If the bourgeois generation perceived nature as a kind of idyllic Sunday respite from city life, if for the generation that replaced it it is a place where one can dump the excesses of one's brutal, pervasive, and contagious vulgarity, then for our special man it is a school of the objective and distant, something fundamental in the sense that his existence in it begins to take on a total character.

"When I lifted a certain weight of steel, I was able to believe in my own strength. I sweated and panted, struggling to obtain certain proof of my strength. At such times, the strength was mine, and equally it was the steel's."

Yukio Mishima ‘Sun and Steel’

German expedition to Tibet

We live in an age in which there is no heroic death

Death approaches, reality approaches.

Time and Space died yesterday. We already live in the absolute, because we have created eternal, omnipresent speed.

We affirm that the magnificence of the world has been enriched by a new beauty: the beauty of speed. There is no more beauty except in struggle. No work that does not have an aggressive character can be a masterpiece.

"In the Hindu aristocratic and warrior tradition, there are men of impersonal violence…”

Jonathan Bowden.

There is a Chinese saying: 'The rites are not the legacy of ordinary people,' which corresponds to the famous saying of Appius Claudius: 'Auspicia sunt patrum.' A Latin expression characterized the plebeians as gentum non habent: people who have no rites nor ancestors.

Thus, the supernatural element was the foundation of the idea of a traditional patriciate and of legitimate royalty: what constituted an ancient aristocrat was not merely a biological legacy or a racial selection, but rather a sacred tradition.

The term 'Conservative Revolution', which is often used to describe our current thought, is not enough. It is not a matter of conserving the present or returning to a recent past that has failed, but rather of regaining possession of our most archaic roots.

I just had the pleasure of seeing the Super Mario Brothers Movie, And here is my honest, unbiased opinion.

I knew going in from the audience reviews that I was in for something special, but I was not prepared in the slightest for masterpiece of cinema that was this film.

I will also say that not since Never Ending story has this angle of “hero’s journey about a young man trapped in modernity transported to a fantasy world to learn a lesson” been done so compentently and meaningfully.

The film itself is paced beautifully and not one part felt like fluff or padding.

From the very beginning scene where the Penguin Army assembled outside their city with grim determination in their faces, reminiscent of grim Wagnerian stoicism in the opening scene of Kolberg (1945).

The movie presents a world of racially homogenous ethnostates which must work together in order to expel a globalistic military force of destruction led by Bowser, a being driven soley by his miscegenistic desire to defile a Nordic Aryan princess who is appalled by the thought of doing so (a conviction she never breaks from, even if it means the genocide of her kingdom), she clings to the purity of her blood at all costs, trusting in Providence to deliver a hero of her own race to save her.

Mario and Luigi are introduced as very close brothers who share a very special bond, and the emphasis put on this healthy familial bond without cynicism or subversion is rare in modern cinema, and was very refreshing.

Peach, while a competent and resolved female monarch, is not a Mary Sue, but rather one who cannot ultimately do what Mario can, and is very much enamored with the blue-eyed man as they only suitable and destined future husband, and for this reason Bowser immediately becomes enraged.

The journey to the Kong’s Kingdom and the forging of an alliance between the mushroom and Kong kingdom is achieved through the classic trial by duel between champions, and the rivalry between Mario and Donkey Kong gradually and organically evolving into a respectful friendship, particularly in their storming of the occupied Mushroom Kingdom to rescue Peach from being defiled is (impossible to be coincidentally) reminiscent of Rama and Hanuman’s storming of the island of demons to rescue his queen.

This is not the only instance of perennial Indo-European heroic archetypes being carefully woven into the plot, and I was amazed at just how artfully this was achieved.

The key concept of Jünger’s theory is Gestalt; by this, he means a whole that includes something greater than the sum of its parts.

A person is greater than the sum of atoms, a family is greater than the union of a man and a woman, and a nation is greater than the sum of citizens living in the same territory.

All human history is a struggle of Gestalts. Jünger claims that ‘man, as a Gestalt, belongs to eternity’.

The modern world knows a great many counterfeits of elitism, from which we must distance ourselves. The aristocratic spirit is essentially anti-intellectualistic.

My aesthetic is that of the sniper on the roof.

- Jean Luc Godard

“The revolution made Napoleon possible: that is its justification. For the sake of a similar prize one would have to desire the anarchical collapse of our entire civilisation.”

– Friedrich Nietzsche

Currently, owing to a 19th century habit of overestimating the economic factor, we characterize the conflict by the superficial terms “socialism” and “capitalism.”

What is actually taking place behind this verbal façade is the last great struggle of the Faustian soul.