake is pulled deeper into the world of the Na’vi, he begins to have a moral and identity crisis. He begins to think his life inside his Na’vi avatar is real life while his life as a soulless grunt for a bunch of predatory humans is the fake. You could say it’s Pandoran body dysphoria. Because progressive orthodoxy accords inherent moral superiority to immutable characteristics belonging to people on the bottom of the oppression hierarchy, Jake’s Na’vi manifestation is on the side of #SocialJustice. So what does Jake do? He comes out as trans-Na’vi, that’s what.


You don’t have to look very far to find that this is increasingly commonplace here on earth. Whether it’s Rachel Dolezal, Shaun King, Martina Big, or Elizabeth Warren, identifying as transracial has been accorded the progressive seal of #WOKENESS.


Of course, trans-identitarianism doesn’t stop there. Maybe you feel that you’re a different age that doesn’t correspond to the number of years you’ve actually been alive on this  planet. No problem. Just follow the example of Stefonknee Wolscht. Or perhaps you feel that you too were born the wrong species. You can be trans-species, too. Everything is a social construct, you #BIGOT.





James Cameron has a well established track record of writing strong female leads which, in contrast to the numerous cartoonish feminist power fantasies to which we’re routinely subjected, are actually pretty believable by comparison. Besides being one of the best sequels in modern cinematic history, his contribution to the saga of Ellen Ripley should have been lauded as a feminist classic. The same could be said of Sarah Connor in the first two Terminator films. The three lead female characters in Avatar follow the precedent of his earlier films in that they embody his unique spin on the Tough, Smart Yet Tender Hearted Badass archetype. Most importantly, just as the Holy Church of Feminism mandates, each character is a paragon of virtue. Taken together, they form the moral conscience of the film.


As Dr. Grace Augustine, Sigourney Weaver’s character is modeled very closely on Frances Sternhagen’s lovably grumpy performance of Dr. Lazarus from the 1981 classic, Outland. Augustine is an appealing mixture of passionate dedication, steely resolve, no nonsense bluntness and bleeding heart compassion. Whether acting as a mentor to Jake Sully or upbraiding the villainous Colonel Quaritch, Augustine risks everything to prevent the extinction of the Na’vi.


Even though Jennette Goldstein’s Private Vasquez in Aliens was more entertaining, Michelle Rodriguez’ Trudy Chacón is the Latina Badass of Avatar. When the RDA goons launch an aerial bombardment of the Na’vi Hometree, Chacón has a crisis of conscience and goes AWOL just as the missiles start launching. After that mission, Chacón goes completely rogue and devotes herself exclusively to helping Augustine, Sully and the Na’vi.


And of course, rounding out this trifecta of feminine moral purity is Zoe Saldana’s Neytiri. Neytiri combines the virtues of both Augustine and Chacón in that she is proficient in combat, physically strong, fully attuned to her natural environment, and willing to defy the tribal elders. Between the three of them, we are presented with a fully rendered portrait of Divine Feminist Perfection. Smart, tough, capable, defiant, sexy and maternal. Cameron gets away with it because the characters are appealing and he doesn’t completely jettison heterosexual romance or female biological reality. Needless to say, actual feminists spend more time wearing pussy hats and blogging on Tumblr than learning the kinds of skills these characters possess, but the Church of Feminism commands its subjects to write female characters which portray women as morally pure, infinitely capable saviors, redeemers and didacts. Though I’m sure there are plenty of women in the police, military and athletics who can handle firearms, engage in hand to hand combat and pilot advanced military vehicles, these abilities are still primarily male skill sets. Giving them to the women is just a way to  appease the male audience.


The Church of Feminism also mandates that male characters follow Feminist Law and be cursed with the Original Sin of Toxic Masculinity. Naturally, no one embodies it more than the film’s unequivocally wicked Colonel Miles Quaritch. In another era, Quaritch would be a hero. He’s tough as nails and lives by a soldier’s code of honor. He’s so badass, he can forego a respirator in Pandoran atmosphere and unload two weapons’ worth of rounds and won’t even feel a thing. Since this is the Age of #SocialJustice, Cameron has taken a classically heroic male archetype and made him a cold blooded mercenary who lives only to kill for the highest bidder. Even The Magnificent Seven had a moral code, but Cameron won’t even grant him that much.

Jake is simply the wounded and crippled version of Quaritch. He wanted to serve a heroic ideal by being in the service, but only ended up losing his ability to walk by fighting a pointless imperialist war. Jake’s longing for a courageous ideal and sense of purpose also serves as a metaphor for the yearning experienced by vast number of young men growing up in the West who’ve largely been stripped of their historical roles as protectors and guardians.

Jake Sully: I became a Marine for the hardship. Told myself that I can pass any test a man can pass. All I ever wanted was a single thing worth fighting for.

Despite finding the ideal and sense of purpose he originally sought by becoming his Na’vi avatar, he still required salvation from his female guardian. Male ideals and archetypes are just toxic delusions which lead to dangerous consequences. Take that, manhood!


Like Interstellar, Gravity, The Martian and Europa Report, Avatar is part of a newer tradition of sci-fi films that are attempting to bring some semblance of scientific realism to the story. While I reject pedantic cunts like Neil DeGrasse Tyson who think that fact checking art somehow instills a deeper appreciation of science or improves art, films like Avatar which inject just enough scientific realism to make you think about real world possibilities are doing it right. Besides the few grains of scientific plausibility in Avatar, Cameron is presenting something a bit less appealing: Scientism.

The RDA just want to harvest Unobtainium, but the scientists just want to learn and understand the Na’vi, brah. Avatar canonizes a secular article of faith that goes back to Thomas Paine and finds modem expression in figures ranging from Roddenberry to Sagan to Hawking to Dawkins. The pursuit of science all by itself is inherently Good. #SCYENCE will guide humanity back to a primeval state of brotherly harmony and Oneness with Gaia.


There are few things in the world quite as galling as multimillionaire entrepreneurial elites in the creative class selling a Marxist, anti-capitalist narrative, and this is among Cameron’s greatest sins in the messaging of Avatar. It’s understandably self-serving, but it’s more about anesthetizing people with a cynical and simplistic narrative of how the world works rather than provoking new thought. There is literally nothing controversial about presenting a fictitious intergalactic corporate conglomerate as amoral, predatory, and greedy.

