Damon Galgut: Predictable Anti-White Hack Predictably Wins a Prize
by Douglas Mercer
RECENTLY South Africa turned into a higher-octane version of Road Warrior. It had something to do with one of their Congoid leaders but who knows — do the Congoids really need a reason to turn their country into a high-octane version of Road Warrior?
Of course not — they’re Congoids; it’s simply what they do.
And since White rule in South Africa was thrown over, the country has been continually a real-life version of Road Warrior. It’s just that recently they amped it up a bit.
And on the daily those very same uncivilizable Negroes in South Africa murder White farmers there. It’s a veritable open season on them, a genocide — but it so happens that this is one genocide that the Jewish elites like very much, so you hardly ever hear about it.
Donald Trump was once watching Tucker Carlson explain in civic nationalist terms that there was a White genocide occurring in South Africa. And Trump took two minutes to tweet out a directive to his Secretary of State Mike Pompeo to look into it and get back to him. So that was an order from the boss. But what did Mike Pompeo do? Did he investigate this atrocity against White people and report back? Did he raise the flag of human rights? Of course not. He ignored it. And Trump, who has the attention span of a gnat, forgot all about it.
The genocide against White farmers in South Africa goes on. Pompeo will get in high dudgeon about what is happening to Uyghurs in China, or to millionaires in Hong Kong, or to dark-skinned Christians around the world. But he won’t say word one about what is happening to White people in South Africa. Perhaps it has something to do with his recent visit to see Jewish billionaires in Las Vegas to bankroll his run for President.
But of course the world is outraged, right? Some UN High Commissioner is on the case, right? “Human rights” is their self-appointed bailiwick after all. So they have to be deeply concerned that Whites are getting slaughtered just for being White.
No. Radio silence. In fact if you mention these massacres you are the one who is violating “human rights.”
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The Booker Prize is one of those snooty literary prizes that nowadays only ever go to dark-skinned Third World hacks, White trucklers, perverts, or Jews. Just the other day they gave it to a South African, and at first you’re surprised that the writer is not Black — but then you see their logic.
Damon Galgut’s father was Jewish and his mother converted to Judaism.
And then you learn that Galgut’s prize-winning novel has as its central characters those very White South African farmers who are being killed like ducks in a shooting gallery. Could this be the one Jew on the planet with a modicum of honesty, and could he be blowing the lid off of these murders of White people by the feral Bantu?
Not on your life. Shlomo knows better than anyone who butters his bread and, more importantly, who dispenses the important prizes in this corrupt world.
South African writer Damon Galgut won the prestigious Booker Prize for fiction on Wednesday with The Promise, a novel about one white family’s reckoning with South Africa’s racist history.
His story of a troubled Afrikaner family and its broken promise to a Black employee — a tale that reflects bigger themes in South Africa’s transition from apartheid.
The big theme of the “transition from apartheid” is you once had a gleaming, clean, orderly, and beautiful White country — and now you have a post-apocalyptic Hellscape run by Blacks.
Galgut’s book got the nod for the Booker this year, and he got it for his take on the “racial situation” in his country (if a Jew can be said to have a country).
We soon learn that the White farming family who are the subject of this book go by the name of Swart, which means Black.
Very subtle Galgut, very clever. Keep up that kind of blatant propaganda and disguise it as formal literature and you just might win a Jew prize one day.
Like today for instance.
Galgut’s ninth novel traces members of the Swart family — the word is Afrikaans for black — haunted by an unkept promise to give their Black maid, Salome, her own house.
Well how about them apples! We have a Black servant with a Jewish name, in a novel by a Jewish writer! If this guy’s intricacies and exquisite labyrinthine refinements get more hard to decipher, what will we do? How will we know what he is trying to tell us?
And, oh yes, “the promise.” The promise is the premise here. It’s a promise to the Blacks.
The patriarch of the Swart family is — hold the phone — a “racist” and an evangelical Christian.
The head of the family is Herman “Manie” Swart, an unreconstructed racist who runs a reptile park called Scaly City and has recently found religion.
See a pattern here? See how the Jew operates?
He owns a reptile store called Scaly Things. You see he’s a “White racist” and he’s a reptile. This isn’t foreshadowing. This is mugging the reader.
Very subtle, very clever. Why if this Jew litterateur keeps this up, he might just vault to the very top of the Jew book world.
And so he has.
And this parable of the Bad Whites keeps on piling up the cunning and crafty bullet points.
You see this patriarch dies by going into a snake cage in order to test the Christian Faith. Of course he gets killed by a snake. The patriarch is a White racist Christian and he’s a snake.
You certainly don’t need Cliffs Notes for this simplistic garbage. (And it doesn’t matter at all to this Jew that no one loves Jews more than evangelical Christians do. The Christian support is total, unconditional, in the bag. So the Jew feels free to attack them as he does all Whites; their love will not diminish.)
