KIKE MIKE MOREKIKE

Reading a passage from an interview with Kike Michael Moorcock, I was struck YET AGAIN how utterly kike "our" Anglo-Euro-American-"Western" culture is.

Countering the idea that so-called "anti-Semitism" is caused by ignorance and prejudice, is the idea that "familiarity breeds contempt."

At a very young age I read many novels and stories by Kike Michael Moorcock, and his colleagues, friends and collaborators (Kike Norman Spinrad, Kike Harlan Ellison, et kikera), and by every one of the Kikes he mentions in this interview. I read them first of all because I was told and I read that they were great writers, at the "cutting edge" of contemporary fiction, and then because I found the themes interesting.

Even at an early age I could tell that for some reasons these writers were outside my world, the world of my people, my nation, my ancestors. I was not attracted to their world. I did not want to be part of their world. I did not admire their otherness. I simply found it interesting, and wondered, "What's going here?"

It wasn't until much later that I found out they were all Kikes. Even then I didn't quite find that a disturbing or strange discovery, just something noteworthy, considering what a small percentage of the population they are. It wasn't until much later that I realized they were promoted by Kikes in the media and press and schools, precisely because they are Kikes.

I also read all sorts of SF, Fantasy, mainstream fiction that I'd later find out was all kike. Philip Roth, Bernard Malamud, Vasily Grossman, Isaac Beshavis Singer, Joseph Roth, Isaac Asimov, Avram Davidson, Fritz Lieber, Robert Silverberg, Horace L. Gold, Robert Sheckley, A.E. Van Vogt, Herman Wouk, Roger Zelazny, Marion Zimmer Bradley (an especially filthy kike-bitch, a dyke who married a sodomite, who was arrested for raping little boys, and then their daughter wrote about how she had been raped by her queer parents; they also set up their own religious cult; she was for decades widely admired and praised by fembots), David Mamet, Tom Stoppard, Irwin Shaw, Norman Mailer, Clifford Odets, Paddy Chayefsky, Erica Jong, Fran Lebowitz, Delmore Schwarz, Ayn Rand, J.D. Salinger, Sholom Aleichem, Saul Bellow, Ira Levin, Arthur Miller, Rod Serling, E.L. Doctorow, Sidney Sheldon, Neil Simon, Gertrude Stein, Alfred Uhry, Joseph Heller, Jerzy Kosinski, and on and on and on.

That was what was in bookstores and libraries, and those were the writers that were praised and interviewed and reviewed in the papers and magazines.

They always seemed to be incredibly over-rated, and somehow ended up winning all the prestigious awards in their fields, and ended up as the presidents of their various professional organisations. If only all their books had come with a "KIKE ALERT!" sticker on them, then I would have seen right away what was going on, and would have saved a LOT of my precious time.

Here's a funny excerpt from the promotional spiel for Wandering Stars: An Anthology of Jewish Fantasy and Science Fiction (ed. Kike Jack Dann, Harper & Row, 1974):

"...the first time in science fiction that the Jew - and the richness of his themes and particular points of view -- will appear without a mask." (book cover)

"Many of the Jewish pulp writers, however, used pen names as a matter of sound business. A story entitled 'War Gods of the Oyster-Men of Deneb' didn't carry conviction if it was written by someone named Chaim Itzkowitz." (Introduction, "Why Me?", by Kike Isaac Asimov.)



I also read and watched and listened to almost everything that was then "underground"/"alt", and is now virtually mainstream: William S. Burroughs (every book, screenplay, "essay" (drug-induced ramblings), etc), Kike Lou Reed, Kike Allen Ginsburg, et kikera, back before they were getting grants, and became the subjects of glowing retrospectives and tributes (and obituaries).

I always found these kike "artists" and their fellow travellers either vaguely or blatantly distasteful. I appreciated anything they did that was inventive artistic or skillful; but always looked at them objectively, the way one might watch a pimp or rent-boy or crack dealer on the street, the first time you visit some scummy urban centre, wondering what is going through those people's heads and how they ended up so depraved, but certainly not wanting to join them.

Unfortunately, many, many people are drawn to kikery, just as many are drawn to perversion, prostitutes, drugs, child-molestation, and so on. The two groups often over-lap, but those drawn to kike "art" are, I suspect, often people who wish they could satisfy their base instincts but fear getting caught, jailed and shunned, and so live vicariously, through their kike "muses". Even many Kikes who make a living from writing about depravity, actually come from money and end up rich, living in the White enclaves they express contempt for. (This is even more true of all the kike agents, promoters, publishers, editors, producers, and so on.) Few of them actually openly live the sordid lives they promote, and even then, if they are caught out, or find they've gone too far, they rarely get in serious trouble (Kike Roman Liebling/Polanski, Kike Allen Konigsberg / Woody Allen, Kike Jack Lang, Kike Allen "NAMBLA" Ginsburg, et kikera).

Why was I never drawn into kikery, though I did find kike writings interesting at times, and sometimes admired their skills? Because at the same time I read even more, and superior, non-kike literature -- Marlowe (everything by him), Shakespeare (everything), Ezra Pound, Dostoevsky (everything), Sophocles, Tacitus, Ovid, Tolstoy, Gogol (everything), Homer, Checkov, Dante Alighieri, F. Scott Fitzgerald, Turgenev, Louis-Ferdinand Céline, Murasaki, Stendahl, Rabelais, Aristophanes, Baudelaire, Flaubert, Verlaine, Mishima, Joyce (everything), Wilkie Collins, François Villon, Trollope, Dickens, Laurence Stern, the Brontes, Jane Austen (everything), Thomas Hardy, Cervantes, Robert E, Howard, Apollinaire, Jarry, Moliere, Rimbaud (everything), Edgar Allen Poe (everything), and so on. How could some filthy Kike scribbling about how he jerks off to pics of "shiksahs" compare? (Philip Roth's Portnoy's Complaint.)

It's sad to think of all the people who grew up and are growing up now, influenced by kike art, either directly produced by Kikes, or second-hand kikery, from artists who had mostly kike models.

Anyway, here is the passage that got me thinking about these things:

Kike Michael Moorcock:

"When I read my first real sf book (Tiger, Tiger/Stars My Destination by [KIKE Alfred] Bester) I saw that it was possible to write imaginative contemporary fiction which also incorporates ideas and ideals. For me that book was the great American [KIKE] novel. I read it in Paris, where I found it, and it has the best kind of American [KIKE] idealism—with that marvelous populist ending. Trust the people [guided by THE KIKE]. It was the book which made me decide not to give up on contemporary science fiction.

"But most of the best [he means KIKE] U.S. science fiction in those days very much addressed social issues and often brilliantly. [KIKE] Pohl and [KIKE] Kornbluth are the two most prominent. This was when American [KIKE] socialism was still alive, if not well, under Joe McCarthy. What rock-and-roll and science fiction offered the English reader was a voice from the real America, from the working class and [KIKE] politically engaged America we could see was already being buried. We responded to black blues and white [KIKE] social protest songs because we were desperate to hear the voices of the real Americans, not the horror of populist fascism, which seemed to have been brought home on the boots of returning soldiers. . . SF and rock and roll meant a lot to us—not just as entertainment, either. It brought Americans in contact with Europeans—jazz was doing that, too--and producing the cultural template which would result in an explosion of talent on both sides of the Atlantic through the sixties. I've said this before—but Joe McCarthy, by sending the likes of [KIKE] Kubrick and [KIKE] Ramblin' Jack Elliott to England, did the world of the [KIKE] arts a power of good."



Kike Mike Moorcock:

I really did have a very egalitarian upbringing. Maybe it’s to do with the way my family was. My grandmother was an incredible fierce egalitarian. She just hated prejudice. Where she got it from I don’t know – except that she was Jewish. My family disguised its Jewish ancestry. There are still members of my family who’ll say I’m not telling the truth.