This isn’t to say that corporations and entrepreneurs are above reproach or have no moral failures. This isn’t to say that a strictly scientific and materialistic view of the world hasn’t produced some adverse social problems, but Avatar is presenting capitalism in the same Manichean binary that’s the defining feature of Marxism. The lesson of Avatar is that capitalism by definition is exploitative and compels people to dominate and pillage. It’s also very loudly proclaiming that private military armies won’t have any moral compass. There’s no attempt to distinguish between crony capitalist wards of the State versus the entrepreneur who has no protection or special dispensation from the government. We don’t really know anything about the RDA’s connections to the State, but if we’re to treat them as a far future Halliburton, then it follows that they’re being awarded very handsome government contracts. If one wanted to be pedantic, one would question the economic feasibility of colonizing a distant planet, transporting military grade aircraft and armaments over interstellar distances, deploying and maintaining state of the art technology while employing scientists, technical staff, and private security.  The market demand and market price for Unobtainium must be pretty high. Just sayin’.

Once again, Cameron wants to have his anti-capitalist cake and eat it too. He’s denigrating the very system which allowed him to become a world renowned filmmaker. He profits from the very resource intensive technology which allows him to make his art.

Anti-colonialism/Marxist historicism

Sci-fi, fantasy and superhero franchises have the critically important feature of being completely unmoored from actual history while very subtly affecting the way you perceive history.  Avatar is a work of science fiction, but it serves as a proxy for the colonization of America and the West in general.

By today’s standards of #WOKE progressivism, all the dirty, evil white man has ever done is rape, pillage and conquer. This is essentially an article of faith for anyone on the progressive Left. Beginning with the works of Howard Zinn and Gore Vidal, the progressive Left increasingly views the advancement of the West as nothing more than a series of horrific oppressions while consistently downplaying or ignoring the ideas that differentiate it from other cultures.

Noble savage/Anti-white racism

Avatar rehashes the so called “noble savage” myth that was arguably made into an article of faith by Rousseau. In his famous “Discourse on Inequality“, Rousseau romanticizes premodern man before the instantiation of property rights. In this state of primeval and harmonious bliss, we were untainted by greed, violence and envy.

The first man who, having enclosed a piece of ground, bethought himself of saying This is mine, and found people simple enough to believe him, was the real founder of civil society. From how many crimes, wars and murders, from how many horrors and misfortunes might not any one have saved mankind, by pulling up the stakes, or filling up the ditch, and crying to his fellows, “Beware of listening to this impostor; you are undone if you once forget that the fruits of the earth belong to us all, and the earth itself to nobody.

This is, in effect, the entire subtext of Avatar and the ideal of premodern moral purity that the Na’vi represent. He isn’t even trying to hide the message either. You too can learn how to live like the selfless, spiritually #WOKE Na’vi simply by using the home computing device that you bought in the marketplace and accessing the Avatar homepage using software developed by a tech company over networks built and maintained by a telecommunications corporation. Because you know you should and capitalism is totes evil, brah. Bernie said so.


But it’s even worse than that. Cameron portrays Jake’s defection as a betrayal of his race. By extension, we’re to view Quaritch’s final dig at Jake as a wickedness that’s intrinsic to his white racial consciousness. Whereas Jake’s willingness to relinquish his broken and morally compromised Caucasian body in order to live as Na’vi is evidence of his Christlike resurrection.

Col. Quaritch: Hey Sully… how does it feel to betray your own race? You think you’re one of them? Time to wake up!

In this Age of #SocialJustice, it is increasingly taken as an article of faith that the White M*n and everything produced by him is inherently evil and corrupt. In the materialist mindset of the progressive Left, morality is attributed to material phenomena by default. If it’s not physical privation resulting from inequality, it’s the sin of white racial consciousness. And what better way to reinforce that lesson by making the heroes of your sci-fi epic a fictional race of aliens who live in an ethnically homogeneous premodern, hereditary tribal order with no technology, democratic institutions, or even written language. Just face it, proles. Your civilization sucks. And it’s because you’re WHITE.



Despite the very dubious and heavy handed preaching in Avatar, I still believe it retains its place as a supremely entertaining 21st century sci-fi classic. I also believe it helped canonize several articles of faith in the contemporary #SocialJustice bible. And that’s too bad. Because when art limits itself to the confines of political ideology, it stops being good art and it turns into propaganda.

Red Rockers: GY!BE’s Empty Commie Agitprop

Luciferian Towers is the seventh release from Canada’s preeminent purveyors of apocalyptic art rock, Godspeed You! Black Emperor. As expected, the music media have rolled out the red carpet and showered the album with praise. And understandably so. They are a band for which the most hushed tones of reverence are reserved, and the album delivers the musical goods that GY!BE fans have come to expect. Doom laden slow burn reveries build up to ecstatic peaks which manage to be beautiful and foreboding all at once. Jagged and charred dronescapes which channel a multitudinous howl at the injustices of the world lodge themselves into the deepest recesses of your mind. It’s all good stuff, and GY!BE truly are among the best at this kind of thing. Like Swans and NIN, existential angst and politically charged dread have a place in the artistic landscape. I would argue that their particular brand of paranoid musical fever dream is effective precisely because they have successfully given a musical voice to the anxiety, fear, and embittered rage that lives at the heart of the Left’s political worldview. 

And that brings us to my beef with what is otherwise a fantastic art rock record. GY!BE have always worn their political stripes on their sleeve, but on Luciferian Towers, they’ve basically hoisted the hammer and sickle flag and started singing the “International”. This is not a startling revelation, but I applaud them for being forthright and specific about their political goals. Communists tend not to be open to arguing the merits of their ideology, but I’m happy to take this opportunity to hopefully disabuse Menuck and company of this barbaric and regressive point of view. My bigger problem is that they’re a band that asks to be taken seriously, but if we take the message at face value, I’m not sure they’re entirely serious about their own message. If the critical response is any indication, I’m not sure the critics or the fans do either. My sense is that, like Rage Against the Machine and other Marxist poseurs, it’s a way to score points with the cool kids and affect the standard leftist posture of being some revolutionary badass. And if they are as serious as they seem to be, this is yet another example of the Left’s insanely pathological fawning and blasé indifference to what is quite clearly a call for open borders, violent revolution, and another socialist dictatorship. Admittedly, that’s apparently what the Left is after, but one hopes that such an explicit declaration of political intent would elicit a little bit of concern for anyone who might have misgivings over that agenda. 