This is what the Jew is saying: Whites are evil, they are racist, they are snakes. He was going to put this message on billboards but his editor told him that might be a little too much on the Jewish nose.
You think this Jew is done with his artful guile? You think he’s done being so obscure that no one in a million years could figure out what he means?
The Jew is not nearly done. He won’t be done until the message that Whites are sinister monsters has bludgeoned you blood red.
The patriarch’s wife has a Jewish name, Rachel. And this Rachel converts to — hold my beer — Judaism.
Rachel, for example, following Manie’s conversion to evangelical Christianity, returns to Judaism. Her motivation for this change and its impact on others resonate through the book. Galgut’s descriptions of Jewish observance are impressively detailed, and Judaism comes off well compared with other religious and spiritual traditions that feature in the novel. Christianity fares badly: Manie’s Evangelical minister is a figure of extreme venality, while a judgmental and feckless Roman Catholic priest proves destructive to his congregants.
I’m no fan of Jesus Christ, but you can tell when a Jew is tearing down everything about White people. It’s when he’s opens his mouth or starts typing.
In 1986, on a farm near Pretoria, Rachel Swarts lies dying of cancer; on her deathbed, she elicits a commitment from her husband, Manie, to give their housemaid Salome full ownership of the house she lives in within the estate. It is an odd requirement since, under apartheid, Salome is debarred from owning property.
Let’s recap, shall we? You have a Jew writer who has an evil White racist as a main character; the “racist” has a wife who becomes a Jew who makes the evil White racist promise to give the house to a Black servant with a Jewish name.
Why, he might as well have called the book White Man Evil.
But of course the evil White racist doesn’t give the house to the Black servant with the Jewish name, and neither do their children, at least right away.
You see, White people owe the Blacks everything,; they owe them their very homes and hearths, they owe it to Blacks to literally dispossess themselves of their lives, their homes, and their property — but they are hard-hearted and stingy. They renege on their promises.
That’s the premise.
There is your paint-by-numbers parable.
This is what wins you those Jewish awards.
It is clearly an authorial decision to focus on the flawed agency of white South Africans.
The promise of the title is a literal one, made by Rachel before she dies: to give a house on the farm to their black servant, Salome. It’s also a metaphorical one. Over the years, as members of the family find reasons to deny or defer Salome’s inheritance, the moral promise — the potential, or expectation — of the next generation of South Africans, and of the nation itself, is shown to be just as compromised as that of their parents.
And here’s the meta message. South Africa is a Road Warrior screenplay that masquerades as a country — not because Blacks are inferior beings, not because Blacks are incapable of governing themselves, not because Blacks are not able to maintain a First World country, not because Blacks have low intelligence, not because Blacks can’t master science, math, or technology, not because they are genetically predisposed to crime, not because they have no self control, not because they the can’t focus on a goal, not because they are unredeemable and feral savages who are not really fully human.
No, not at all.
The country is wasteland full of human garbage because White people failed to keep their moral promises.
This is what the Jew says. And now he’s got a Booker Prize to back it up.
If Galgut was any more heavy-handed and obvious, he’d have to personally come to your home and hit you over the head with a sledgehammer until pools of blood formed at your feet.
Perhaps that will be the sequel. It is certainly is what’s happening to those White farmers.
Another decade passes, and tension grows between the siblings as Astrid and Anton resist Amor’s appeals to honor the promise and legally transfer the property to Salome, who now lives in it.
And there it is, folks. The White racist patriarch has passed away; the children are still not giving what they should to the Blacks, but still the Black servant with the Jewish name lives in the house. It belongs to her now; she’s a squatter. Galgut is saying that no matter how “evil” White people get, nothing can keep the Blacks from their “rightful inheritance.”
The Whites have been literally dispossessed. The house and the land no longer belong to them.
It all belongs to the Blacks.
And, for this Jewish writer, that is justice. That’s “transitional justice.” That’s truth, and that’s reconciliation. That is “coming to terms with the past.”
Yahweh’s in his heaven and nothing’s White in the world.
* * *
Meanwhile, back in reality, the smell of burning tires and rotting flesh, the stink of horror-laden decomposition, human garbage, and literal garbage continues in the former White jewel of southern Africa. The country is a Black basket case that makes Road Warrior look like a tea party. Corruption, malfeasance, hunger, and dystopian nightmares stalk the land.
From Haiti — to American cities — to South Africa, this is so. Wherever Negroes rule, life is like this; a horror beyond all descriptive power.
And White farmers, and their angelic White sons and daughters are the sacrificial victims of this evil scheme of things, the ones the Blacks rob, rape, maim, and murder, as the beasts slowly marinate in their cesspool of failure and circle the drain of the world.
Someone should really write a novel about that.
It wouldn’t win a Booker, but Bookers be damned.
There will be new novels, new prizes, new authors. Of real merit. We’re building a whole new world.
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