Hari Kunzru: When did they come over? Presumably it wasn’t a second world war thing

MM: And it wasn’t even the big migration of the nineteen-hundreds. It’s the sort of Sephardic element, the southern European element. You’re always told that’s the better element.

HK: Disraeli?

MM: That’s right. In fact Disraeli was my legendary ancestor. We’ll never know whether that’s true or not because officially Disraeli never had any children

HK: A symbolic ancestor

MM: My uncle would actually take me – there used to be a big portrait of Disraeli on the stairs at Downing street. And he’d take me and stand me in front of it and say ‘one day you could be’ - which was good. It does give you a focus. It helps you see – I think all these ancestral things, whether you make them up or not, I don’t think it matters whether you make them up – it gives you a line in which to see yourself. I’m trying to work that out at the moment – well, not at the moment, I’m trying to finish a Doctor Who novel at the moment – about how important ancestry is.

[...]

A lot of people I know, almost all of my friends come from some sort of alienated position. I’m not dramatizing it. A lot of my readers do. It’s astonishing. They did a survey years ago, of science fiction readers - a fanzine survey – and they found an astonishing number of them came from broken homes. Also a very high percentage of them were Jewish, as the American science fiction writers tended to be.

[...]

HK: You’re credited as the person who made it [SF] all literary.

MM: Yes, but I made it literary by giving them all their heads, by stopping them becoming science fiction or fantasy writers. What happened in the thirties was a bunch of writers, [KIKE] Robert Bloch, who did Psycho, [KIKE] Fritz Leiber, [KIKE] Henry Kuttner and one or two others, who were all writing these essentially absurdist stories. They had no rationale. They were essentially absurdist. I’ve seen one or two of them and they’re not bad at all. But there was nowhere they could place them, let alone sell them.

HK: Because people just wanted genre?

MM: Yes, but not just that. The whole mood was against what they were doing.

HK: Social realism?

MM: Particularly in America. They gradually found that if they rationalized this stuff and put in a bit of ‘on Mars’ and ‘the rocket’ or whatever, they could sell it to Weird Tales, so that was what they started doing.

[...]

MM: My boss was a raging fascist, a member of Moseley’s fascists, but you couldn’t help liking him. It was one of those things.

I was a member of the West London antifascist youth committee in the fifties and there was a Jewish guy who used to go round beating up fascists. Monty something. [Monty Goldman?]

We infiltrated Colin Jordan’s British National Party.

We’d go along and have tea with Mrs. Leese [Arnold Leese’s widow, at 74 Princedale St Holland Park]. You can find Leese’s work on the internet. It’ll turn your stomach. He’s the one who called Moseley a ‘kosher fascist’. Too far to the left! And so we’d go and have Mrs. Leese, because he was dead by then. She was this little white-haired old lady, get the tea cups out, 'how many sugars dear?' It was a bit like the Man Who Was Thursday. There were three of us who’d go and have tea and we were all infiltrators. Not one of us was an actual follower. She’d pour out the tea and say ‘you know the Jews did so and so’.

[...]

MM: I did one Sexton Blake which was, as it were, came from the left wing, it was about Castro’s Cuba, but with a different name, and a different dictator’s name. Not only did he [Morekike's editor at Fleetway] not pay me the full price for it, because he said it wasn’t quite up to scratch, which was a common trick, but then he did rewrite it by changing all the left wing stuff to right wing stuff. So it came out as an anti-Castro story.

HK: Were you still involved with political stuff during the sixties and seventies?

MM: Yeah. By that time – I’d been interested in anarchism as a kid, but I’d got a bit bored of the anarchists because they were all about five hundred years old and still fighting the Spanish civil war in the Malatesta club in Red Lion square. You’d go along to a couple of them – looking back, they had a lot of interesting stuff to say, but it wasn’t very immediate. I obviously wanted something a bit more – something to – oh anyway.

HK: There was a big anarchist and Situationist thing in Notting Hill. I’ve written about King Mob, the Wise brothers. Since you were running around in the underground there, were you in contact with – not just them, but any of the various groups?

MM: Oh yeah. The White Panthers, who were – I’ve nothing against The White Panthers [Whites dedicated to promoting Black Supremacy], but it was funny to see The Black Panthers turn into The White Panthers [Mick Farren founded the UK branch of John Sinclair’s White Panther Party]. They slavishly followed – they didn’t really have the style of The Black Panthers - they couldn’t be photographed in cool shades with good guns. They had water pistols. So they didn’t quite make it. I was sort of involved. To some extent, I was more conservative in some ways than quite a lot of the other people. I was probably two or three years older than other people. It made a difference. Maybe it wasn’t that. I wanted to see my energy used practically. Realistically too. There’s no point sitting around discussing, saying ‘oh the fucking state’ and all that, you’ve actually got to find ways of confronting it. You need a dialectic. All that stuff. I was attracted to Kropotkinist anarchism, because it was pacifist, which to a degree I was. I’m not a pacifist in that – I’m very confrontational in a lot of ways. I stop short of killing the person, though around here [in Texas] sometimes you wouldn’t mind it. The odd shot.

[...]

HK: Jerry Cornelius [one of Morekike's JC, Jesus Christ, characters] is such a Carnaby Street dandy, such an elitist figure, a super hippy, driving around in his fancy cars with his designer clothes

MM: But he does turn out to be a little working class lad in a Notting Hill basement. I actually hadn’t meant him to be like that – that’s to say I hadn’t meant him to become an icon of cool. I had to start changing him increasingly to bring him down into the real world. I hadn’t meant him to be quite that cool. I’d meant him to be slightly more ridiculous.

HK: Is that why he ends up as a gibbering wreck for a whole book

MM: I had to! I had to deconstruct the whole thing as I wrote it. Bob Calvert, the other Hawkwind front man would turn up dressed as Jerry, saying ‘what do you think?’

[...]

MM: I came from a culture where religion was considered rather old fashioned – you kind of thought it was something you didn’t need to think about. In my day, I think I hardly knew a person who was religious. If they were they kept very quiet about it, and you respected it, you didn’t attack them for it, and they didn’t’ go after you either.

[...]

MM: The thing that the computer’s done is ruin it for people like me, all the old hacks, they went by the page – if you got four pages that was a thousand words, but you learnt to leave a space – you started the chapter half way down the page, ended it half way up the page, you learnt those tricks. There was a whole system. Also formula. You have to have a formula that’s absolutely strong enough to hold anything. That’s where people like me are very fortunate. I have a kind of innate sense of structure, which also makes me a good mimic.

HK: Like the Dr Who novel you’re working on?

MM: Well, that’s giving me trouble. It’s due June fifteenth. But it’s their own fault. They didn’t pay me anything until about April. I can’t work without a contract.



Kike Mike Morekike, 2005:

I'm doing a review of Martin Gilbert's Letters to Auntie thingy, 5,000 years of Jewish history, for The London Magazine.

I also have plans to write one [novel] called London, My Life, the story of the city-bound Jew—he's the opposite of the Wandering Jew who is forced to live in London from the time of the Celts on.



Kike Mike Morekike, LA Times, 2009

[LAT:] It makes perfect sense that, in "Behold the Man," there are only two people who could ever say that they belong to "the world to come and the world that is" and be completely truthful: a Messiah or a time-traveler. What was the origin of that story?

[Kike Mike Moorcock:] Sitting at my kitchen table around Easter time, discussing demagogues and how the public focuses on them, turns them into instruments of the common will. I came up with a number of examples, including Hitler. I come from an almost wholly secular background and have no quarrel with religion. I was very surprised that I got really good reviews from the Christian and Jewish press as well as the heavy U.K. weeklies and absolutely terrifying letters from American readers, mostly fundamentalists, who threatened to kill me. I grew up in a world which saw religion as having died out mostly in the 19th century, so I was very surprised when I first came to the U.S.! I have to live part of the year in Europe or I think I'd go crazy.



