Thursday, February 16, 2017

Who Are the Real Fascists?

Turmoil and more turmoil. The trick is not to watch the magician’s wrong hand—but the other one, to see what’s really happening.

We’ve already seen with the Milo incident at Berkeley that the so-called anti-fascist “antifa” movement will readily adopt fascist tactics of violence, stopping speech and shouting down opponents to achieve their ends. (Totalitarianism on college campuses has been going on for some time. One of the more disturbing articles which documented this, “I’m Still Fresh Out of Ideas,” by noted socialist Freddie DeBoer, is no longer available online.)

Now we find out that the NSA/CIA security state has been unleashed against the supposed Trump danger. Peace with Russia? No Cold War? Pulling back from U.S. Imperialism? Truly dangerous! Moves that once would’ve been lauded by the so-called Left, but not in 2017.

Increased NSA surveillance of U.S. citizens is discussed in this article by Michael Walsh in PJ Media, which cites this prior article by Charlie Savage in the New York Times. This is the intelligence net that gobbled up then-private citizen Michael Flynn, who, as the FBI acknowledged, did nothing illegal when he chatted informally with the Russian ambassador. (Speaking with important individuals in the host country is what ambassadors, uh, do.) Of course, Flynn was one of the Trumpian bad guys, so this made everything okay. Even celebrated by antifa people.

Do you understand the reasoning? The so-called anti-fascists are willing to set up an all-powerful fascist state in order to stop fascism! It’s all too Orwellian, but supposedly intelligent people of the east coast intelligentsia variety are fully behind it. No contradictions in their behavior to be seen. No doubt many of them are the gullible magician-watching audience, swept up in the current anti-Trump anti-Goldstein (see 1984) hysteria.

Who are these antifa groups anyway? Who funds them, directly and indirectly? It’s hard to find out—they hide their identities, which means they could be anybody. Their fascist anti-fascist agenda is curious—unlike past Lefty radicals, they have no concern whatsoever about the machinations of the CIA, which has long funded journalists—even, as we saw in a different set of revelations last decade, literary organizations.

I had an exchange via one of my twitter accounts with one of the more prominent antifa groups. They gave little away, responding to any points made with stale anti-conspiracist talking points from the 1950’s! (Called me a Bircher! Really.) Which makes the whole thing more curious. Hard to picture hip young independent Lefty radicals of today with that kind of pro-Insider defensive mindset.

I suspect—just my personal opinion, mind you—that these organizations are anything but independent; are part of a well-funded disinformation campaign whose main concern in their tops-down “anti-fascist” fight isn’t really refugees from Syria (and we have to ask how many of those, young men mostly, were on the CIA payroll) but Russia, NATO, and the kind of American interventionism, secret and stated, which has been so much a disaster in Iraq, Libya, and Syria.


(A little background: In 2007 an activist writers group I was then part of looked into CIA funding of literary publications, in a somewhat flashy way. We quickly suffered, from good liberal literary persons, a maelstrom of outrage accompanied by blackballing, defections, and other remedies.)

Tuesday, January 31, 2017

“The Misfits” and Politics Now



A movie which illustrates the divide between political camps in America right now is the 1961 flick “The Misfits,” starring Clark Gable, Marilyn Monroe, and Montgomery Clft. Directed by John Huston, with screenplay by playwright Arthur Miller.

Do you know the plot? Obsolete, aging cowboy “Gay” (Gable) becomes involved with younger woman “Roslyn” (Monroe). They like each other. They like the difference of the other person, which broadens each one’s experience of the world. They’re so different in outlook they inevitably clash—with striking emotion depicted in some of the most heart-wrenching moments seen on a movie screen. (Superlative acting from all involved.)

