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Counterinsurgent Culture: the Right’s Literary Offensive
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See also by Paul Souvestre: Totalitarian, Perverted Antifa Is Just Jacobinism Reborn. But Thermidor Is Coming

Novelist Joyce Carol Oates (very much a conventional liberal, see here, here, and here) recently tweeted “a friend who is a literary agent told me that he cannot even get editors to read first novels by young white male writers, no matter how good; they are just not interested.” Of course, she was immediately denounced, but she’s right. Meanwhile, young white male writers, and publishers, are organizing their own Counterinsurgent Culture.

The facile Leftist assertion is that the Right is incapable of making art (Dostoevsky? Kipling? Wagner?). But it is true that the Right has been pretty effectively Cancelled when it comes to providing entertainment and education alternatives today.

Thankfully, this is changing. Centre-Right news outlets like Ben Shapiro’s Daily Wire are producing documentaries and films, while tougher-minded strands of the Right are producing Substack articles, books, and magazines at a frenetic pace. Earlier this year, a coterie of anonymous Twitter uses launched the Passage Prize in order to encourage Right-wing art and literature. The prize received well over a thousand submissions and now a handsome volume showcasing the best of these submissions is available for purchase from Passage Press.

Novels are well-represented in the Right’s counterinsurgent literary offensive. Rather than wait to be accepted by the literary Establishment, Dissident novelists have taken to the page and produced some of the best, most thought-provoking novels of the past two years. Some of the standout works include Steelstorm by Thomas777, Faction by Karl Dahl, and Automaton by T.R. Hudson. These are novels for young men hungry for action, heroics, and danger, all of which have been lacking in mainstream fiction for some time.

  • Steelstorm is a thin novella that comes in at less than one hundred pages. However, even in this limited space, the brilliant and pugnacious mind of author Thomas777, a self-proclaimed PECKERWOOD (to adopt his idiosyncratic social media style) and revisionist historian, shines through.

Steelstorm is a complex narrative that unites three disparate characters: Billy Wong, a heroin junkie and serial killer in 1980s Chicago; Dr. Woldemar Mohamet al-Husseini, the medical surgeon and political minister of the future; and a ZARTAX-cyborg named Victor von Leers. Von Leers, who is the ultimate killing machine and the personification of de Maistre’s Executioner, is the canvas upon which Thomas777 muses about the metaphysics of war and death, as well as the natural hierarchy of creation. In Steelstorm, where real-life war junkies like Baron von Ungern-Sternberg and SS officer-turned-Egyptian minister Johann von Leers make appearances, God’s divine plan includes a nuclear holocaust and the intergalactic violence that flows from it. Thomas777’s writing is visceral and full of blood and sinew, and yet, at its core, Steelstorm is a philosophical work written within the genre confines of science fiction.

  • Like Thomas777, T.R. Hudson is another Dissident artist who finds inspiration in sci-fi. His first novel, Automaton, also deals with the issue of death and those who deal it.

In Automaton, the U.S. government is in exile and the country is led by a major corporation called Deluge, Inc. Deluge controls a landscape ravaged by war and divided by danger. To establish order, Deluge sends out teams of mercenaries, almost all of whom are former members of the U.S. military.

These mercenaries are street soldiers who go into the gutter not only to clean it up, but to also conscript forcibly the feral residents of America’s East Coast (or what’s left of it). Many of these corporate soldiers are medically enhanced and can “turn on” at a will to become the perfect killing machine. Turning off is a different matter, and the main character Michael has been unable to turn off for over a decade. While street argot refers to these soldiers as “Reps” (for reptiles), Michael’s surrogate father, a Russian Jewish immigrant in war-torn Manhattan, calls them golems.

Michael and another, more psychotic Rep are charged with an assassination mission that takes them across the dystopian Midwest and deep into the independent socialist republic that was once California. Automaton is a cutting-edge novel that tackles the complex and politically charged issue of genetic therapy and bio manipulation, as well as the push for transhumanism among the globalist elite.

Automaton shows the future wherein the darkest desires of World Economic Forum guru Klaus Schwab have become normalized. It is a frightening, ultraviolent world to be sure, but Hudson’s skillful writing keeps his readers grounded in the eternal realities of human existence, no matter how politically and genetically engineered.

  • Karl Dahl’s Faction looks backwards instead into the future. His thriller begins in the 1980s, but primarily takes place in Seattle in 1994.

While the rest of the city is consumed by the dwindling light of the grunge music scene, Doug Shea is focused on guns and girls. The gun obsession is part of his calling. You see, before he was born, Doug’s father, a sheriff in rural Washington State, was murdered by corrupt FBI agents seeking to keep a lid on their involvement in organized crime. Decades later, Doug joins Vanguard, a shadowy organization partly established by his grandfather, Josef.