KIKE MIKE MOREKIKE ON DE LOLOCO$T:

A million betrayals

It took Michael Moorcock 25 years and 2,000 pages to map Europe's dark history in a comic epic about a wandering Jewish con-man.

By Michael Moorcock

The Telegraph, 15 Jan 2006

During the Second World War my grandmother, who was of Jewish ancestry, enjoyed winding up my Anglo-Saxon father. If the Germans won, she insisted, then all the Jews would be taken to camps; but if the British won, then obviously all the Anglo-Saxons would be arrested instead. Sitting across from my father in the air-raid shelter as the bombs thumped down outside, she would wag a mocking finger. "Better hope the Germans win, Arthur," she'd say. "Better hope the Germans win."

At that time my Uncle Jack worked for Churchill and lived in Downing Street. Whenever I visited him he would take me up the staircase to where a big portrait of Benjamin Disraeli hung and we'd stand looking at it together. "One day," he'd say, "your portrait might be hanging here, too." He was proud of our family's relationship to the great Tory through his father, Isaac D'Israeli. I grew up wondering if I would go into politics or journalism first. I disappointed Uncle Jack by taking a job with the Liberal Party's press office, yet none the less Disraeli remained my model for some years. When I met my first wife I was still considering trying to get experience by standing for some unwinnable seat. She felt cheated by my decision to become a novelist though I did base one of my first sf books on Coningsby.

A working journalist by the age of 16, I started my career in fiction earlier than most. By the mid-1970s I was riding pretty high. My books were selling well. I had won some prizes. I had a film out. Hawkwind, the prog-rock band I appeared with, had a platinum disc and we were playing major venues. I edited a magazine, New Worlds, which had received notoriety and praise. I was something of a hero of the counter-culture. I was the subject of TV programmes and my activities interested gossip columnists. Fame had come easily to me. The attention didn't do much for my character and ultimately led to the breakdown of my first marriage. I was disgustingly self-involved. By the mid-1970s, however, I began to realise that most of my old friends wanted little to do with me and I was worried about my unpaid dues. After repairing my friendships and completing the satirical Jerry Cornelius quartet set mostly in Notting Hill (which would win the Guardian Fiction Prize) I felt I needed to take on something demanding, that would be both substantial and serious.

The first book I ever bought myself was John Bunyan's Pilgrim's Progress, and I grew up believing that a book should have at least one other implied narrative beyond its surface plot. As I had often insisted in New Worlds editorials, I thought that good escapism should confront real issues, and that confrontational fiction should always contain a fair amount of escapism, no matter how experimental the form. One reason I never wrote fantasy and sf under a pseudonym was because I thought it important to reunite popular and literary forms. That was why I had been attracted to visionary fiction in the first place, along with other writers of what came to be called the sf "new wave", because good sf so frequently dealt with moral issues.

Since the 1950s writers such as Dick, Sheckley, Aldiss and Ballard had engaged themselves less with futuristic invention than with problems of the present. After my teens I was not, however, a great reader of imaginative fiction. My main enthusiasm was for novels in what is generally called the European moral tradition. I was also a fan of Grimmelshausen's ironic picaresque Simplicissimus, and felt that my next ambitious project should somehow model itself on that book and deal with events of the 20th century leading up to the Nazi Holocaust. I had become dissatisfied with all the fiction at that time written about the Holocaust and wondered how best to tackle the subject in a way which would, as I saw it, properly honour the dead.

Though the Cornelius books had raised a number of serious questions, they were perhaps just a little too pyrotechnical, their points lost in the fun I had running riffs on popular fiction and contemporary obsessions. They offered a good technique, which I was to develop in shorter stories of the same kind, dealing with everything from apartheid to militant Islam, but they could not, I felt give due respect to the Holocaust's victims. Though a number of fine factual books had appeared, there was still very little fiction which satisfactorily explained for me how such a crime could have been committed. I became obsessed with finding explanations, but I still had no key to the method. So I started to sketch out an idea for a comic novel, which would touch on the subject, involving Jerry's terrible old mum, Honoria Cornelius, on a Zeppelin journey around the world of the 1930s.

In those days, I preferred to cross the Atlantic on Russian passenger ships sailing between Leningrad and New York. They took twice as long to reach America but you could get a huge stateroom for the cost of steerage on the QE2, and you met a more interesting class of passenger.

In 1976 I decided to make a road trip across the US from New York to San Francisco to celebrate the bicentennial of the American Revolution. I booked passage on the recently renamed SS Mikhail Lermontov. She carried the usual mix of seasoned travellers and, as usual, I was soon enjoying a glass or two of vodka in the bar. I found myself talking to some recent German immigrants who had made Wisconsin their home and were delighted that they had encountered no prejudice there. The Russians were always good company as long as you avoided talking politics, whereupon they would clam up and look shifty.

Ending that trip, as I had done before, I got up early one morning in order to see the Statue of Liberty when we sailed into New York harbour. The statue and the skyline still aroused strong sentimental feelings in me. The bar was filled mainly with Germans and Russians already in a celebratory mood. New York came in sight. One of the Germans raised his glass. "Aha!" he said. "Here we are in Synagogue City!" There was general laughter, a decided atmosphere of anti-Semitism. Instead of confronting it I quietly put down my drink and left. I had lacked the courage to object. And I knew I had betrayed something within myself as well as all the suffering millions of the recent past.

I had discovered how easy it was to betray not only one's principles but one's history - merely by avoiding minor social discomfort. It was that realisation which gave me the way of writing, over the next quarter of a century, the four novels which make up the Pyat sequence. Already familiar with Holocaust guilt, I now felt a more specific guilt. The Nazi holocaust had been permitted not just by cynical government decisions in London, Moscow, Paris and Washington, but by thousands, perhaps millions, of minor refusals to confront intolerance and to permit, even promote, prevailing prejudices.

By the time I returned to England I was planning the sequence which I called provisionally Between the Wars. Without any conscious imitation of Balzac, I had a habit of developing characters from book to book, often in entirely different settings. A minor character in a fantasy novel, for instance, might become a major character in a realistic story and vice versa. I did this mostly to carry certain themes from book to book. Colonel Pyatnitski, based on a neighbour of mine in Ladbroke Grove who collected mechanical junk and shared his hatred of Jews and Arabs, first appeared as one of Mrs Cornelius's lovers and seemed the ideal narrator. The story had to lack the pitfalls and portentousness of most other "Holocaust fiction" I had read. It had to confront the deep roots of prejudice. I had to get inside the mind of "the enemy".

Pyat could not just be my model for the victim. He also had to represent the perpetrator, the betrayer. He had to embody and speak for what I considered to be all the follies and distractions of humanity; he had to be the century's apologist as well as the target of its most infamous villainies and, of course, he had to be an entertainer, someone the reader could remain interested in, even identify with, for the length (as it turned out some 2,000 pages) needed to tell his story from 1900 to the near-present. I was inclined to agree with a former mother-in-law that, no matter how serious a book's intention, it wasn't worth reading unless it had some humour in it. Therefore, as I had done with Cornelius, where I found myself weeping over pictures of burning children yet only an hour later writing a comic scene about the "Vietnamisation" of Ladbroke Grove, I realised I could only contain my anger and grief by giving the story a strong element of grotesque comedy borrowed in part from my enthusiasm for the Commedia dell'arte.

