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Painting of the day

Albert Cresswell (1879-1936), Lunch in the-park.

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Painting of the day

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Painting of the day

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Painting of the day

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Free speech / Free press Kevin MacDonald Painting

Blood libel


In his post on Tuesday, Kevin MacDonald said: ‘The “blood libel” is a reasonable belief given Ariel Toaff’s book on medieval Ashkenazi practices.’

His words caught my attention enough to read the afterword Toaff wrote in the second edition of 2008 of his book that caused a stir the previous year: Paque di Sangue (Passovers of Blood).

Yesterday I read the whole afterword and it seemed to me that MacDonald is right to consider Toaff a sound scholar. However, what Toaff says is something much more nuanced than the cartoonish way of looking at the issue, inspired by Christian imagery (see e.g., Hieronymus Bosch’s painting).

But it did Toaff no good to be not only a sound scholar but the son of a highly respected rabbi of Rome. He was cancelled as the vilest Goyim by the same forces that cancel us.

The Toaff scandal reminded me of yesterday’s article by Gregory Hood in American Renaissance, which opens with the words ‘The single most important cultural change of the last 10 years is not transgenderism, Black Lives Matter, or even social media. It’s the end of free speech.’

What Hood omits is that there never was, really, freedom of speech in the West. Alexis de Tocqueville was right from the start: you are allowed to speak only if you refrain from breaking the taboos of the unwritten law, even in the land of the famous First Amendment. So-called freedom of speech has always been a hallucination of those who have been sailing strictly within the waters of accepted discourse.

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Three basic texts

Three Books, 1887 is a painting by Vincent Van Gogh

Perhaps the title of our next anthology of essays will be Neo-Christianity, which will include the recently cited Dominion.

Sexton’s review of Hellstorm together with Eduardo Velasco’s essay on Judea and Rome, both in The Fair Race and now the explanation of how the neochristian monster arose thanks to Tom Holland’s Dominion, constitute three basic texts for understanding the POV of this site.

Savitri’s book is in another category, in that it is a kind of manifesto for how we should think after the catastrophe of 1945. (As for National Socialism before 1945, after Neo-Christianity and Christianity’s Criminal History Vol II, our new translation of Uncle Adolf’s after-dinner conversations, which we have already begun, will be the next project.)

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Marion Collier

Oil on canvas (1882-1883)
by John Collier

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The water nymph

Oil on canvas, 1923 by John Collier.

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Horace and Lydia

Oil on canvas by John Collier (1924).