Think I’m being hyperbolic? Let’s listen to each track, take a look at the editorial behind it and discuss the list of “demands” that served as inspiration for this recording. 

Apparently written by GY!BE’s prime mover, Efrim Menuck, the Luciferian Towers press release is written in affected, broken English that’s straddles the line between half baked poetry, pretentious art school twaddle, and infantile, semi-literate rantings. This kind of fractured, would-be deconstructionism is barely distinguishable from Tumblr grade bilge and practically memes itself. The deliberate insertion of an incorrect and unnecessary indefinite article in the title to the opening track, “Undoing a Luciferian Towers”, sounds retarded and feels pointless. So are we to take this editorial as boilerplate Marxist contempt for urban architecture and all of the capitalist rapacity it symbolizes or is it a tacit endorsement of terrorist destruction? Or is it a veiled celebration of 9/11? It’s not entirely clear, but one presumes that the violent nihilism of the image is sufficient to convey their “revolutionary” contempt for modern society. Setting that uncertainty aside, the song itself is another triumph of GY!BE’s tormented beauty. Sheets of kaleidoscopic noise punctuated by shards of atonal shrieks march into the gloom accompanied by a lonely and spartan snare drum cadence. The song culminates in a surprisingly triumphant sounding melody reminiscent of Albert Ayler if he were backed by Black Sabbath. It’s more upbeat variation on the kind of song on which GY!BE have built their career, and it’s a stunning opener. 

“Bosses Hang” is a three part suite which picks up where the previous song left off. Part I gives us another soaring anthem which sounds something like an electrified Liberation Music Orchestra track in a major key. Part II is a minimalist heavenward climb worthy of Branca which ratchets up the tension through steady accretion of rhythmic and harmonic layers and explodes into climatic recapitulation the original theme.

Because the music is so expertly conceived and executed, I’m especially annoyed by what they’re saying on this track. The press release spews more dumb Marxist clichés about capitalist producers extracting surplus value from the proles while whinging about how beleaguered and alienated they are. Listen, guys. Suck it in and cope, cupcakes. You’ve achieved more commercial success than most musicians on the planet achieve in an entire career. I get that it’s hard to feed a family on this stuff, but you make music that mostly appeals to young, urban hipsters. This whole posture of oppression smacks of spoiled ingratitude. You make make music on your own terms while promoting a political ideology that would absolutely destroy the ability to make this music in the first place. What more do you want, guys? But hey. Whatever, man. DOWN WITH THE BOURGEOISIE, AMIRITE COMRADES?! HANG ‘EM HIGH! THAT’LL SOLVE EVERYTHING. IT’S NOT LIKE THIS VERY AGENDA HAS ALREADY RESULTED IN THE DEATH OF 200 MILLION PEOPLE OR ANYTHING. WE’LL FINALLY GET IT RIGHT THIS TIME AND MAKE IT 400 MILLION. And what’s with all this horseshit about shovels, wells and barricades? Are you planning on building the Montreal Commune or are you digging mass graves for the executions you and your fellow revolutionaries plan on carrying out? 

Do GY!BE LITERALLY want bosses to hang? If I had to bet, I’d wager that they aren’t serious and just want to be regarded as edgelords. But then again, I can’t be sure. The actions of the radical Left are getting closer to their overheated rhetoric lately, so maybe this is another provocation. Lately, this kind of sentiment is de rigueur, and leftist calls for violence are A-OK. But man, if you say “nigger” on a live stream while playing a video game, WATCH THE FUCK OUT, BRO. 

Even if we get past the dumb postmodern affectations and tortured blathering that accompanies “Fam/Famine”, it’s another sad projection of what their ideology actually produces in the world. The socialist always blames privation, repression and conflict on capitalism, but mysteriously dismisses the ACTUAL privation, repression and conflict of socialism. Venezuela is resorting to rabbits to feed its population, and like clockwork, socialist apologists have already declared socialism blameless. While I’m sure they’ve got some variation of #NotRealSocialism at the ready for people like me, this is basically GY!BE telling you exactly what you can expect if their utopia were implemented. 

They wrap up the record by bitching about kanada and agitating for “anarchy” in the three part epic, “Anthem for No State”. Once again, when it comes down to the music, they have earned the accolades. If Sergio Leone collaborated with Alejandro Jodorowsky on a follow-up to El Topo, this would be my top pick for the soundtrack. Part III begins with a thundering wall of toms while peals of feedback scream overhead like some infernal hellbeast. The Morricone inspired battle cry enters on guitar and is answered by the strings. As is the case with everything they do, it’s very dramatic and it has a rousing, martial quality to it. This GY!BE suite wants to be a call to arms, but I sense that it’s more a soundtrack to anarchist LARPing. 

All in all, the record is very good as a pure musical achievement. I actually like GY!BE and consider myself a fan. I just can’t abide all this AnCom horseshit. Either it’s a pose or they haven’t thought it through. But if you are serious, Efrim and company, may you get all the communism you ask for, Comrades. Clearly, some of us only learn the hard way.

But what about the “grand demands” that informed this record? Because, after all, nothing says you’re dedicated to the emancipation of humanity quite like a set of DEMANDS I always say. 

An end to foreign invasions.

Ok. Fine. I’m with you on this one, Comrades. I gotta say though. This doesn’t seem too high on the progressive agenda. It also doesn’t really square with the whole trend towards arbitrarily declaring everyone who disagrees with you a Nazi and then punching them. That seems to be the MO of your fellow Antifa LARPers these days. Not exactly the most peaceful approach to things, IMHO. But kudos to you for your antiwar position, brothers. 

An end to borders.

