The Triumph of Beauty
by Kevin Alfred Strom
“YOU HAVE lost your reason and taken the wrong path. You have taken lies for truth, and hideousness for beauty…. I don’t want to understand you.” So said the Russian playwright Anton Chekhov (pictured) more than a century ago. His statement applies even more to our age than his.
The inhuman concrete and glass rectangles that pass for architecture today are hideous, uglier than rat-mazes. They do to the spirit of European man what a ten-foot cage does to a timber wolf. There was a time when our best homes and public buildings expressed something about our souls. Though in dollar terms we were much poorer then, time and effort were spent and infinite care was taken so that our culture and our spirit shone through in every stone, every cornice, every column, every window. There was a time when beauty lived.
Frank Harris said “Admiration of beauty is the highest impulse in our humanity.”
What have we done with this highest impulse today? Today we take the beauty of the human body, what ought to be the greatest and holiest thing to us, and use and abuse it to create distorted, degrading images on a thousand million pages of the crudest, most disgusting, and hideous pornography, even interracial pornography, ruining countless lives in the process.
“Admiration of beauty is the highest impulse in our humanity.” What do we now teach our young people to admire? We give awards — one, ironically and perhaps not coincidentally, even called the “National Vanguard” award, stealing our honorable name for a dishonorable purpose — to a homosexual female to reward her for her perversion and her spreading of that perversion to others. We shower honors upon a man who cut off his genitals and dresses his scarred and mutilated body in women’s clothes and falsely declares that he is a woman. This is not admiration of beauty. This is not the highest impulse in our humanity. This is a diseased, Jew-induced worship of all that is sick, deformed, twisted, and hideous.
Thoreau thought that beauty was perceived by the higher and more morally evolved type of human being, and not by the lower, saying: “The perception of beauty is a moral test.”
Nietzsche told us that “The voice of beauty speaks softly; it creeps only into the most fully awakened souls.”
The great mathematician Henri Poincaré saw a direct link between the perception of beauty and the pursuit of scientific truth. He said: “The scientist does not study Nature because it is useful; he studies it because he delights in it, and he delights in it because it is beautiful. If Nature were not beautiful, it would not be worth knowing, and if Nature were not worth knowing, life would not be worth living.”
The inventor and futurist Buckminster Fuller, like Poincaré, saw beauty in the inherent structure of the universe that was revealed in solving science and engineering problems. He told us: “[I]f the solution is not beautiful, I know it is wrong.”
Emerson perceived that the ideals of beauty are within us, saying: “Though we travel the world over to find the beautiful, we must carry it with us, or we find it not.”
Nowhere is the war on beauty more evident than in the field of art.
One function of art is to actualize our inner picture of the beautiful and so to lend reality to the ideal picture of what we, as a race, can become. In artworks representing the indigenous gods and goddesses of Europe, such as the Pythian Apollo, we find the expression of this idealism again and again. “Modern art,” heavily influenced by Jewish critics, media power, and commercialism, even when it is representational of the human form, by its own values either must include non-Whites or blur racial distinctions altogether, showing raceless or “schematic” humans — and is thus incapable of expressing our inner ideals.
There is a very revealing four-part video series, viewable on nationalvanguard.org, by the painter Scott Burdick. In it, he shows us through his own personal experience and investigations what exactly it is that makes “modern art” so empty and so hideous. It has little to do with all the puffed-up “intellectual” theories put out by the largely-Jewish art critics. And it has everything to do with what Jews hate. Not what they love — what they hate. What they hate is beauty. What they hate is us. What they hate is our love of beauty, which they conflate, perhaps correctly, with our feeling of repulsion toward them.
Don’t be put off by the fact that Burdick never utters the word “Jew” and goes out of his way — way, way out of his way — to show traditional Western art, some of it his own, that depicts non-Whites. It’s as if he’s saying “see how non-racist I am,” to deflect attention from the fact the the rising Classical Art Underground he depicts is substantially Whiter than rural New Hampshire. He nevertheless masterfully skewers the modern art establishment and their hatred for beauty — and their literal banishment of it from their galleries, museums, and literature. With calm logic he analyzes the common characteristics of the works that are sought out by these culture-distorters, and those that they reject.