An early dispute is when Gay and Roslyn disagree over rabbits which have been disturbing their nascent lettuce patch, at the idyllic ranch (owned by troubled ex-bomber pilot Guido) they’ve been staying at. Gay goes for his rifle. Roslyn, played by Marilyn as a proto-flower child; a kind of pre-hippie—a person of total feeling and empathy—doesn’t understand why he has to do what he’s set on doing. Which is, kill the rabbits. His interest is in protecting their little turf. Conflict is delayed by the arrival of a small plane—flown by Guido (the person with no sympathy for anyone or anything, played by Eli Wallach). Guido has spotted a small herd of wild mustangs. Which for the two men is a means to avoid “wages” i.e., social conformity. A way to stay out of the societal hive. Before going on their excursion after the horses, the group recruits the Montgomery Clift character as an extra roper.

Conflict between the two leads, male and female, explodes when Roslyn realizes the cruelty involved in rounding up the mustangs—and how they’ll end up. (Dog food!)

The conflict is, in a sense, between two halves of society. Between two halves of the self—the male and female. Clark Gable represents the prototypical alpha male, wanting independence—control of his own life—above all else. Marilyn Monroe represents empathy and emotion.

Their struggle is played out through Gay’s final struggle to submit the mustang stallion to his will. The tiny herd’s own alpha, which has become a symbol for himself.

Clark Gable the actor was under stress from the moment he agreed to star in the film. It meant holding his own on screen with younger actors who were heavyweights of Method acting—Clift, Monroe, Wallach. He, Gable; who had skated through so many movies on mere reputation and charm. For the first time in decades he would be required to act.

His co-star would be the sex symbol to end all sex symbols. . . . The epitome of soft, voluptuous feminity. Also a troubled woman from a broken home who’d once used a photo of Clark Gable as a father substitute.

In the film, Monroe and Clift take Method acting to the furthest extreme, stripping their personalities down to their naked core; giving you themselves, unfiltered. Gable struggles to do likewise.

More significantly, Gable insisted on doing many of his own stunts, including in the grueling final struggle between man and horse. A sequence which is magnificent and heroic but harrowing to watch, particularly when you realize the struggle killed the man. Clark Gable had a massive heart attack upon completion of filming, and died eleven days later.


Where’s the parallel to today’s politics?

Only in that Donald Trump perceives himself to be an alpha male, and behaves like one. This alone for many people is a shock. When he says he wants to make America great again, he subconsciously means that he wants to return to the days when America was a less regulated, more rugged and masculine country.

By this viewpoint, America has become feminized the last couple decades; embracing a “kinder, gentler” vision of itself. More feeling, more caring— becoming as a result more vulnerable.

The female personality feels, as Rosyln feels, for every living thing. The idea of cruelty in the universe is unbearable. Intolerable. And so, screening migrants, or restricting them, or controlling one’s borders—which the male personality sees as a way to reassert control over one’s life, or the nation’s life, becomes, to the female side of the nation’s psyche, pure hate.

(There’s a lot of cruelty in the film, especially toward the band of misfit humans.)

Is Trump’s stance protecting borders logical? To him it is. It might be nothing more than a futile gesture; a stubborn willfulness against fate, the same as Gay/Gable’s determination to impose his will upon an alpha horse. A holding back of the future. An embrace of a declining past. Or it might not be futile. Only the future will tell.


There is some basis from history for Trump’s instinctive stance. It’s in a long series of examples of prosperous civilizations which as a result of their prosperity became soft and decadent; an attractive jewel for less civilized parts of the world.

One thinks of the warlike early Romans and their determination to defeat wealthy trading city Carthage. In turn, centuries later, decadent Rome invaded by barbaric Gothic hordes intent on plunder. Or Cortez and his ruthless conquistadores toppling fabulously wealthy but hesitantly uncertain Montezuma and the fate-dominated Aztec empire.

The targets had become soft, voluptuous cultures.

From this stance, America today sits as a prosperous, declining land. For the ruthless male from a more masculinized culture, a woman waiting to be taken and dominated. Isn’t this how the young men of ISIS view the affluent West?