Vanguard specializes in assassinations on behalf of the CIA, or at least a faction within the larger Deep State. Another faction, which includes the FBI, wants to get rid of the Shea family and their friends. Doug walks into this maelstrom, which also includes Albanian Islamists in Canada, drug traffickers, pedophiles, activist professors, and other unsavory types, all of whom can be traced back to U.S. government agents with ethnic axes to grind.

Faction is nonstop action interspersed with scenes featuring Cathy, Doug’s Filipino girlfriend. As is befitting action novels, Cathy winds up a victim of Doug’s secret life, and Doug spends years trying to fully avenge this victimization.

Faction also reveals the apparent truth that the federal government has been creating “domestic terrorism” villains since the 1990s, as Doug’s defensive actions done to protect both America and Canada from Leftist machinations are misconstrued in the media as acts of racial violence.

These three novels can be joined comfortably with short story writer Zero H.P. Lovecraft’s work, most of which reveals the everyday horrors of corporate culture, the Internet ecosystem, and the ever-shifting sands of interpersonal relationships.

Other impressive work is being written and published as you read this, and there is no shortage of publishers and magazines like the Raw Egg Nationalist’s Man’s World to print them.

This is the basic and exciting truth about the cultural counterinsurgency from the Right: readers can go days without consuming content made by or for the Leftist mainstream. From videos to literature and even sculpture, independent and Dissident creators are producing greatness and at volume to boot.

It is impossible to suppress every new venture, and thus the Dissident Right shows real promise of victory.

As the Mainstream gets increasingly stale and trapped in its on CRT-inspired cycle of embittered racial harangues, thousands of faceless online posters are creating a counterinsurgent culture that has energy, excitement, and depth that goes beyond mere memes.

It is a safe gamble to say that when the Mainstream culture implodes (and it absolutely will), a new, more intellectually vibrant and Right-wing culture will be ready and able to replace it.

Paul Souvestre [Email him] is a French citizen and Breton nationalist originally from Brest. He currently lives in Quebec.

(Republished from VDare by permission of author or representative)
 
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  1. Catdog says:

    Thanks for the review. These reviews are useful. I would never have heard of these without your advertising them.

  2. Agreed. Agents and publishers are all looking for “diverse, marginalized voices,” meaning not white males. It’s all a fraud. Publishing has always been the most liberal of America’s industries. Women were NEVER marginalized though occasionally they had to write under male pen names. Minorities weren’t intentionally ignored either; it was the lack of literacy and interest in reading that held them back. Notice how so many of the “diverse voices” are Asians who were underrepresented in years past only because they didn’t live in the US in significant numbers. Same holds in the UK; have of the up and coming writers have brown faces and multi-syllable names like Apu.

    • Replies: @Priss Factor
  3. The facile Leftist assertion is that the Right is incapable of making art (Dostoevsky? Kipling? Wagner?).

    I wonder how many ‘liberal’ or ‘leftist’ artists would have been ‘rightist’ under an alternate system of media and academic control.

    How many ‘liberals’ and ‘leftists’ are truly liberal or leftist and how many of them became that way because of education and information? After all, most artists in Western History were Christian but because they were raised as such. Most artists in communist countries were communist because it was the only game in town.

    If you go to college these days, you become rather ‘woke’ or ‘pc’, not because you really thought about it but it’s just the air you breathe. It’s like you end up smelling like curry if you live in India and eat a lot of the food there.

    Or, even if you don’t smoke pot, if you’re in a room full of potheads, you end up inhaling some of that stuff and it even gets on your clothes.

    I think there are a lot of odor-liberals than order-liberals.

  4. @Fidelios Automata

    Agreed. Agents and publishers are all looking for “diverse, marginalized voices,” meaning not white males.

    Of course, the simple solution is for whites to set up their own industries and hire white talent. But whites and conservatives seem to suck at this. They let Jews take over all culture and bitch about how Jews are no longer favoring them.

    Do your own thing.

  5. The idea of Dissident Fiction is as repellent to me as Marxist Fiction or Anti-War Fiction or Feminist Fiction. Novels intended to deliver a political message are almost always non-starters. The only exceptions I can think of are Brave New World and Nineteen Eighty-Four, but they are by brilliant authors unlikely to be equaled by “Counterinsurgent Culture” literary soldiers.

    Mr. Souvestre assures us these books are well written, but I don’t intend to find out. From the descriptions they sound like pretentious twaddle.

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