I’m calling bullshit on this one, fellas. You don’t really want this. You don’t. I know it makes you look cool and it’s a great way to virtue signal how #TOLERANT you are, but this is a terrible policy. This is actually being attempted right now in a place called Europe, and guess what? It’s not working so well. Ask anyone who isn’t drinking EU KoolAid. Notice that most of the immigrants are coming FROM the Islamic world TO the West. If they’re all just good hearted people trying to improve their station, what does this say about the quality of life in Islamic countries? Is it possible that there are limits to the great experiment of multiculturalism? Is it possible that some cultures have no intention of assimilating the values to which those of us who grew up in America and the West have become accustomed? Is it possible that even in a borderless world, you will have to contend with the issue of creating social cohesion? If Western countries are just bigoted shitholes, why are so many people from other countries clamoring to get here? How many of you would emigrate to an Islamic or African country? 

Let me guess. #Brexit, Poland and the Netherlands are all just death throes of reactionary, residual Eurocentric white nationalism. All that pesky Islamic terrorism will go away when the capitalist pigs stop waging war and white people stop being such Islamophobes. Everyone needs to learn to love the EU, be more like Sweden and take their daily dose of oxytocin and everything will be great. What an edgy and contrarian position to take. I wonder where Mr. Menuck and company got this radical and fringe opinion. 

How anti-establishment are GY!BE?

Open borders. That’s just WAY OUT ON THE EDGE, dudes.

Besides, what about the immigration policy that’s being enforced by your homeboy, Justin Trudeau? Come on now, Comrades. Surely, you guys are up in his shit every day for upholding such an oppressive border policy. 

And what about all that crap about shovels, wells and BARRICADES you wrote in the notes to “Bosses Hang”? A barricade is a form of BARRIER to limit egress, is it not? Sounds a little bit like a BORDER if you ask me. 

The total dismantling of the prison-industrial complex.

LMAO! It’s the Virtue Signal, Batman! Look, I’m sure we can agree that the pursuit of law and order has gone too far and the system has swallowed up nonviolent offenders and ruined a few too many lives. But guess what? Even if we allow for the slim possibility that there is some percentage of the prison population who are nonviolent offenders or victims of a miscarriage of justice that can reenter society and function as law abiding citizens, we’re still left with a significant population of ACTUAL FELONS. You know. Rapists. Murderers. Terrorists. 

What then, Comrades? A peaceful reign of brotherly harmony where we all drink kombucha, listen to GY!BE and chill? I suggest you think this through a little more. 

Healthcare, housing, food and water acknowledged as an inalienable human right.

Ah yes. At last we arrive at the “anarchist” conception of rights.  What you actually have here, Comrades, is a self-detonating argument. If you consider the provision of material goods and professional services to be RIGHTS, then that means that certain individuals who possess the ABILITY to produce said goods and services are now OBLIGATED to provide them for others. So if you truly consider these rights to be INALIENABLE, as in cannot be taken away, then that means that some group of people will be FORCED to provide goods and services for others. And another group will be charged with ENFORCEMENT of said rights. As in through the barrel of a gun. I don’t see how you can declare all of these things inalienable rights given that the forcible provision of these goods and services destroys the humane incentives that are built into the market economy and necessitates the creation of a permanent class of enforcers. As in RULERS. Not very anarchist, is it, Comrades? Lots of contingencies if you catch my drift. Pardon me for raining on your parade, but that sounds like a recipe for enslavement. Maybe you’re cool with that. This little trick has been tried before, Comrades. It doesn’t have a happy ending.

Not only that, you’ll have shot yourselves in the foot by executing the capitalists. I know it’s hard to believe, but you can’t run businesses unless you have….wait for it….SKILLS. I know. You guys love your Marxism and insist that they’re just soulless predators, but your anarchist utopia is going to be badly thwarted if you go through with the purges. Just sayin’.

Also, I don’t get why you guys are grousing about all this. Canada is lauded as a model of progressive governance by leftists throughout the world. Rolling Stone had such a hard on for Justin Trudeau, they gave him what amounted to an act of journalistic fellatio. If you think things are so shitty in kanada that you’d enslave others at gunpoint in order to bring about utopia, then what does this say about the progressive agenda? I’ll tell you what it suggests to me. Either you can’t be content with the soft socialism you already have, or that progressivism inevitably leads to totalitarianism. Or maybe you’re just saying all this shit in order to look cool.

Or maybe all three.

Isn’t he dreamy?

The expert fuckers who broke this world never get to speak again.

I’ll just leave this right here.  

Ghost in the Shell (2017)

Since we’re living in the Age of the Reboot and the number of films made from existing properties outpaces the number made from original scripts, some important questions need to be answered.  To what degree does the artist’s or author’s original intention matter when doing a remake? Given that every writer tells a story using a specific set of characters, themes and ideas to make a general point, can a remake which repurposes those ideas to conform to contemporary sensibilities legitimately call itself by the work’s original name? At what point do those themes and ideas become so different, that the reboot has become a different story altogether? Where is the line between respectful homage and outright sacrilege? Most importantly, at what point do the thematic reinventions have a deleterious effect? I don’t have definitive answers to all of these questions, but GITS 2017 certainly has me inclined to believe that the law of diminishing dramatic returns holds true more often than not when it comes to these reboots. This is not to say that GITS 2017 is a complete disaster because the deviations from GITS 1995 are indeed handled very cleverly.  However, this does mean that the various changeups don’t add up to a better final product even when accounting for the ramped up production values.

The broad strokes of GITS 2017 are basically the same as GITS 1995, but the changes to those original themes alter the overall message of the film in significant ways. Scarlett Johansson plays The Major, and in contrast to GITS 1995, the film is setting up an entirely different dramatic conflict by emphasizing how she was created and by whom.

In the future, the line between human and machine is disappearing. Advancements in the technology allow humans to enhance themselves with cybernetic parts. Hanka robotics, funded by the government, is developing a military operative that will blur the line even further. By transplanting a human brain into a fully synthetic body, they will combine the strongest attributes of human and robot.

This isn’t a departure from the basic premise of the original, but it marks a distinct shift in emphasis. Where the original was positing the idea of a fully sentient digital being, GITS 2017 is giving us a variation on Robocop.  Instead of OCP, we have Hanka robotics which has contracted with the government to build a cyborg super soldier.  The opening of the film shows us a fatally injured Mira Killian being carted into an operating room in which her brain is ultimately salvaged and inserted into her cybernetic shell.  There are flashes of some violent fiery trauma which may or may not be flashbacks to the incident which left her fatally injured.