The conflict raging within America is about what kind of civilization we’re going to be. Tough, hard, ruthlessly logical in protecting our interests and our status in the world? Abiding the hard lessons of history? Or like Roslyn/Marilyn, indulging our “better angels” and feeling for—and opening our arms to—virtually everyone?

It’s important that alpha male Clark Gable destroyed himself making “The Misfits” while protecting his status as an alpha male—but too-sensitive-for-this-world Marilyn Monroe destroyed herself as well. It was her final completed film.


Postscript: Though the performances of Monroe, Clift, and Gable were phenomenal, they received no Oscar nominations for their work. The film won not a single Academy Award. Meanwhile, a conventionally p.c. film, even for 1961, the musical “West Side Story,” swept the nominations and awards that year. It’s an excellent film, very well made—but without the depth or the significance of the cruelly underrated movie “The Misfits.”

Tuesday, January 17, 2017

Reflections on an Essay

An excerpt from a memoir of the 1970’s by Gary McDonald, now up at the New Pop Lit website here, is about the sexual liberation of that era as much as it about the anti-war protest described at its beginning. At that, it’s about tthe sexual liberation of men—something seldom touched upon with the proliferation of Women’s Studies programs.

Noteworthy about the memoir is its frankness. McDonald isn’t presenting an idealized version of himself. Transparently present are the raging hormones of himself—and of both sexes—often taking precedence over politics. As would be expected among college students in their late teens and early twenties.

Sexual attraction between men and women is the something missing among the uptight p.c. political radicals of now. The very idea of it may be unwanted among that crowd—could itself be a truly radical act. At least in the academy now. 

The current ethos among the intellectual Left is a kind of unreal puritanism. Desires are carefully regulated—especially male desires—where once they were channeled. This includes forbidden desires for goods and ego. Men must tread carefully in the alternate universe of the university, lest they offend someone.

One sees inevitable reactions to this mindset. The election of Donald Trump, walking embodiment of male ego, appetite, and political incorrectness, was one such reaction.

Former Democrat Trump isn’t a true conservative. The sharpest reactions against political correctness are from extremists whose ideas and behavior are anything but conservative.

Many of the alt-right’s leading figures, for instance, are young, and gay or bisexual. Some are professed Satanists. They’re invariably well-educated, are the creation of the academic Left and its doctrine of Identity Politics. The alt-right embraces Identity Politics, but with a twist.

The most extreme reaction to the ongoing feminization of the West is coming from radical Islamicists. (See ISIS.) Their behavior consists of total indulgence in the male appetite, with brutally negative consequences for all others.


America’s p.c. Left circa 2017 is full of contradictions. They embrace multiculturalism and disdain the West, yet the equalities they espouse are strictly the product of the West. I was reminded of this while rereading parts of the Somerset Maugham novel The Moon and Sixpence, whose chief character Charles Strickland is based on painter Paul Gaugin. Toward the end of the novel, Strickland encounters the uninhibited, “liberated” world of Tahiti—liberated, and as a result, completely sexist.

“I shall beat you,” Strickland tells a prospective mate.

“How else should I know you loved me?” she answers.

Civilization domesticates the male. Gaugin/”Strickland” flees from it.


One can’t ignore nature. One can’t put men into too strict of a box, or some will break out of it.

Tuesday, January 10, 2017

The Independent Artist

van gogh painter on road to tarascon

Among the many crimes of the Nazis against mankind was the destruction of Vincent van Gogh’s most poignant paintings, “The Painter on the Road to Tarascon.” Few works of art so well convey the determination of the independent artist who follows, against all obstacles and hardships, a unique vision.

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Wednesday, December 21, 2016

The Truth About Elite Universities


Seeing the world as it is means viewing it without preconceptions but with a fresh eye. As if seeing it for the first time.

When you apply this attitude to elite universities across the country, you discover they’re not at all what they represent themselves to be—places of social justice and equality. They’re in fact among the most hierarchical institutions in America, along with the Roman Catholic Church and the military, except without similar truth-in-advertising.

