395. Grace (V)

There is no such thing as right-wing art as such, and any conscious attempt to create “right-wing” art is de facto left-wing propaganda—and there is such a thing as left-wing propaganda. Those cringe-inducing Boomer libertarians are correct: reality is right wing. Art is meant to mirror reality; if you set out to mirror reality—whatever techniques you deploy in the representation—then you will produce results that are inherently “rightist”; although, as with right-wing politics itself, no two representations will overlap exactly—just as no two men reach exactly the same conclusions about life, although if they are true to their experiences they will achieve significant overlap (this is what we call “common sense”).

The political sides are mixed up: right-wing people are called “reactionaries”; yes, they react against the left—yet the left is the first reactionary, the first to recoil from another force; and what they react against is reality. It is the left that wants to impose narrative control on reality because—being feminine men, women, or perverts—they cannot deal with the harshness and wonder present in naked reality; hence they need to keep a lid on it, especially to push away its harsher aspects (inherent inequality, death, cruelty); and also to suppress its more pathetic aspects—such as innocence and mercy.

Take The Lord of the Rings, a very popular fantasy book. Although a fantasy, Tolkien drew from reality to create this world: Middle-earth languages (based on his scholarly work on Anglo-Saxon); races (Orcs, Hobbits, Elves, and Dwarfs); rural bliss, the Shire (based on the Warwickshire countryside he knew so well); industrial Hell (based on Birmingham, then an industrial powerhouse); heroic deeds by men (based on actual legends and fundamental masculine aspirations)—even “the two towers” in the eponymous novel are based on two actual water towers in Birmingham.

So The Lord of the Rings, despite being fantasy fiction, works because it is drawn from reality; at no point did Tolkien say, “I will write a self-conscious document to teach people about Indo-Aryan languages, to encourage people to love the English countryside, to condemn industrialism, to celebrate masculine heroism…” He simply worked from the reality and things he knew—the West Midlands, ancient tongues, and legends—to reflect reality in a certain way. It is the left that arrives and says: “Problematic essentialist racial descriptions…Are the gold-hungry Dwarves Jews? Are the Elves Aryans? There are no women in this story, misogyny. Is Mordor meant to be the USSR? Was Tolkien a ‘Cold Warrior’? Militarism.” Hence commercial adaptations of the LotR—post-Peter Jackson, who had a firm commitment to the original material—add in multiracial Hobbits and more women and so on. Reality must be corrected.

Similarly, with Animal Farm and 1984, Orwell did not sit down to write polemical stories to “convert people to anti-Communism” or “fight Communism”; he just used his actual experiences with Communists—the historical record as regards what happened with Trotsky and Stalin—and imagined dreary post-war London as if it extended into the future forever. There was no need for an obvious parable about Hayek’s ideas to be jammed into the work; and there certainly were works that set out, self-consciously, to “convert” people to anti-Communism—such works never achieved their goals. You sometimes see white nationalists or Christians produce little comics—perfectly aesthetically correct—to convince people to save their race or convert to Christianity; but these are always cringe—effectively, these are left-wing creations because they put some abstract idea, “the race” or “saving souls for Christ”, before reality.

The lack of realism comes about because really, for example, the people at whose hands I have suffered most in my life have been from my own race and the Christians I have met tend to be total hypocrites or resentful cunts; and such views are not permitted for “the narrative” in those comics, and that is why those products are not art—those products are de facto left-wing propaganda, whatever their subjective intention.