Ernst Jünger was one of the more fascinating men of the twentieth century. Remembered in the English-speaking world primarily for his World War I memoir, The Storm of Steel, he was famous in Europe for a range of right-leaning thought spanning nearly eighty years (he lived from 1896 to 1998). His output was prodigious, more than fifty books along with voluminous correspondence, and not meant or useful as a seamless ideology, although certain themes apparently recur. This book, The Forest Passage, was published in 1951, and is a compelling examination of how life should be conducted under modern ideological tyranny.
Militant Normals is an enjoyable read, a rollicking journey with the acid tongue of Kurt Schlichter as our tour leader. It is full of facts that are impossible to dispute, because they are facts. It draws difficult-to-argue conclusions, including that our near future is likely grim. That said, I think Schlichter’s elite/normal framework misses important nuances and is a bit too glib. But even so, the well-deserved spanking Schlichter gives the Left is worth the price of admission.
This may be the worst well-written book I have ever read. That is, most awful books are bad in their writing, bad in their organization, bad in their reasoning, and bad in their typesetting. No such badness is evident here—How Democracies Die hits all the points it intends to, and reads crisply and smoothly. But it is ruined by a meta-problem: its utter cluelessness and total lack of self-reference. The authors, Steven Levitsky and Daniel Ziblatt, are very much like the Ken Doll in the Toy Story movies—vain, preening, and, most of all, utterly unable to realize, not that the joke is on them, but that they themselves are the joke.
A disability afflicts nearly all conservative arguments today. Rather than being a robust picture of vigor and health, as they should given their firm ground in reality and the fantasies that underlie their opponents’ cancerous and bankrupt ideologies, conservative arguments present themselves at the door like starving beggars clad in rags. This is bad, but even worse is the source of this weakness, for it is not imposed from the outside, but voluntarily, by conservatives choosing to cut themselves off at the knees. How? By crippling their arguments through larding them with preemptive apologies.
This is an excellent book, doubly excellent in that the writer, George Hawley, has written a book both even-handed and superbly accurate in detail about a difficult and controversial topic. I am personally deeply familiar with nearly all the facts covered in this book, and Hawley has not fallen into any significant error. Moreover, his analysis is generally excellent, so as a package, this book is a valuable contribution to understanding what I call the Great Fragmentation—the splintering, and reforming, of what until recently was a relatively monolithic instantiation of mainstream American conservatism. Finally, this book implicitly poses a fascinating question—should the Right adopt a new principle, in imitation of the Left, that there are no enemies on the right?
Billed as a continuation, this book is really the chiral image of Michael Walsh’s earlier book, The Devil’s Pleasure Palace. That book was an attempt, with limited success, to outline and discuss the poisonous Frankfurt School of political philosophy, Critical Theory, through the prism of art. This book, on the other hand, aims to discuss art, with Critical Theory as the subtext. It is a largely successful attempt to outline and discuss the unparalleled genius of Western art, in its historical context and with its historical implications, and thereby to “restore Western culture to its proper place.” That restoration is necessary for our culture to cauterize the venomous bite of the Frankfurt School, whose view of art as politics, and of Western culture as worthless and evil, must be rejected if the West is to regain its path.
My project here is to analyze, in the detail required for all necessary understanding, the thought of Curtis Yarvin, who wrote under the pseudonym Mencius Moldbug. Yarvin is the most prominent figure of what has been called the Dark Enlightenment, one thread of modern reactionary thought. My short summary is that he offers mediocre analysis with quite a few flashes of insight. Even so, his thought is mostly worthless, because his program for political change is silly, since it fails to understand both history and human nature, and is ultimately indistinguishable from the program of the Left. Overall I was very disappointed, and this write-up is shorter than I expected when beginning my project, since there is not all that much interesting to talk about.
I stay away from the shouters, such as Rush Limbaugh and Mark Levin. Sure, they’re right in their conclusions, most of the time, but the lack of nuanced thought annoys me. There are plenty of ways to get easily worked up today, without seeking out more that don’t offer a corresponding benefit. Angelo Codevilla is not a shouter, but this is at least a half-shouter book, as shown by that Limbaugh wrote the Introduction. As is the case with most books of conservative woe, it has nothing of substance to offer about how to fix the problems it identifies. Still, it has one interesting insight, and one cautionary lesson. And I am here to offer the solution to the problem Codevilla talks about. It’s not even radical!
Exhaustively documented, and in some ways just exhausting, though at the same time exhilarating, Brad Gregory’s The Unintended Reformation is a towering achievement. It synthesizes centuries of history and multiple avenues of thought to analyze how we arrived at certain negative aspects of modernity. Gregory’s claim is that we got here as the result of the unintended consequences of choices made in response to “major, perceived human problems.” Those choices were, initially, the Reformation’s religious choices, which ran counter to the entire worldview of medieval Christianity. But the Reformation did not solve the problems—it made them worse, in a declining spiral, accelerated and exacerbated by subsequent secularization, itself partially the result of the Reformation. The result is a world in which the ability of humans to find meaning in their lives has been crippled, rather than enhanced. We would, implicitly, be better off with something more like the High Medieval synthesis destroyed by Martin Luther.
Most honest postmortems of Trump’s election are by Democrats focusing on what they missed. Usually, they are either narrow exercises in vote counting or more holistic attempts to understand Trump voters. In the latter group are Joan Williams’s White Working Class and Ken Stern’s Republican Like Me. The common thread in these is discovery, a dawning realization that there are people out there with legitimate, even compelling, reasons to vote for Trump. Republicans, on the other hand, haven’t engaged much in postmortems. They have engaged in recriminations, or a facile triumphalism, but few seem to have analyzed Trump’s election in a focused, professional, way. The Great Revolt fills that gap.