When you look at universities objectively you notice something even more curious—that they exist as protected islands of wealth amid the bleakness of the rest of the country.

Plenty of examples abound. Yale, the campus a secure fortress against the poverty of New Haven. Columbia in New York City, whose campus spreads ever more each year, chasing residents out of their neighborhoods. Princeton, a bucolic Gothic-spired dreamland safely nestled between Philadelphia and New York City. The University of Pennsylvania, in Philadelphia, which I lived near for a year. Throughout much of the rest of the city is extreme poverty—including blocks away from campus—but the privileged on campus are untouched. Or the University of Michigan, whose base of Ann Arbor has a downtown business district overflowing with affluence—far more thriving and valuable than downtown Detroit a mere thirty minutes away.

When you step back and look at them, these environments are like spots on the landscape which suck up wealth. The inhabitants are almost invariably (not 100%) from affluent backgrounds. This applies most to foreign students, who come from the wealthiest families in their home country, whether that country be France or Nigeria or China or India. (These students just as arrogant as the American-born variety.)

The students may protest against police—but they themselves are well-protected by a strong local police presence combined with the university’s own private police force. Outrages which take place blocks away from campus must not be allowed inside the ring of security! The students, after all, are the elite.

The islands are always building and expanding. Continual building programs; new halls, research labs, ultramodern student housing, administration complexes, constant construction, as if the islands have no other way to expend their excess funds. Anyway, it’s an indication the universities HAVE excess funds, a lot of it. The flow of wealth and improvement is always one way. These places only get richer, year by year; day by day.

Where does all the money come from?

First, the tuition is too high. In part, “What the market will bear” philosophy. If there aren’t enough wealthy parents to send Binky and Brett to school at the particular institution, there are other wealthy parents overseas who can pay, whether Chinese Communist overlords or Mideast oil sheiks or leftovers from European aristocracies. Other students have to go into enormous debt to meet the high tuition rates.

Second, the American taxpayer subsidizes these places in a number of ways. They’re tax shelters for hyperwealthy donors. Many of the not-quite-as-privileged students are government subsidized via grants and scholarships. Loans to students are government backed. If the schools are public/state universities, they’re subsidized by taxpayers directly.

A layer removed is the enormous investment made into universities by government agencies. The CIA and the Defense Department have long had a symbiotic relationship with elite universities. This is a topic that once was looked into by writers, but not lately. Research on new weapons systems, or cyber technology, or genetic engineering, you name it, the U.S. government utilizes universities as Research and Development facilities—which means they pump billions if not trillions into them to get from them what they need.

Private business such as new technology startups—or more established corporations—also enter into generous partnerships with universities.

Which means there’s nothing independent about the contemporary university. They’re an arm of the government and a partner with business. They’re part of what is really one vast system; one unthinking institutional beast with many arms and legs.


Such are the bubbles the top universities have become that their privileged students are able to imagine themselves social justice warriors, even though they live in the most UNegalitarian of environments. They care, you see. About the outrages they see on their TV screens or smartphones pumped at them by establishment media. Or about the workers serving them in their college cafeterias, or cleaning their classrooms and dormitories. Not that they want to switch places with the workers. They just want to know those who serve them are paid properly. Not by them, but by the same money tree which funds the rest of the operation.

The students have to believe in social justice, as an institutional necessity, because then they’ll support more efforts to solve the ills of society, which means ever more institutions, programs, apparatchiks, bureaucracies. Which means the money just has to keep flowing.

This may be why college towns like Ann Arbor are among the most segregated places, by class, in America; among the most affluent; and at the same time the most liberal in ideology. It’s not a contradiction if you think about it.