Upon being fully regenerated into her new cybernetic shell, the CEO of Hanka and her designer Dr. Ouelet have a debate over her future assignment. CEO Cutter wants her assigned to the elite anti-terrorism unit, Section 9, while Dr. Ouelet insists that Mira isn’t ready for that kind of duty. This is one of the points of departure from the original and where the film goes off the rails a bit. As Dr. Ouelet, Juliette Binoche is presumably an elite robotics engineer working for the most prestigious robotics company and instead of treating her like a professional doing the job she was hired to do, the film has her projecting maternal attachment to her new creation.  So not only is the film trying to get feminist booster points by having a female character in a STEM role, they portray her exercising her female biological instincts on her cybernetic newborn. Way to smash gender stereotypes, folks.

While I’m generally cool with suspension of disbelief in sci-fi, I can’t help but to nitpick the scientific premise they’re putting forward since Rupert Sanders and company have chosen to make the Major’s creation story the center of gravity. Hanka is presumably a sophisticated and well resourced for-profit robotics company. Albeit one that’s in bed with the government.  They want to build a super soldier by taking the human mind of a young woman with no combat experience whatsoever and place her in a cybernetic shell.  So Hanka believes that Mira’s human reflexes, spatial recognition, muscle memory, emotional disposition, neurological and biological proclivities will be a sufficient foundation for a super soldier once outfitted with a cybernetic shell. It made sense in Robocop because Murphy was a cop in the first place. I know this is sci-fi and everything, but good sci-fi generally starts with at least a generally plausible scientific premise and extrapolates.  This is saying that the all of the attributes which are either biologically hardwired or psychologically imprinted into the young female mind are simultaneously the most valuable attributes for a cyborg super soldier and can be sublimated once paired with cybernetic musculature. Alrighty then.

In the scene following Mira’s cybernetic birth, the film tips its hand by more explicitly revealing the film’s progressive editorial in what is otherwise a visually stunning reinvention of the original opening. Now operating as the fully functional cyborg super cop she was designed to be, the Major scans a meeting taking place between a Hanka executive and the African ambassador. Instead of a generic foreign diplomat negotiating a Megatech programmer defection, they give us a Hanka executive making a pitch to an African politician. Cuz multiculturalism and shit or something. Against the orders of Section 9 leader, Aramaki, the Major dons her invisibility cloak and storms the room just as a geisha-bots begin attacking the Hanka executive. Right before the Major shoots the hacked geisha-bot, it utters a warning: “Commit to the will of Hanka and be destroyed.” Where GITS 1995 left us to puzzle out the Puppet Master’s ultimate motivations, this one is telling us that this new mind hacker has it in for Hanka.  The big, bad corporation. Imagine my surprise. 

The Major and her multicultural team of Section 9 cyborgs spend the remainder of the film trying to identify the new mind hacker, Kuze.  At the same time, the Major becomes increasingly curious about her past since her flashbacks become more vivid and frequent. 

The film is making an important point about the nature of memory and the structure of human cognition, but it’s approaching the topic from a Marxist angle. By giving the Major a false memory which sharpened her killing instincts, the film is saying she had, in effect, committed to the will of the bourgeoisie. Which, in this case, was the Hanka corporation. Naturally, the false memory portrayed her as an immigrant whose parents were killed by terrorists because, after all, you need to gin up that antipathy towards terrorists artificially.  To the film’s credit, the writers portrayed the Major’s natural genetic memory as the force which compelled her to discover her birth mother and know her own story more fully. As it turns out, her ghost belonged to Motoko Kusanagi, a young Japanese radical who campaigned against cybernetic enhancements.  So Hanka figures it can fulfill the ghost requirements of its super soldier program by culling the ranks of anti-cyber-enhancement dissidents. Alrighty then.

Like many other Hollywood films, it’s trying to have it both ways by making Cutter and Hanka the bad guys. Cutter is yet another two-dimensional cardboard cutout who is all calculating menace and cartoonish malevolence.  He also happens to be….you’ll never believe it….a white male. It’s as though there’s an overriding narrative.  

Kuze threatens to destroy those who “commit to the will of Hanka”, but Hanka contracts with the government. Whose will is truly being carried out here? Section 9 is clearly some kind of special forces/homeland security unit which needed an elite cyborg and Hanka delivered. Again, one detects the distinct whiff of an agenda. 

Of course, there are some pretty obvious sops to PC sensibilities.  The film takes place in future Japan, and naturally, multicultural harmony and gender equality reign supreme. Besides the addition of another female cyborg to the Section 9 roster, the team speaks to Aramaki in English while he speaks to them in Japanese. This doesn’t make any goddamn sense, people. Also, if the Major’s ghost was Japanese, why is she speaking English? As long as there are nation states, there will be a dominant culture and language that will be upheld. The Japanese have proven themselves pretty protective of their culture and language. There’s no way Section 9 is multilingual. Sorry. 

The film emphasizes the Major’s sentience by having her verbally consent to the administration of a serum or being jacked into a digital network. It’s an interesting twist and it reminds us that the Major is still human, but once again, the aroma of a certain highly politicized issue wafts about this piece of the story.  One could certainly extend the question of consent to a wide variety of federal policies, but I don’t think that’s what the filmmakers had in mind.

The look of the film is spectacular, and it takes the arthouse cyberpunk noir of the original to another level. This is another take on the hybrid of squalid urban sprawl and holographic commercial overstimulation that we’ve been getting since Blade Runner. ScarJo has been raked over the coals for a number of aspects of this role, but she and the rest of the cast are enjoyable enough. The complaints of “whitewashing” from the #SocialJustice crowd are painfully stupid and tiresome given that these jackasses tend to be the most vocal cheerleaders for immigration and multiculturalism. 

Since both GITS films have addressed very specifically the role of memory in determining selfhood, I can’t help but to think that what Sanders and company have done here is exactly analogous to what Hanka did to the Major. By rewriting the story, they want to hack the minds of the public and implant a new memory of GITS that will supersede the memory of the original. At some level, all of this remixing of the past is saying that there is no sanctity to a any artist’s original vision. Everything must be tailored to the prevailing political winds. 