So I've written a comic novel sequence about the inevitable road not, in this case, to Auschwitz but to Dachau. I chose Dachau because it was closest to Munich, where Nazism was born. Pyat the Jew, unreliable narrator, forever proclaiming his Slav soul, mourning the death of what he calls Christendom, constantly getting things wrong, wanders across a landscape of prejudice, illusion and delusion, from Odessa to Istanbul, from Rome to Paris, New York, Hollywood, Venice and Munich. He claims to be an Orthodox Christian, an engineer of genius, a film-star and a visionary who almost achieved victory for the Whites in the Russian Civil War, was forced into Ataturk's service in Constantinople, built a giant airship for the French, helped formulate race laws in the US, was enslaved in Egypt, built an airforce for the Caid of Marrakesh and by the final book is co-opted as an inventor by Mussolini and then the Nazis. The titles of the books form a couplet: Byzantium Endures The Laughter of Carthage; Jerusalem Commands The Vengeance of Rome, hopefully rooting the books in our ancient common history pointing to the road to Auschwitz. His distorted idealism, his belief in mechanistic salvation, leads him deeper and deeper into the heart of the nightmare, experiencing anti-Semitism in Turkey, the Ku Klux Klan in Dixie, racialism in Cairo and Marrakesh. A con-man in love with his own lies, Pyat is a small-time movie actor whose faith in his ability to invent monster airships, dynamite-driven cars and super-fast aeroplanes leads him to Mussolini's Rome, then to Hitler's Munich and finally to Franco's Barcelona. Caught up in the Spanish Civil War, he is mistakenly "repatriated" to London and the scenes of his ultimate and perhaps most contemptible betrayal in the 1960s. Meanwhile, he has enjoyed the confidence of some of history's other great opportunists and his engineering miracles have turned to nothing but wreckage.

Although I enjoyed flying in airships and seaplanes, for instance, the intensity and variety of the research more than once made me half-crazy. Entering the personality of a monster became so exhausting I took longer and longer breaks between novels. The bulk of my initial work was with survivors or personal, often naïve, accounts of ordinary people trapped in monumental events. Some survivors were unregenerate Nazis who had escaped Hitler after the Night of the Long Knives, some were Jews who had known persecution. I talked to Leah Feldmann, who worked on the education train organised by the much misrepresented Ukrainian anarchist Nestor Makhno and to my own benefactor, Ernst Jellinek, who immediately before the war ventured in and out of Germany and Austria "buying" Jews with money raised in England. I talked to people in Mississippi who had been Klan members, to ex-mercenaries working for El Glaoui in Morocco. I heard more stories than I could possibly use, many of them offered in confidence.

In the end it seemed to me that, with a few exceptions, all Christendom and Islam played a part in the betrayal of the victims. I could not exonerate those English and American Jews who might have said and done more but turned a blind eye to the fate of their people overseas. By the time the Second World War was under way, of course, there was far less that could be done to save the Jews of Eastern Europe when, under the cloak of war, the Nazis began to implement the Final Solution.

Could we have stopped the rise of Hitler? From all the newspapers and magazine articles I read, from the people I talked to and the accounts I absorbed, I am certain that we could, though I understand how sick and tired of struggling we all were. Did we learn anything from Nazism's rise and fall? I hope we did. My fear now, of course, is that we have not only forgotten that lesson but have, for ignoble, self-serving ends, consciously or unconsciously distorted the history of the Holocaust.

We must now cope realistically with the actions of Hamas, al-Qa'eda and others, as well as with the resurgence of anti-Jewish sentiment in America and Europe allowed by Israel's Palestinian policies. We must take pains to resist anti-Islamic prejudice wherever it occurs. It is a matter of considerable urgency that we seek means of resisting racialist delusions and prejudices and solving the problems that are created by them. If we don't, we may begin to witness worse crimes committed by certain world leaders, increasingly subscribing to a contemptible religiosity, for which, once again, we shall all bear some share of responsibility.

I have tried to demonstrate, through the comic antics of my Ukrainian Falstaff, that neither belligerent rhetoric and lachrymose sentimentality, nor nostalgia for vanished power will stop this happening but rather will add fuel to existing fires. By reproducing what is familiar to us, rather than taking intellectual and political risks, by dismissing liberal humanism or, if you like, traditional spiritual values, as an unrealistic basis for our actions, we could well create the conditions for another holocaust even more terrible than the last. [OY VEY!]



The Kike Morekike despises John Norman, and has campaigned to have bookstores make Norman's Tor books hard to find, on the grounds that they exalt male domination and the idea that women enjoy being beaten.

This is ironic, because Norman is actually more honestly kikish than Morekike is. Morekike is a kike infiltrator, and always has been, A subverter and perverter. He tries to "sweeten" his kikery with adventure and with the genre trappings of sci-fi and fantasy that he picked up from White writers, while at the same time ridiculing his models, and ll the time heading towards his ultimate destination: The Kike's holy LOLoco$t.

Norman, on the other hand (a Philosophy professor in Jew York), though not by inheritence a Kike, has always been blatantly and unapologetically kike (via The Kike's whores, Nietzsche and Darwin), by promoting and celebrating bondage, slavery and torture, by expressing and promoting contempt for the weak and the poor and the sick, and by exalting material power over everything else.

More of Kike Mike Morekike:

The Corporate Mofo Interview

Michael Moorcock on Politics, Punk, Tolkien, and Everything Else

by [Kike] Ken Mondschein, January 1, 2002

[...]

MM: I am a natural anarchist. I really don't believe in leaders, though I tend to see the point of parking meters. . . I was brought up to expect and enjoy a very large degree of liberty. I was brought up to respect people and to listen to their experience and ideas. I was brought up virtually without preconceptions. My grandmother and mother were fierce lovers of liberty and my whole family is rather "bolshy" in its attitudes. So I'm used to argument and like it.

[...]

It sounds like the rawest sentimentality, but I do just like people. I feel no need to escape from this world, have no social problems living in it, so I tend to use my fantasy writing as a method of confronting certain ideas, rather than avoiding them.

[...]

I have always used the methods of escapist fiction to look at the modern world. That's what science fiction gave me. When I read my first real sf [science fiction] book (Tiger, Tiger/Stars My Destination by Bester) I saw that it was possible to write imaginative contemporary fiction which also incorporates ideas and ideals. For me that book was the great American novel. I read it in Paris, where I found it, and it has the best kind of American idealism—with that marvelous populist ending. Trust the people. It was the book which made me decide not to give up on contemporary science fiction.

But most of the best U.S. science fiction in those days very much addressed social issues and often brilliantly. Pohl and Kornbluth are the two most prominent. This was when American socialism was still alive, if not well, under Joe McCarthy. What rock-and-roll and science fiction offered the English reader was a voice from the real America, from the working class and politically engaged America we could see was already being buried. We responded to black blues and white social protest songs because we were desperate to hear the voices of the real Americans, not the horror of populist fascism, which seemed to have been brought home on the boots of returning soldiers. . . Sf and rock and roll meant a lot to us—not just as entertainment, either. It brought Americans in contact with Europeans—jazz was doing that, too--and producing the cultural template which would result in an explosion of talent on both sides of the Atlantic through the sixties. I've said this before—but Joe McCarthy, by sending the likes of Kubrick and Ramblin' Jack Elliott to England, did the world of the arts a power of good. That American influence came back a few years later as the British Invasion.

[...]

For many years I wrote very little fantasy or genre, but mostly features or comic strips about Vikings or Romans!

[...]

CM: You've already mentioned Brackett, Steerpike, Richard III, Byron, the Norse trickster god Loki, and Gothic literature as influences on the Chaos lord Arioch from the Elric series (in response to my earlier query about Milton's Satan being a possible inspiration for the character). More in general, what written works or personal experiences do you feel have been most influential on your own writing and personal philosophy? What are you reading right now?

MM: My influences are a mixture, like everyone's, and include movies and radio, of course. But Peake was probably the one writer who made me realize it was possible to do my own thing and use fantastic imagery at the same time.