This is where the Bernie Sanders plan for free tuition (an apt plan from a long-time professional student, before he became a professional politician) goes off the rails. It shows the Bern as a Leftist strictly of the Pseudo kind. You’d end up with the 70% of Americans who don’t receive a college degree even further subsidizing higher education than they do already—including ultra-privileged places like Stanford and the Ivy League. It’d mean even more money flowing indirectly into the wealth islands; even less fiscal discipline and financial accountability from school administrations. More defense research, perhaps. More technology for the NSA. More building programs. More expanding into urban neighborhoods. Higher administration salaries. More chic high-priced campus restaurants and clothing shops to properly cater to burgeoning high-priced tastes. (The inevitable end result of all gentrification—beer and burger prices double overnight.)

University folks truly will have found a neverending money tree.

Monday, December 12, 2016

Winter Reading

O. Henry and Ernest Hemingway were two very different kinds of writers. One wrote in a populist style, the other a modernist one. They did happen to write two similar stories, whose similarities only enhance their difference in style.

Both stories are about a person dangerously sick in bed in the bad winter weather season. Apt reading at the moment when we’ve been hit with a nationwide blizzard. When it’s a perfect time of year to remain indoors, cozy and snug, reading.

O. Henry’s story is one of his masterpieces, “The Last Leaf.” It’s set in Greenwich Village bohemia not long after the turn of the century. The lead characters, Sue and Johnsy, are a pair of young starving artists, both women. Transparently a couple. They remind me of young DIY artists of now. If they were around today they’d be creating zines.

Johnsy becomes sick with pneumonia, and loses her will to live.

In Hemingway’s short tale, “A Day’s Wait,” the bedridden person is a young boy, nine years old, being taken care of and worried over by his father.

You’d have to read both stories to recognize the similarities in plot. Both have endings which are something of a surprise—each in ways that are a reflection of the author’s worldview and literary style.

As in so many of his stories, O. Henry buries a Christian message at the bottom of his story. In this instance, the theme of sacrifice. There’s a sense of an overarching universe at play, not exactly karmic, but a place where goodness is rewarded by changed outcomes.

Hemingway’s worldview, like his writing style, is starker than O. Henry’s. His a more hard-edged, matter-of-fact view of reality, but not without sympathy and emotion—and a profound understanding of people and life.

Both stories have a kick. The contrast makes them worth reading together. Either is worth reading by itself as a winter weather story.

Tuesday, November 22, 2016

Contradictions of the Pseudo-Left


1.) Most of their leaders are superwealthy capitalists, such as George Soros, Katrina Vanden Heuvel, and Arianna Huffington.

2.) They don’t realize that the idea of the all-powerful administrative state stems not from Marx, but Bismarck.

3.) They’re ostensibly against caste and hierarchy, yet eager to put themselves at the top of that hierarchy via degrees from Ivy League universities.

4.) They don’t want industry in America, and so have rejected the industrial working class.

5.) Their only remaining connection to the working class is via union leaders, who are, fittingly, bureaucrats—apparatchiks—not workers.

6.) Their chief concern isn’t class, but gender and race. Which sometimes results in strange permutations. For instance, children of the 1% in China or India, now studying in America, are considered by the Pseudo-Left to be “oppressed.” Poor whites whose parents and grandparents worked in dungeon-like steel mills and coal mines are designated by the Pseudo-Left as “privileged.”

7.) The Pseudo-Left aren’t Marxists so much as pre-civilization Nietzscheans. Man—or Superman—as the center of the universe. And so they believe climate is created not by the sun, upon which all life is 100% dependent, but man. Which is 100% narcissism.

8.) The Pseudo-Left vision of America:

A.) Half the population not working, but dependent upon the state.

B.) A large army of administrative government bureaucrats processing that dependency.

C.) Most of the rest of the population working low value-added service jobs at McDonald’s or WalMart, albeit with a high minimum wage.

D.) A certain percentage of subservient non-English-speaking illegal immigrants needed as low-cost gardeners and nannies for the elites.

E.) The Elite—the Pseudo-Left—at the top of the hierarchy guiding things.