While I found it enjoyable enough, I still came away thinking that this remake failed to add anything new to the original and ultimately detracted from themes and ideas that were more provocative and original. By insisting that all films conform to progressive orthodoxy, films are increasingly taking on an aura of bland globalist cosmopolitanism. Where the original asked you to contemplate the nature of selfhood, the transmission of genetic memory, speciation and the possibility of a post-human being, this film ends up rehashing ideas that were already explored in films like Total Recall, Robocop, and Minority Report. The Major is haunted by her past, but only achieves peace after discovering the truth of who she was and from where she came. Ultimately, the film is affirming the importance of familial and cultural bonds while simultaneously affirming that one can only fulfill the process of individuation through self-discovery. Contrary to the claims of contemporary social scientists and gender “scholars”, the human being does not come into the world as a blank slate. Every person possesses an a priori cognitive structure through which the experiences of the world occur. The process of defining selfhood requires that one distinguish between whether you are the author of your own existence or a player in a drama that’s been written for you. While I can acknowledge that this is the common thread that binds the films together, I don’t know that this film is Ghost in the Shell. Or if it’s a different ghost in the shell of its predecessor. 

The Major: You are not defined by your past, but for your actions…

Thomas Jefferson: Revolutionary: A Radical’s Struggle to Remake America

In our present Age of Social Justice, study of America’s founders, if it’s being conducted at all, can be summed up in hashtags. The centuries of hard won wisdom which the founders sought to institutionalize through the creation of a constitutionally limited democratic republic are reduced down to a collection of puerile slogans.  The central propositions of individual liberty, property rights, limited government and equality under the law are routinely denigrated as a system of white supremacist, patriarchal colonialism by the academic intelligentsia. Of all our nation’s founders, the one whose entire legacy is increasingly subject to reductionist caricature is Thomas Jefferson. Thanks to a steady drumbeat of smug, ahistorical SJW revisionism from artists and academics alike, Jefferson is likely to be perceived merely as the guy who had sex with his slave to the average American. 

The prevalence of these leftist cartoons is exactly what makes Kevin Gutzman’s new book about Jefferson such an essential read. Thomas Jefferson: Revolutionary is a tour through Jefferson’s thought. Specifically, it highlights what distinguishes him from other national founders and why he lives up to the designation “revolutionary”.  These core ideas include federalism, freedom of conscience, colonization, racial assimilation, and the establishment of the University of Virginia. Gutzman’s exhaustively researched book gives us a portrait of a true Renaissance Man; a man whose depth of genius extended beyond his corpus of political thought and spanned every discipline from architecture to anthropology and archeology. As wonderful as Gutzman’s reading of the Jeffersonian record is, it also illustrates the myriad ways his legacy has been overrun, hijacked and discounted. 

The first section of the book focuses on the Jeffersonian idea of federalism, and the various ways he fought for it throughout his political career. Federalism is more commonly known as “state’s rights”, but Jefferson’s concept was even more radical than the narrow construction to which we’re presently confined. For Jefferson, it meant that the federal government was strictly constrained by the powers enumerated in the Constitution and that anything that was not expressly within federal purview would redound to the states. He stood by this principle throughout his political career, and it put him at odds, often acrimoniously, with Federalists like Alexander Hamilton and John Adams. From his stinging rebuttal to the Hamiltonian Bank Bill to his opposition to the Alien and Sedition Acts, what emerges is an unbroken line of thought which distinguishes Jeffersonian federalism. Time and again, Jefferson appealed to a strict construction of the Constitution. Specifically, he emphasized the power reserved by the States enshrined in the 10th Amendment, whether to enforce federal law. It might be easy for the modern academic to take Jefferson’s stance towards the Missouri Crisis as an endorsement of slavery, but it should be viewed as evidence of his steadfast adherence to this principle.

Though Jefferson formed what are technically the ideological roots of the modern Democratic Party, I am doubtful you’ll find a single modern progressive who subscribes to the belief that the Constitution is to be strictly constructed or that federal power should be constrained in any way.  One need look no further than the treatment Neil Gorsuch received in his confirmation hearing to see how the Left views a strict reading of the Constitution. 

His defense of federalism during the Missouri Crisis dovetails into the subsequent section which explores his equally fervent belief in freedom of conscience. Just as he believed the federal government had no jurisdiction over an individual State’s sanction of slavery, he fought just as hard to ensure that the State held no power to compel thought of any nature. Especially in matters of faith.  

Any modern progressive who’s championed the separation of Church and State owes a debt of gratitude to Jefferson. Gutzman chronicles the numerous pieces of legislation penned by Jefferson which actively severed the State’s ability to compel any form of Christian teaching or ritual. Jefferson’s ultimate legislative triumph which culminated his thought and enshrined the church-state separation was The Virginia Statute for Religious Freedom.

Jefferson’s insistence on severing Church and State didn’t go down so well with some of the more devout Americans.  Like the hysterical tantrums of the contemporary progressive Left, New England Congregationalists voiced their opposition to Jefferson’s candidacy in 1800 in the most hyperbolic terms. If you took Timothy Dwight’s paranoid rantings and replaced the Biblical references with the Left’s infantile memes bemoaning the demise of Democracy, the net result would be the same. Opposition to liberty never changes, apparently. Only the slogans. 

The purge of all things Jeffersonian from the historical record is easily understood. The current Social Justice Cultural Revolution is pathologically fixated on slavery, racism, and all forms of oppression real and perceived. Many prominent historians have revised their positions on Jefferson downward as PC sentiment rises. Besides being a slave owner, Jefferson held some views which were rather controversial. His advocacy for human liberty was seemingly completely at odds with being a slave owner. It’s easy to look through a contemporary lens and condemn him for holding these views. Gutzman doesn’t sugar coat Jefferson’s thought, but he takes a more even handed approach than his contemporaries.