[Peake painted grotesque war scenes, and then tried to convince the Department of War to use them as propaganda, by claiming they had been painted by a sadistic war-loving Adolf Hitler. They bought his paintings but apparently never ended up using them.]

G.B. Shaw was a big influence on me as a boy, as were Wells and Huxley.

[...]

I liked Dworkin's Scapegoat, about the failure of Israeli men to incorporate their women allies into the system.

[...]

I subscribe to a wonderful company called Persephone who specialize in reprinting modernist fiction by "forgotten" women writers.

[...]

CM: More on the ideas and concepts found in your work: Since Plato, Western thought has cleaved to the idea that there is one true reality, and the world we live in is illusion-in other words, that there is knowable, transcendental, discernible Truth-with-a-capital-"T." (Of course, today, the shadows on the wall of the cave have been replaced with television and movie images designed by some of the most creative human minds, all directed to selling us worldly goods.) However, the concept of the "multiverse," of parallel, equally valid worlds-which I believe you first conceived of in the early '60s-goes distinctly against Platonic grain. How did you come upon this idea? And how does that idea, as well as other concepts found in your work, such as the balance of Law and Chaos, relate to the political and social climate you were involved with at the time?

MM: I think it has to do with experience. Growing up during the Blitz, you became used to seeing whole buildings and streets suddenly disappear. After the Blitz, new buildings and streets appeared. The world I knew was malleable, populated, violent and urgent. After the war, everything seemed dull and certainly the obsessions of most politicians and writers didn't bear much relevance to my experience. I had no particular worries about the Atomic Bomb (Brian Aldiss thinks it probably saved his life, since he was just getting ready to invade Japan when it happened. . . Of course, it would have been great if the young Aldiss had liberated the young Ballard from his prison compound.)

Our experience simply wasn't dealt with in modernist fiction. You got stories of how the war affected sensitive middle class people (Heat of the Day) but nothing which really described what it was like growing up with nothing else but war. My generation came out of those ruins. To be honest, the likes of Martin Amis and Ian McEwen, let alone the previous generation, didn't seem to be addressing my experience any better. I noticed in Amis, for instance, that when he wrote about Ladbroke Grove (the main spiritualcentre of the Cornelius stories) I was probably one of the 'denizens' he was afraid of, who lurked in the dark doorways he found so sinister.

[...]

I grew up with a mother who was both highly supportive and loving and was a congenital liar on certain levels, very perceptive on others. I learned early on that the "truth" is malleable. It's what we make of it.

[...]

CM: Elric's roots in Norse mythology brings to mind another writer who was influenced by Norse and Germanic mythology, J.R.R. Tolkien. As a result of Peter Jackson's upcoming movies, a whole lot of attention has been paid to Tolkien's work recently. Some are seeing The Lord of the Rings less as escapist fiction, and more as a "serious," quintessentially postmodern work that draws on a mythic past for a categorical rejection of modernity. In fact, some are even calling the Ring saga the "book of the century." I was wondering if you had any thoughts on the reasons for Tolkien's popularity, and your interpretation of what ways in which your views are in harmony or opposed to his.

MM: What I found lacking in Tolkien which I had found in, for instance, the Elder Edda, was a sense of tragedy, of reality, of mankind's impermanence. Tolkien really did set out to write a fairy tale and in my view that's exactly what he did—provide a perfect escape plan, which had the added attractions of having been written by an Oxford don. I knew and liked Tolkien who in a bufferish sort of way was very kind to me and encouraging. I looked forward to those books coming out. I was deeply disappointed by their lack of weight and their lack of ambitious language. They are about as likely to last as “the book of the century” as Ouida, Hall Caine or Marie Corelli, all of whom were judged the greatest writers of their day by a contemporary audience.

[...]

Tolkien has the right elements of snobbery and escapism to make it a huge success. John Buchan for teenagers. A compendium of disguised bigotry and English high church snobbery. I hate it for exactly those qualities which made it so popular. It's a lullaby. Not sure we need lullabies at the moment. Unless we're all just going to give up, go to sleep and wake up dead. I really do feel contempt for Tolkien and a certain disgust for those adults who voted him writer of the century. This has nothing to do with why I decided to be a writer.

CM: What you said about Tolkien—"A compendium of disguised bigotry and English high church snobbery" put me in mind of Benjy at the end of Faulkner's "The Sound and the Fury," bawling his head off because the horse-cart was taking him on other than the accustomed route. Could one see "The Lord of the Rings" as the last gasp of the former order, crying out for the way things used to be? Similarly, can you see American conservatism as some sort of grasping at the myth of Norman Rockwell's America?

MM: I think the appeal of Lord of the Rings, like certain quasi-dystopian science fiction stories which clean the world of all complication, is the escape it offers from the industrialized world. Such work (including mine) sells very well in highly industrialized [Kike] societies but does not sell well at all in non-industrial [non-Kike] countries. The Gothic was a clear response to the Industrial Revolution and Tolkien is a clear response, in my view, to the post-Industrial Revolution. It has the same discomfort with cities, the same 'volkishness' you get in proto-Nazi stuff. It scares me a bit, but not that much because times have changed. It would have scared me more if it had been published the year it was conceived.

CM: You were born in London, but now make your home in Texas. Of course, there is now a Texan in the White House. Being a native-born Briton living where you do now, what's your perspective on the political mess in this country? Why do Americans tend to support a system and political parties that openly cater to large corporations, instead of human concerns such as socialized health care? Why are private and public morality, or the semblance thereof, such a pressing issue in American politics?

MM: I'm a political person. When we decided to move to the States I wanted to move somewhere south of the Mason-Dixon because that was where I perceived the real, on the ground, politics to be happening. It's post-LBJ America I'm interested in—watching the Civil Rights and Immigration legislation making the changes, creating the variety, creating the civil resistance, coming up with the strategies, making an America Tom Paine would perhaps be able to revive a little hope for.

I don't look to escape when I move (unless it's to nicer scenery) and can't help but become involved in the politics of the area I live in. After all, as a British residence I pay taxes but can't vote. The cry of the London mob for two hundred years before it became the cry of the American revolutionaries was "no taxation without representation." I see the American Revolution as a re-run of the British "Glorious Revolution" in which defeated Methodists (as it were) continued hoped to continue their reforms. The British Bill of Rights of 1689 is very similar indeed to the American and I find it very odd that American history seems, in modern versions, to have begun spontaneously in 1776.

This tendency to romanticize and sentimentalize history is common, of course, but has become somewhat institutionalized in America, even in some academic circles. It means that the political continuity, of which America is a part, is misunderstood. This is also the only country which commercialized all its [Kike-owned] radio waves and didn't leave anything for the public. PBS in this country is a lie. It is controlled by government, through grants, and by big business, through patronage. It is not controlled by the public by any form of licensing fee to fund public airwaves (as in pretty much every other advanced democracy in the world).

America has always been in the hands of violent and ruthless entrepreneurs. There would have been no "War of 1812" without the land-hungry Madison and Jackson to fake it and the general treatment of Indians, while continuing the tricks and hypocrisies and cruelties of the original Dutch, English and French colonists, is a terrible indictment for a country which alleges it founded itself on ideals of liberty. The rhetoric, of course, is what makes the American who uses it evidently provincial and poorly educated. You can hear Bush attempting public speaking without the otiose cliches and its almost impossible for him to speak at all.

The words of American politicians in the world in general are empty of content and understanding. Americans are incredibly badly served by their representatives and too many Americans seem to think of their representatives as patrons. The authoritarianism in the political language is astonishing to a modern ear. So I might sometimes despair of this huge country's inadequate and unsophisticated bureaucracies and follies, but every so often the clouds part and I see the same vision Tom Paine saw—the same possibilities remain. All is not lost!