What’s their real basis for praising or rejecting a work of art? It isn’t abstract versus representational art — it isn’t nudity, or the human form, or its absence — it isn’t fine-grained materials versus rough materials; no, Burdick shows us that none of these determine what is accepted and what is rejected. In the “intellectual” theories (with Jewish / Frankfurt School roots, though Burdick doesn’t say so) that must be internalized by anyone wishing to rise in the modern art world today, it is beauty itself that must be rejected and ugliness or nothingness which must be praised, as the artist pays obeisance to the “intellectuals” and their “theories.”
That’s what it’s all about. Just as young White men are encouraged to murder their own masculinity today, and young White women are encouraged to be barren or to kill the new life in their wombs, so the Jews work to murder all that we call beautiful.
Among “modern artists,” the Jewish ones produce ugly garbage because in their hearts they hate us and all we call beautiful. The White ones produce ugly garbage because they’re alienated from themselves and their roots, or they’ve found a profitable racket rooking fools and pleasing Jews, or both.
As I said in 2004, our perception of beauty guides our choice of a mate, and so shapes the future of the race:
“The man or woman with a high or ‘noble’ forehead is better-looking to us than a man or woman with a steeply-sloping forehead, which we instinctively view as primitive and ugly, whether we use those words or not. The protruding jaw, so common in Africans and Australasians, or the underdeveloped chin and outsized nose common to some Semites, to European eyes give the human profile a convex and snout-like appearance, and hence are bars to beauty as we perceive it. We may not be conscious of the reason, but our instincts, our souls if you will, are telling us that the highly-evolved is beautiful and the primitive-looking is not.
“The most primitive human races have rather stiff and kinky hair, and so, to the European, softly curling, waving, or smoothly soft and straight hair are the most beautiful. Again, we instinctively admire the advanced traits and shrink back from the primitive….
“[I]nsofar as those ideals are favored in our selection of who will be the mothers and fathers of generations to come, they will indeed be a glimpse of those unborn generations, a glimpse of what will be, a glimpse of the future.”
Every now and then one encounters something truly, incongruously beautiful in the middle of the Afro-Corporate militarized theme park that America has become. A wildflower growing from a crack in the filthy sidewalk, next to a junkie’s discarded needle. A forgotten painting of surpassing beauty, languishing in a dusty second-hand store. A White mother and child like something out of Botticelli, walking amid the gibbering excuses for primates on the streets of my city.
Marcus Parker said “When asked if I am a ‘White supremacist’ I answer ‘No, I am a beauty supremacist.'”
I care about the aesthetic beauty of our kind. I care about what our kind can become and is becoming. I care about our unique ability to imagine greater things than have ever been done before — and then do them. To imagine more beautiful things than have ever been seen before — and then create them. I care about these things much more than I care about how the food’s going to get on the table this week.
For me, the greatness and beauty that I see in the faces and the high art and hear in the poems and words of my own people is the motivation for my life’s work. All I hold dear would be destroyed if we mixed our blood, even with that of the admittedly civilized and intelligent Orientals. We of European race have evolved into something special that must not be lost, and I believe we have a destiny to fulfill.
Goethe said: “Beauty is a manifestation of secret natural laws, which otherwise would have been hidden from us forever.” This is the truth which our enemies wish to conceal: When art or love or inspiration or dreams reveal beauty to us, we are glimpsing for a moment the ideal world that our race can build if we believe in it with all our souls and fight for it with all the fanaticism and strength in our minds and bodies. In those moments when beauty strikes us, we are perceiving a more highly evolved future. To put it in religious terms, we are perceiving God. That is the most important thing I want you to understand.
Dante told us “Beauty awakens the soul to act.” I believe that to be true. That is why I believe that we will win. The anti-cultural ugliness of the modern, Jewish world cannot stand. It is unnatural to us. Once we show our people, even those who have been misled, the true alternative — a world of unimaginable greatness and beauty which can be ours — something deep in their souls and more inspiring, powerful, and Godlike than anything they have ever felt before, will unleash a righteous, cleansing whirlwind upon this Earth, and then the triumph of beauty will be nigh.
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For further reading on Jews and modern art, see:
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