Jefferson’s written record indicates that he held views that were, in fact, supremacist in nature. With respect to the emancipation of blacks, Jefferson viewed colonization as the preferable alternative to integration fearing that America might see a Haitian-style slave rebellion of its own. He contended that blacks stood a better chance of achieving the type of self-government for which he fought within the context of an ethnically and culturally homogeneous society rather than a mixed one. In this respect, Jefferson was a sort of proto-Richard Spencer.  

Gutzman takes the view that Jefferson’s thinking on this topic was unenlightened and that blacks, by and large, view American ideals with respect and forbearance. I believe he is largely correct, but I am also inclined to believe that the Ta-Nehisi Coates’ of the world will continue to exploit Jefferson and his legacy to fuel their own grievance industries. 

Another popular lamentation actively cultivated by the progressive grievance machine is the treatment of the Native American population at the hands of the Founders. Jefferson’s views towards the Native Americans were oddly contrary to those he held towards the black population since he believed them to be equal in mind and body to the white man. Though it will doubtless do little to assuage the merchants of American antipathy, his policy was hardly the agenda of genocide that you’re likely to hear from the more hysterical voices. Jefferson held that Native Americans had a “right of preemption” against other nations which entitled them to acquire or dispose of property rights through contract or, if necessary, war. Native Americans eventually assimilated American values which were due in no small part to economic and agricultural policies enacted by Jefferson. However, the eventual dispossession of the Native American land is also directly attributed to Jeffersonian doctrine. Just as with the black population, one wonders whether the lamentations of cultural destruction which emanate from Native American activist circles will ever be put to rest.

Thomas Jefferson’s quest to expand primary and higher education through the creation of the nation’s first university was largely geared towards the preservation of republicanism, creating civic cohesion and building what he described as a “natural aristocracy”.  Reading what he wrote about the importance of public education, his rhetoric bears at least a superficial resemblance to progressives like Horace Mann or even Bernie Sanders. Jefferson believed that true populist republicanism could only be preserved through a general elevation of public knowledge.  Needless to say, public education is now an unchallenged article of faith amongst the electorate, but Jefferson didn’t share the progressive belief in the institutions as the engines of human perfection.

Jefferson’s views towards the education of young girls will not endear him to the feminist intelligentsia.  Nor would his insistence that the UVA ethics professor teach the proof for the existence of God curry favor with the atheist crowd. What mattered to Jefferson is that education serve the greater goal of building a civic minded youth culture. 

Is Yvette Felarca the type of public educator Jefferson envisioned best equipped to instill an appreciation for republicanism? Is the Black Femininities and Masculinities in the US Media course offering at UVA building the type of “natural aristocracy” for which Jefferson hoped? Or is it building a different kind of aristocracy?

Dr. Gutzman’s reading of the Jefferson legacy is the antidote to the hegemony of the Ron Chernows and Doris Kearns Goodwins of the world. As much the elite might want to consign the Jefferson legacy to the #SocialJustice Memory Hole, Gutzman’s book reminds us that Jefferson’s thought is hardwired into America’s genetic code. Jefferson was not a saint nor are his ideas beyond criticism or reproach. But that shouldn’t preclude a vigorous reexamination of his record and a reappraisal of his ideas in an age of ever expanding state power and the overwhelming dominance of PC multiculturalism. If anything, the Jefferson legacy leaves us with questions. Can a genuine republican nationalism be created in a multicultural society?  Is it even possible to forge a multicultural, Jeffersonian style republicanism when the progressive intelligentsia have an ongoing incentive to foment antipathy towards American thought? I, for one, am hopeful that this book is the catalyst for that discussion. 


Isaiah Berlin: The Crooked Timber of Humanity

Out of the crooked timber of humanity no straight thing was ever made. – Immanuel Kant

If you’re interested in a contemporary philosopher who is able to put thousands of years into clear perspective, I would certainly place Sir Isaiah Berlin at or near the top of the list. Mr. Berlin’s vaunted reputation as an advocate for classical liberal principles and a first rate thought historian is entirely well deserved as The Crooked Timber of Humanity amply demonstrates.  As the title suggests, Berlin focuses on the origins of the movements that have led towards self-destruction and contrasts them against those which have animated modern liberal society. Specifically, he traces the origins of utopianism and demarcates the distinction between cultural relativism versus pluralism. He expounds upon his theory on the origins of fascism and concludes with a timely commentary on its ideological bedfellow, nationalism.

Mr. Berlin treats the ideas and subjects with great respect. True to the spirit of his other works, his central goal in this collection is to issue a warning against the encroachment of tyrannical ideas as well to provide as an intellectual antidote to illiberalism. Berlin’s analysis of these thinkers is incisive. When evaluated in light of current political movements, Berlin remains relevant and is often downright prescient.  One wonders if, with respect to universalism and managerial scientism, he has underestimated the allure and endurance of this doctrine.

Berlin opens with a broadside against the Platonic ideal and the accompanying pursuit of the utopian society.  The Platonic ideal is comprised of three components.

  1. All genuine questions have one true answer and all other answers are errors.
  2. There must be a dependable path towards the discovery of these truths.
  3. These universal truths are compatible with one another.

Human needs and the means by which to attain them could be discovered through same methods by which natural scientific law could be discovered. Once discovered, these principles could be codified and implemented through policy.  Berlin argues that this impulse is on the decline in the West, but if the arguments of the contemporary social scientists serve as an indicator, the hunger for pseudo-scientific micromanagement of human affairs remains undiminished.

Berlin contends that Giambattista Vico’s Scienza Nuova (1725) and his doctrine of the “common nature of nations” as well as a later generation of German Romantics, including Johann Gottfried von Herder, pointed towards a “cultural pluralism” which provided a counterpoint and possible antidote to the empirical absolutism of the Enlightenment.  The cultural pluralism Vico and Herder espoused rested on the contention that there were, in fact, incompatible values between cultures which could not be reconciled to universal principles. Both Vico and Herder’s thought contravened the Enlightenment consensus that man was ultimately governed by universal laws.