I have no representative. Therefore I make it my business wherever possible to represent myself. They ain't getting those fucking taxes without me having a say in how they spend them. This means I remain political. I'm involved in local politics around water rights and social reform, I'm involved in State politics with reference to Alcoa and some of Dirty George's other get-rich-quick-and-fuck-the-people schemes. I'm involved in national politics to the extent that I write articles and letters concerning U.S. politics and join organizations designed to ameliorate or reform U.S. social institutions. I'm still involved with British politics. I was involved with the Women's Shelter movement from the very beginning and still send money to the original Chiswick Shelter, which was the first modern women's shelter. I have been a keen supporter of Womankind Worldwide since it began (an outfit that puts the power—like the water purifiers and donkey engines—into the hands of the women, who will conserve, preserve and prosper whereas the men and boys would swap it for an AK-47 tomorrow).

My wife is hugely effective both as a fund-raiser and as a planner in our local Family Crisis Center, which is regarded by Federal agencies as one of the very best and as a result it now receives good funding and is a model to others. I'm very proud of what she's achieved. I've been involved in racial politics since I was a teenager and helped get the U.K. Race Relations Act through. Now that the E.U. has incorporated the Universal Declaration of Human Rights into its legal system, there is now far better machinery in place for solid social reform. If I had time I'd work for that to be incorporated into U.S. law as well, but the U.S. argues it already has a system.

That's the wonderful excuse of American big business. We already have a good system. It was a good system for its day. it is now a pretty awful system,. Canada and Australia, among other countries, have learned from the US experience and got themselves superior constitutions. The only problem is that the American version seems to work a lot better for the rich than the poor. That isn't a Christian system, whatever else it is. America sometimes seems to me to be more Old Testament than New and a lot of the Jews seem more New Testament than Old.

Liberal humanism—what young Americans believe is "socialism." I grew up in a British version of socialism and it was very good to experience. We have to understand that certain public services actually are better provided by and for the community rather than by and for private enterprise. Americans used to understand this. I know because I've seen the movies and my friends used to talk like that.

[...]

The American Giant is capable of doing a lot of good for itself and the world. It needs to drop the self-esteem and the rhetoric, however, and start responding to reality. So far the world's perception is of a selfish, greedy giant that merely spouts Disney sentiments while stealing your cow.

CM: You moved here from the U.K., but you're hugely critical of the U.S. Why? Is it that you see this country as the place on the dyke where you have to stick your finger in, lest all the world be flooded?

For instance, you wrote: "When we decided to move to the States I wanted to move somewhere south of the Mason-Dixon because that was where I perceived the real, on the ground, politics to be happening." Of course, the Civil Rights movement was one big example of this. More in my own experience, I'm an editor for the nation's largest school book publisher. (To wit, I'm working on the sixth-grade world history book.) One of our biggest concerns is your adopted home state of Texas, which is a huge market—yes, we write the books "to the market," and no, it wasn't my idea, I'm a 26-year-old junior editor. However, we have to take into account all sorts of insanity, such as the Holy Rollers dictating that we can't talk about evolution. How do you see what's going on in Texas as paradigmaic of the rest of nation? Also, how can American education be saved? Any thoughts on what Neitzche called "The Use and Abuse of History?"

MM: I'm hugely critical of any country I'm paying taxes in. It's as simple as that. It's my privilege and I'm paying for it. I like Americans and I like the town I live in. I am disgusted by how badly served Americans are by their shoddy [KIKE] political system.

[....]

I felt that some Brit [KIKE] had to come over and carry on the work Tom Paine started. . . That could be why I'm starting in Texas!

[...]

Since Europe sent America all her religious loonies, we have generally very little religious bigotry in the mainstream and you have a lot!

[...]

I believe that Americans are far too responsive to bigotry and there should be a lot more people out there telling the bigots that they are fools. I disapprove of modifying schoolbooks to suit bigots. Many years ago I wrote to the chairman of the Race Relations Board, who also happened to be the boss of Collins, who did a lot of educational books. They had a World History that was selling world-wide which essentially described the Japanese as little yellow devils with no respect for individual human life and soft-pedaled disgustingly on South Africa (a major market). I wrote to him and asked why as chairman of the RRB he was allowing such books to be sold. He wrote back and told me that they sold millions and hadn't had any complaints. . . Something I'm sure you're used to.

I don't intend to live in America permanently much longer (maybe six months to a year). I really am becoming tired of a culture which actively celebrates philistinism. That would be my serious criticism of this country. Intellectuals are marginalized, put into compounds virtually, and have no real function in their society. European life incorporates its intellectuals more cheerfully. But the BBC and any other large broadcasting company that is not controlled by State or private enterprise is the chief base of British civil society and the National Health service is the other. If you are not afraid of losing your health insurance, you can become a bolder citizen. Americans aren't very bold as citizens. They complain and express shock at the lack of humanity of corporations. They feel sorry for the children of politicians as if those children weren't used to the life. They defer to authority which has not been earned as readily as they defer to fame for its own sake. They start [KIKE] wars they can't finish. They make laws that can't, in any rational way, ever be implemented. This isn't an active democracy. I think it will be again soon, though.

[...]

CM: As you mentioned, another preoccupation in America is race. I've noticed that there is a certain reoccurring theme of the wise black man in your works, such as the ebony-hued wizards sleeping under the volcano in "Stormbringer" or the protagonists in "Breakfast in the Ruins." Does race have a certain symbolism to you, or am I reading too much into this?

MM: The reason I made Hawkmoon German was because of the levels of anti-Germanism in England at the time I wrote it. The Pyat novels, only two of which have been published in the U.S., deal specifically with the elements which allowed the Nazi holocaust. There is no question that I deliberately made black people authority figures, but they were based on authority figures from my own world—Americans have no understanding, I think, how important and popular Paul Robeson was in post-war Europe—and most of my early American heroes were black—whether mythic like John Henry or actual like Muddy Waters. So I tend instinctively to see black men and women in general as having more authority (not more power, but more authority) than white men.

I had little experience of white men as such growing up [in Ladbroke Grove, London] and feel sorry for those as did. When my friend next door's father came back from the War, the noise level went up, everything became unpleasant. Apart from my amiable uncles, who weren't given to barking or swaggering about (my [KIKE] granny would have seen to that), he was the only adult male I'd seen on a daily basis! My guardian, Ernst Jellinek, was a converted Jew (Rudolf Steiner's Cosmic Christianity from which, I suspect, a lot more of my imagery and notions of The Higher Worlds comes from) who went in and out of Germany and Austria "buying" Jews from the Nazis and helping others escape, often at threat to his own liberty and life. Until well into the seventies I was meeting people whose lives he'd helped save. So I have a rather fine model to live up to. If the Pyat books are done for one person, they are done for him.

Racial injustice has a lot to do with what I write. See Nomad of the Time Streams for a simpler version of the dialectic! Both the current Elric book and the final Pyat book, which I'm writing on and off. At the same time, address issues of racism.

CM: By an amazing coincidence, I'm Jewish. Of course, you also have to remember that most liberal Jews are college-educated and have roots in the liberal Northeast.

MM: My mother was Jewish, my guardian was Jewish (and helped Jews get out of Germany and Austria -- he was Austrian). I remember Rabbi Blue, who had been a child in Auschwitz, recounting how a group of rabbis in Auschwitz had put God on trial and found him wanting which proves, he said, that Jews care more for justice than they do for religion.

