Thursday, 29 September 2016

REVIEW: MJOLNIR IV

Mjolnir IV
Edited by Dave Yorkshire
68 pages
Buy here

Reviewed by Colin Liddell

Dave Yorkshire’s cultural and metapolitical magazine—appropriately named after the hammer of the mighty Norse god Thor—has now reached its fourth incarnation, and this time it's gone for a theme of marriage and procreation. It is always important to emphasize the essentials in an age like our own, when so many lives are derailed by distractions and trivialities.

It may seem somewhat odd, that I have ended up reviewing this testament to the "life force" just as the first signs of autumn are becoming apparent and nature is winding down. But, as all good pagans know, Samhain (a.k.a. Halloween), which is now approaching on the horizon, is the start of the life cycle and in fact the year. Death to life, not life to deathas in certain other cultures.

In his excellent introduction, Yorkshire reminds us of the "death-like" character of our own times, which are obviously providing the mulch of a future period of growth, by referring to the aberrant sexuality of homosexuality that our 'death times' here in the West have chosen to celebrate to such an exaggerated degree.

Bouncing off a quote by the lesbian activist Masha Gessen about the Leftist agenda of destroying conventional marriage, Yorkshire makes the point that:
"...the political Left have attempted to break the marriage bond by any means: by setting one sex against the other, while simultaneously pushing the idea that men and women are identical and that one can choose one's gender. However, one's 'gendered identity' seems to be fixed to the sex into which one is born as soon as the discourse of oppression starts and the 'white cisgender male,' as he is now called by the Left, is blamed for all the world's ills. Yet the target is not really men at all, for one notes that the men of other races are never brought into question. The target is the White European."
Elsewhere in the article, he draws attention to other signs of the mulching of the West, going back even as far as the death-infatuated romanticism of the 19th-century, which found its epitome in the music of Richard Wagner, the composer who essentially created the template of Götterdämmerung that Hitler – and (((Hollywood Nazis))) ever since – faithfully followed to their graves, unfortunately dragging in much else besides themselves.
"As much as I am a huge fan of Wagner's music and genius, I cannot help [thinking], like Friedrich Nietzsche before me, that Wagner has an unhealthy obsession with tragedy, death, and fatalistic doom. One thinks immediately of Götterdämmerung, but also of Tristan and Isolde, of Der Fliegende Hollander and of the theme of chastity and death of the unchaste in Parsifal. This is not so much Wagner himself who is at fault here, but is rather a product of general cultural malaise that has permeated European civilization for centuries. If European Man is to survive, he must embrace a culture that is vernal rather than autumnal, that promotes life, birth and rebirth, and marriage as the sacred pact that binds this continuum that stretches from the prehistoric past and into the future we have yet to shape."
With this as his aim, Yorkshire has given Mjolnir IV, a suitably feminine aspect. Female poetesses, always a feature of the magazine, are dominant, including fine pieces by the often excellent Juleigh Howard-Hobson, New England's Ellin Anderson, and Eliza Witte, an Austro-Bulgarian poet and playwright with an interest in Celtic legend.

Howard-Hobson's The Step-Sisters' Lament seems to cast feminists as the ugly step-sisters to the true woman's Cinderella, and then proceeds to chew up what sounds like Leftist jargon decrying love and spit it out with disgust in what reads like a bitter rap. The Fair Wives casts the present day defeminization of White women in a grander content, implying that their wombs and wifely attentions are hidden weapons for future struggles:
Entombed within these craggy caves, bid to
Wait silently and unremarkedly,
Until the right time comes for us to do
What we wait for; rouse this sleeping medley
Of knights who dream, and send them forth from here
To save the world and all that we hold dear
Always remember that the Alt-Right, despite all our seedy connections to the manosphere, are the true "feminists," if by that word you mean the promotion of the best interests of women.

Recommended
Also giving the magazine a feminine aspect is the potent writing of Ann Sterzinger, whose biography is an embodiment of the troubled nature of modern Western woman, as much as her writing is an exploration of it. Her masterpiece NVSQAM is reviewed here by Nick Walsh, to which I would only add that Sterzinger ironically does what left-wing feminists ask of all women – to deny their gender. In the novel she speaks through the persona of the juvenile male protagonist, which quite believably also shows us how psychologically feminized so many men of the present age are.

Sterzinger also contributes an excellent short story, What Women Want that delves into the minds of marketing geniuses:
"What I realized is that the reason it works is because once you have a profile, even though each profile is made out of many people, those are all people who more of less ARE that profile. Of course, no one is a perfect copy of any universal shopper profile, but they act enough like the type that you can predict about 90% of their in-store behaviour. So once you find those ideal consumer forms, you’ve got 99.9 percent of real-life individuals sitting in the palm of your hand. Basically they’re like little voodoo dolls."
Such an outlook, although valid as a marketing tool, leads to the hollowness and loneliness of materialism, and the spiritual vacuum this creates that ironically leads to something more spiritual. The story is punctuated by some images drawn from Edward Hopper paintings, which evoke just the right note of cold materialism pushing us towards profounder reflection.

Automat (1927) by Edward Hopper

***********

One thing that Mjolnir always does is to resurrect significant parts of our culture that the soft tyranny of political correctness is trying to airbrush out of existence or nudge towards the memory hole. This time Yorkshire has chosen to "exhume" a poetic retelling of "The Merchant of Venice" by the 19th century writer and churchman Thomas Ingoldsby, which makes copious use of old stereotypes of the Jewish moneylender and reminds that such naturalistic generalizations were common cultural currency. As Evola famously said:
"My principles are those that before the French Revolution every well-born person considered sane and normal."
The same thing can be said, with a somewhat longer time frame, with regard to ethnic stereotypes, although the troll culture of today proves that they haven't really gone away. In fact they may be growing stronger in symbiosis with political correctness.

Yorkshire also conducts another one of his personal exercises in political incorrectitude, with a short drama piece – also on a Shakespearean theme – The Marriage of William Shakespeare.

Reflection by Gary Persello
This plays with the tropes of gender-bending and blacking-up that already exist in the Shakespearean tradition, but with slightly less sensitivity than the average Viz comic, while also throwing in plenty of British music hall and early sit-com humour. The meta-point being made again is "good luck trying to clean up Wesern culture and making it acceptable to desiccated Leftists – you’ve got no bloody chance!"

Artistically the issue is dominated by the work of Vig Scholma, who adorns the cover with a rather naive but pure image, and also shows some of his fine sculptures inside. In addition to this, several full-colour pages are dedicated to the work of Gary Persello and Bonnie Van Hall.

Persello's sculptures have a rather kitschy quality but win you over with their craftsmanship, good intentions, and astounding detail. Likewise, Van Hall's beaded couture has something of a "New Age" atmosphere, with its connotation of "cultural cringe" to the Third World, but, looked at in greater detail, start to resonate with the lost aesthetics of our own pagan past.

All-in-all Mjolnir IV is a White, Western, and life-affirming magazine, a reminder that we live within cycles of death and life, decline and rebirth, and that continuuity is the key. So the ideal extract to leave you with is the start of Ellin Anderson’s poem Avalon:
No poet can resist the call
Of apple orchards in the fall
The rasping music of The Crow
The size of wind-borne leaves, the low
Sweet thrum of crickets touched with cold
Must lure us to the phantom gold
Of harvest haze that lingers on
The Isle of apples – Avalon
Buy Mjolnir IV here.

 

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