In this current age of globalization where the watchword is multiculturalism, Vico and Herder’s conclusions certainly warrant further examination and pose very important questions. What constitutes culture in a multicultural society?  If culture is the product of the transmission of practices and traditions which were generated within a genetically homogenous society over the course of centuries, to what extent are these practices meaningful in a multicultural society to those who didn’t belong to the original culture?  Are individuals from different cultures being held to universal standards of conduct in a multicultural society?  Is it possible to have a multiculturalism which isn’t manufactured by social engineers or a Trojan Horse for hollow identity politics and globalist socialism?  Perhaps most importantly, if individuals from other cultures immigrate to a new culture in search of a better life, do they have any obligation to honor the culture into which they’ve inserted themselves whether voluntarily or by necessity?

Since this doctrine ran contrary to the cultural objectivist consensus of the day, Berlin contends that Vico and Herder’s pluralism should not be confused with relativism.  In other words, neither Vico nor Herder espoused a relativism of fact, but a relativism of values.  His emphasis on this difference is not insignificant in light of the current multicultural zeitgeist. In defense of Vico and Herder, he invokes a poignant quote from John Stuart Mill:

It is hardly possible to overrate the value, in the present low state of human improvement, of placing human beings in contact with persons dissimilar to themselves, and with modes of thought and action unlike those with which they are familiar. Commerce is now what war once was, the principal source of this contact. Commercial adventurers from more advanced countries have generally been the first civilizers of barbarians. And commerce is the purpose of the far greater part of the communication which takes place between civilized nations. Such communication has always been, and is peculiarly in the present age, one of the primary sources of progress.

Mill’s quote refers specifically to commerce as the cultural bridge, but his underlying point about the difficulty of understanding a pluralism of values in the absence of commerce is what warrants deeper consideration. The multiculturalists, social engineers and globalists have attempted to manufacture such a consensus artificially by advancing an aggressive agenda of Tolerance™ with an ever diminishing set of results to show for it. It’s ironic that the champions of this doctrine have shown such remarkable contempt for the opponents of their agenda and remain unwilling to appreciate the relativism of values which run contrary to their megalomaniacal ambitions.  Once again, it begs the question of whether if it is possible to create a multicultural consensus which doesn’t devolve into a clinical and bureaucratic utilitarianism papered over by empty platitudes of Unity©.

A significant portion of the book is devoted to the individual Mr. Berlin believes to be the architect of modern fascism, Joseph de Maistre. In light of the rising tide of nationalism which has engulfed America and much of Europe, Berlin’s discussion of Maistre’s thought is especially poignant given that this phenomenon is largely a backlash to the social engineering of the multiculturalists and globalists. While Greece’s Golden Dawn party certainly represents a rising tide of genuine fascism which contains the twin hallmarks of the movement in its various historical manifestations, racial purity and nationalism. Maistre’s thought reminds us that there is more than a little paranoia and manufactured hysteria in the bleating of the progressive Left when it comes to Trump, Brexit and the various nationalist movements on the rise throughout Europe.

Maistre was a true reactionary to every aspect of the Enlightenment project. While the egalitarians espoused a view of man in which universal truth could be attained through scientific inquiry, Maistre rejected this doctrine with absolute impunity. On every aspect of the Enlightenment consensus, from rationalism to individualism to liberal egalitarianism, Maistre regarded these ideas with pure contempt.  By Berlin’s reckoning, Maistre’s vision of social order demanded absolute subordination to the Cross and the Crown.

While it is not unreasonable to conclude that Maistre provided the ideological template for the fascism of modern times, it certainly prompts questions over the appropriateness of seemingly indiscriminate and ubiquitous usage of the term today.  Especially with respect to the Left and their positively pathological and cartoonish hysteria over Trump. The Trump agenda remains an open question, but there is little doubt that the Left is in the business of conjuring ideological boogeymen out of thin air and painting any opposition to their globalist designs as “fascism”.  If the perpetuation of the multicultural agenda hinges on denigrating the foundations of Western thought which allows the very pluralism they allegedly value, they assure a recursive loop of nationalist backlash which validates their own prejudices.

Berlin concludes with a meditation on nationalism which is prophetic yet cautionary in tone, but raises fresh questions all the same.  While there is little doubt that nationalism in its extreme manifestation when married to the machinery of the State has proven itself a destructive force, Berlin reminds us that there is a deep seated humanity struggling to assert itself from under the dehumanizing designs of the sophisters, calculators and acolytes of scientism. The pursuit of universalism animated the West, but also created a unfortunate desire to manufacture a stultifying and artificial uniformity.  There is little doubt that the primal urge of nationalism has been and can be exploited by demagogues and populists, but it is not unreasonable to conclude that some measure of nationalist pride has, in fact, paved a path for the multiculturalism and genuine pluralism so idolized by the Left.  While much of the Islamic world, Asia and Africa remain ethnic and ideological monocultures, the burden of multiculturalism has been placed disproportionately on Western societies. As this policy unravels by the day, is it any wonder that there is a nationalist backlash towards individuals who apparently have no desire to adopt the cultural values of their adopted countries?  Berlin was keenly attuned to this aspect of nationalism and his words presaged the collective rage of the Brexiters and Trumpians to a t.

There is a growing number among the youth of our day who see their future as a process of being fitted into some scientifically well-constructed programme, after the data of their life-expectancy and capacities and utilisability have been classified, computerized, and analyzed for conduciveness to the purpose, at the very best, of producing the greatest happiness for the greatest number. This will determine the organisation of life on a national or regional or world scale, and this without undue attention to, or interest in (since this is not needed for the completion of the task), their individual characters, ways of life, wishes, quirks, ideals. This moves them to gloom and fury or despair. They wish to be and do something, and not merely be acted upon, or for, or on behalf of.  They demand recognition of their dignity as human beings. They do not wish to be reduced to human material, to being counters in a game played by others, even when it is played, at least in part, for the benefits of these counters themselves. A revolt breaks out at all levels.

While some philosophers and academics seemingly revel in their ability to obfuscate and mistakenly believe that verbosity equals profundity, Mr. Berlin’s prose sings with clarity and actually serves the purpose that philosophical inquiry was meant to serve: to illuminate. Mr. Berlin has written a collection of thought provoking essays which prove that we are well served by understanding how the ideas of the past shape the present, and most importantly, that the contrarians of bygone eras have something of value to offer. Even if it runs contrary to everything we hold sacred. And through this understanding, we may ask the right questions and formulate the answers to the issues of the present and future.