If it wasn't for her Jews, America would be a pretty awful place, all in all! A passing point—I'm at the holocaust period in Pyat now and have huge amounts of popular stuff from the thirties—mostly German, English and American. The German and American are far more anti-Semitic in an unconscious, enculturated way than the English. Cromwell, as you know, invited the Jews back, so we tended to get some pretty nifty Jews (Isaac Disraeli and his son Benjamin, who became Victoria's favorite prime minister) and there just isn't the undercurrent of anti-Semiticism in popular magazines and papers of the day—indeed, there is a philo-semitic cast which was clearly attempting to offset the anti-semetic rhetoric of the fascists. Far fewer racist jokes in UK publications than, say, the original Life Magazine (U.S.—not the photo-magazine but the Punch-style first incarnation). I'm rather proud of this, though of course even the pro-Jewish stuff has a tendency to talk of us as "them"—the Jewish Question. One thing I have learned is that it became a matter of habit to describe Jewish victims of the Nazis not as Jewish but as artists, doctors, lawyers, intellectuals—this wasn't denying that they were Jewish, it was an attempt to get understanding and sympathy without characterizing them as specific minority. It looks like denial, these days, but I know it wasn't. It was an attempt to counter the Nazi propaganda and any appeal it had in the UK. Philip Wylie, that great fierce critic of the US, pointed out that anti-Semiticism was everywhere in the air in Washington during the thirties and he attacks the U.S. for not taking a firmer stand against it. But racism is endemic to an imperial power bent on taking over a large area of land from the original occupants. It goes hand in hand, as I tried to show in The Warlord of the Air.

I think American education is in the process of being saved by the people who know best how to save it! That's what I mean about wanting to be around as it's happening. Once the problem is recognized, people turn up to start solving it. Economically, neither Britain nor America can afford to turn away skilled immigrants and they have to get their own populations better educated. They are realizing that a passive market (poorly educated people educated to self-esteem without meaning) doesn't supply the active intelligence you need to survive in the IT age! I meet bright American kids all the time. The fact that they are black, Chinese and Jewish mostly hasn't yet sunk in, it seems, to my WASP niece, who is confidently expecting the life of privilege WASPS have enjoyed in the US from the beginning. It is changing importantly and the WASP is becoming a minority. Also it is become an under-educated, self-esteeming minority. . .

That's what I mean about Civil Rights and Immigration—the demographics are also changing the ambitions and generally improving the goals! Just heard, a bit late, that John Hartford died. Cancer. 63. Bummer. American conservatism doesn't bother me. American bigotry does. The fact that bigotry is now called "conservatism" is more to do with the corruption and traduction of the language than anything else, I think! I'm probably something of a conservative myself, in that I like to preserve and celebrate stuff from the past, and oddly my literary work tends to appeal to conservatives—liberal conservatives, if you like.

CM: So much for race; now for sex. I've read your excellent interview with [KIKE] Andrea Dworkin, which presents her as a reasonable and articulate, if undeniably left-of-mainstream, thinker. Yet, few bother to examine her reasoning in depth. I have attended academic conferences where one of the attendees was selling a book severely criticizing Dworkin, using her as a straw woman to rail against the supposed excesses of the feminist movement, and complete with a caricature portraying her as a man-hating Gorgon. Do you have an opinion on why so many are so hostile to her ideas?

MM: Men seem to be in constant terror of someone getting at their private parts. I've never understood it. As I've said before, if men had to muster the kind of courage the average woman has to muster on an average evening, they would all be strutting around like heroes. So full of themselves.

Dworkin receives a degree less ferocity in England but honest I can't work out the primitive nature of American sexuality.It baffles me. It's a kind of materialistic consumer version of the real thing. And it is a construct defended to the death. It is so deeply enculturated (mostly, I'd guess from incoming peasants--seriously wrong invitation that, Mr. Lincoln—send us your trailer trash is what he told Europe. . . ) that I find it almost impossible to address here.

Americans are fucked up. They always were. It's something Europeans know. But I'm not the best person to judge, really. For some reason, I grew up with very few sexual hang-ups. My work in Cornelius, for instance, is just the way I look at the world. Most of what I learn about sexuality makes me laugh, if I'm not horrified. I thought the sexual liberation of the sixties was nonsense. It was simply an excuse for everyone to enjoy their own brand of fetishism or to get girls to sew your jeans for free. When I saw what they'd been repressing, I was all for repressing it again! Jesus Christ! And then there's the Washington suits who come up to you leering and asking how they can get some of that "free sex" you're having. . .

I'm a natural old hippy, I think. I really do believe in peace, love and understanding. It's what I like best. Dworkin, for me, is simply applying the logic of sophisticated feminism to the problems she sees. She scares women because she says things that are true but which they don't feel they can afford to think about. She scares men because they seem to be scared of women, anyway. See—it comes down to the gynaephobia she thinks is there. I think it is, though I don't think it's simple or that I have much hope of understanding it.

We are entering a period of history where women are gaining much more real power, both financial and otherwise. I've seen enormous changes, but they don't all come at once, or happen to everyone at the same time. People didn't come to America because they wanted change. They came here because they hoped that things would be the same only better. It makes for a very conservative, deeply orthodox population, carrying mores and ideas from pre-humanist cultures. Increasingly that population is coming from countries with no humanist tradition to speak of—Eastern Europe and the Orient—and while the smart kids are absorbing that and thinking stuff out for themselves as well, the dumber kids and their parents are still very reluctant to initiate change. This is probably a specific problem for America.

Although Europe has the racial tensions and similar problems, it is not a place which has traditionally depended on attracting cheap labor from abroad, as America has. And that's what Lincoln was asking for, to fill up the frontier and secure the nation. Fastest, cheapest, dirtiest way of doing it. Canada didn't have the same concerns (being part of a larger Empire) and therefore had less urgency about its dealings with, for instance, the indigenous population. Civil Rights has done wonders for the Iroquois, among others. You don't get "the white man done us wrong" stuff any more. You get Huron Computer Solutions.

[...]

Dworkin attacks the status quo. Men in suits have most to gain from maintaining the status quo.

[...]

I'm still convinced the Teutonic expansion hasn't stopped. It just changed names.

[...]

CM: While I've never lived through a war, I've studied karate and classical fencing for years (partially as an exercise in self- improvement; partially for romantic reasons) and I know that, ultimately, power is better constrained than freely exercised. (For a related reason, I think Americans will never understand schlager mensur as practiced in German fraternities. We're such a win-win culture that the idea of such an activity as testing rather than competition is utterly alien.)

MM: I agree with you entirely about fencing. Fencing is the only sport I thoroughly enjoy and for that reason. A sport where it's up to you to acknowledge a hit, for instance, and where politeness is a necessary element can't be bad for the character. Have a look about what I said about swords in The Dreamthief's Daughter, although to be honest I haven't much time for schlager mensur stuff, either. It's mainly butchery in real life.

America has always been known for its aggressive competitive nature. It has something to do, I suspect, with the amounts of adrenalin needed to maintain early frontiers! Also the first merchants were certainly pretty aggressive. It's not an unknown quality in Europe, of course, but it is a kulak quality typically. I can't speak for the whole of America but I know for sure that I am living in a kulak culture in Texas--rich peasants, not middle-class urbanites—even if they live in cities. Much of America has a kulak quality to me—that's what I identify it as, thinking of Ukraine, Bavaria and other places where the wealthy peasant is really the dominant cultural determiner. And, of course, America was populated by kulaks or would-be kulaks who think of politicians as patrons rather than representatives. . . It reminds me a lot of Russia. You often get a sense that you have stepped back into the 19th century, where issues of “blood” and so forth are still alive. The strong sense of nostalgia the European often gets from America would probably surprise most Americans. But it is often like stepping back in time.

[...]

Kropotkin, rather than Marx, seems to have a better idea more suitable for America. There are some thirty women in the current Blair cabinet. When there are some thirty women in the US cabinet, some progress will have been made. That's the cabinet, not parliament. There are a lot more in parliament. There are also Indian, black and other 'minorities' represented by MPS and you don't have to cultivate a rich person to get elected. That's the core problem with American politics. Nowhere else in the world do I know of such a shambolic system. It won't be changed without some sort of fight, because it suits the white men in suits who dominate the US congress. Men in suits are still powerful in the world, but check out the makeup of the German or Italian parliaments. Just the comparisons show that America is neither the leader in democracy nor in the fight against racism and sexism. A sense of shame is lacking since Vietnam. It needs to be revived. But the problems are being identified. It's a matter of time and hard work before they're fixed. But Americans will fix 'em and I'll be there to help, if asked.

[...]

To be honest, I feel happier in New York with Jewish friends. Both Linda and I are fierce arguers. My mother loved her. All Jewish mothers love her. I swore I wasn't going to marry a Jewish girl—and here she is, sneaking in with an Irish name, a Baptist background, and a Mississippi accent. What's a poor guy to do? Oh, yes, she also gives you two ties for your birthday and when you wear one asks “So you didn't like the other one ?” I am so guilty, I told a shrink during a brief go at that, I feel the holocaust was my fault, and it started before I was born. That could be why I'm also popular with Catholics

Like almost every Londoner I ever knew, I had a fundamentally secular upbringing. I didn't really know anyone who had had a repressive religious background or any sort of religious background beyond a vague tendency to want to get married and buried in church, until I got Catholic friends. All my Jewish friends were from traditional socialist backgrounds. All the emigres at our house weren't religious, but tended to be left socialists. You would feel embarrassed if anyone mentioned religion and Dr. Strangelove was the first many of us knew of the way Americans call on God as some sort of personal authority. I did say, since living here, that Americans are the only modern Christian nation I know where Jesus is used as an authority rather than an example.

[...]

I've written for Hawkwind, The Deep Fix and Blue Oyster Cult. Done some session work, notably on the Calvert albums Lucky Leif and the Longships and Hype. I used to be in demand for banjo work—I was the only Brit who could play five-string that anyone knew.

[...]

I'm musical. My own stuff tends to be more melodic than Hawkwind but even less commercial ("Another Quiet Day in Auschwitz" somehow never made it even to the indie charts. . . )

[...]

If you look at lyrics like "Kings of Speed," "Sonic Attack" and "Needle Gun" (all mine), you see more in common with punk than peace and love. Our lyrics weren't that dissimilar. And Hawkwind, don't forget, refused to play the media game very much as the Pistols refused. We didn't have the pleasure of telling Bill Grundy he was a miserable old hack, but we might have done, more reasonably. John L. and some of the others were far more interested in power, however, than we were. Glen wasn't. He got a raw deal from Lydon, but he was the real base of the Pistols and without him they would have been very little.

When Linda and I went to the gigs of punk friends in the eighties, people with Mohicans [Mohawks—ed] and black finger nails would ask us if we wanted a chair or if they could get us a cup of tea. I did a documentary about a punk revival in, I think, 1982 because I was told I was the only person who Siouxsie would agree to be interviewed by.

[...]

About the interviewee: Michael Moorcock is one of the most prolific and progressive writers working today.



Morekike is really one of the kikiest Kikes in Kikedom.

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That is one seriously handsome negro boy!

It's easy to see why he's a movie star.

Ladies feast your blue eyes on this gorgeous item:

http://i.dailymail.co.uk/i/pix/2014/11/28/23935C7100000578-2852732-Opening_shot_New_cast_member_John_Boyega_races_across_a_desert_l-9_1417189864716.jpg

I concur

Even the most jaded kikewatcher's jaw drops twice a day. It's quite incredible.

What's more incredible is that most folks, lets say Brits, just have no clue. I had no clue just a few years back.

But most dont know a jew from a kangaroo.

But they at least know what a kangaroo looks like, and what it does.

Right now on LBC: QUEER presenter Cristo is talking bout paedos, and basically we should just feel sorry/sympathise/empathise with them and the guy that "came out" as a paedo on Chan 4 doc the other night is "brave " and all that jazz.

Re New Star Wars

Frank Galton at Irish Savant described it thus:

'Obi-Wan Nairobi'

Good stuff.

That nig previously played a nasty nig who mugged a White Blonde Female in Jo Cornishes "Attack The Block" , where the Blonde eventually teams up with the nigger muggers as they "save London from savage aliens" LOL/tgrind/clench/gnash

Worst thing is, Cornish wrote it after getting mugged by nigs.

"That was scary. I suppose I should make them the heroes of my new film"

Re photo of rasta wars nigga:

Micheal Brown not dead. Rebuilt by israeli scientists.

The six million dollar man.

Not a penny more, not a penny less.

Guest editors Radio 4's Today

Same feeling. Didn't like Joseph Heller or JD Salinger even though they're lauded authors. Both come across whiney and miserable.

Most are either/or over-rated, creepy, whiney, miserable, arrogrant.

Hearing Lou Reed at 65? 70? Trying to chat up Lauren Laverne was very creepy.
http://www.youtube.com/watch?v=0yYDNUEn9W4

The degenerate director of Happiness, Todd Solondz, same with writer of Kids, Harmony Korine. or the likes of darren aronofsky, all creepy weird, Woody Allen, cronenberg etc.

Meanwhile England manager, big nosed Woy Hodgson's fave author is Phil Roth
http://i.huffpost.com/gen/2025926/thumbs/o-ROY-HODGSON-facebook.jpg

Didn't realise Cornish got mugged... no hope if he still doesn't go a little more right wing.

Meanwhile Radio 4

Comedian(? / BBC's black pet) Lenny Henry to guest edit BBC Radio 4's Today over the festive period.

Former governor of the Bank of England kike Mervyn King, House of Commons Speaker kike John Bercow and the former president of the High Court Family Division, Baroness Butler-Sloss (yeah the judge responsible for a controversial ruling which prevented warnings being issued about dangerous paedophiles!), will also take part.
http://www.bbc.co.uk/news/entertainment-arts-30243337

Could you even make it up?

king, mervyn, Dyke: kike?

another one i always assumed to be kike, got that beaky upper lip: But from quite humble background: I found no proof of kike: Like Greg Dyke, I hear people saying he's kike, but so far no evidence

Re: king, mervyn, Dyke: kike?

Greg Dyke, FA Chairman?

No idea.

Talks like a Kike.

Greg Dyke: We have to address lack of diversity in coaching

Greg Dyke wants to continue the fight against discrimination

By James Callow, 28 Nov 2014

Greg Dyke wants at least 10 per cent of candidates on FA coaching courses to come from black and minority ethnic (BAME) backgrounds.

The FA Chairman says the whole game has a duty to address the “disappointing” lack of diversity in coaching and administrative positions across Premier League and Football League clubs.

Dyke said: “There are two phases to this. I think football has done pretty well in overcoming overt racism on the terraces and in the stands.

“We now go into the second phase when you have to ask the questions, why are there are so few black coaches, so few black managers and so few black managing directors?

“At least 10 per cent to be going through FA coaching courses should come from minority ethnic backgrounds”

“It is disappointing that at 92 clubs there are only three black managers.

“That’s the next period and I think we can all contribute to changing that.”

Delivering a lecture for the Runnymede Trust at Manchester University, Dyke said that The FA will work to ensure that coaching staffs better reflect the game as a whole.

“In the reorganisation of coaching that is going through, one of the criteria will be at least 10 per cent to be going through FA coaching courses must come from minority ethnic backgrounds,” he said.

“I think that will change the whole position of ethnic minorities in coaching.”

Dyke said that he would support a policy where clubs are encouraged to give opportunities to candidates from BAME backgrounds.

“You’ve got to change the supply of coaches from different ethnic backgrounds at the same time as persuading the clubs that they’ve got to interview them and give them jobs," he said.

http://www.thefa.com/news/thefa/2014/nov/greg-dyke-on-diversity-in-coaching#Ib8v724zgpTx8LBt.99

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I really am becoming tired of a culture which actively celebrates philistinism

And how does that culture come about Mike?

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卍心の智

Author:卍心の智

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