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David Hamilton, Culture Wars: To discipline the Devil’s regions, 2013.

Review by Dr Alexander Jacob

For those who have an innate love of traditional Britain and are today forced to look on helplessly as they witness the rapid, deliberate and ruthless destruction of the artistic culture of their nation David Hamilton’s Culture Wars will serve as an extraordinary solace and encouragement. This is not a scholarly or systematic work but a loose collection of essays on art, architecture and drama. However, the author manages to record here – in far greater detail than the Conservative journalist Peter Hitchens (who conducted a similar critique of modern Britain in his book The Abolition of Britain (1999) did – the various art objects, buildings and theatrical plays that are ruining the landscape and minds of the inhabitants of post-war Britain. As Hamilton warns us, today we suffer from a “syndrome of social, cultural, political and environmental pressures that are dissociating people from their communal identity, severing them from traditional civilizing structures that their ancestors could take for granted” (p,69).



It is, incidentally, interesting to note that, in Peter Hitchens’ book (p.3), the author fights shy of investigating the social evil that he is describing and declares instead, rather naively, that “the overthrow of the past has not been planned – such things cannot be orchestrated though they can be skilfully guided – but has followed the coincidental disappearance of rival or alternative moral and cultural forces and structures. So many features of this country’s life crumbled at once, that the new culture had to take the place of patriotism, faith, morality and literature.” Hitchens seems not to see any relation between this “coincidental” destruction and the last great war. Nor does he appear to know anything of the post-war machinations of Jewish intellectual institutions like the Frankfurt School and its art theorist Theodor Adorno, who sought to combat Fascist authoritarianism with all manner of art-theoretical subterfuges.

Hamilton, on the other hand, rightly begins the opening section of his book – on the degeneracy of the modern visual arts – with the revolution of the 60s which forced art to become vulgar “mass culture”, stopped the sacred fount of artistic creativity and substituted sterile shock techniques in its place. The examples Hamilton provides of the increasing use of pornography in modern art “installations” in the Tate Modern gallery are especially disturbing since they reveal that these often scatological productions are in fact vigorously promoted by Jewish “art”-collectors like the Iraqi-British Charles Saatchi, while similarly blatant assaults on city landscapes, such as the London “Shard” designed by Renzo Piano, are extolled by Jewish art critics like Tim Abrahams (who edited the leading architecture and design magazine, Blueprint). Worst of all is the fact that all of this anti-art is soundly sanctioned and funded by the national Arts Council with public monies from the government and the National Lottery.

Whereas other pseudo-Traditionalists of the so-called “Right” today distract their audience with tirades against social welfare and immigration policies and puff themselves up with vain appeals to nineteenth century Germanic doctrines of “inequality”, Hamilton goes more logically to the source of the decay that has been imposed on Britain, from the top, by Jewish Marxist ideologists – the unrelenting subversion of the Christian faith that was the original source of the great works of art of Britain from the Middle Ages until the early twentieth century. As he reminds us, “Traditional culture grows from religion” (p,81) and the real source of art is the “numinous” since it “is the basis of the yearning for beauty, awe, grandeur in public buildings” (p.67). It is the loss of the religious world-view that is at the root of the present cultural morass – whether it be the substitution of pornography for art, ugly functionalism for architecture or “angry young men” dramas of desperation for the essentially religious tragedies of the classical world as well as of the English Middle Ages and Renaissance (where they appeared as “morality plays” and Senecan “revenge tragedies”).

Indeed, instead of the proper artistic purpose of the spiritual elevation of man through works of art there has entered today, through the various academic channels employed by pseudo-art-theorists, a new diabolical aim – that of the essential corruption of man. Hamilton does not go so far as to consider this as what it may in fact be – a deliberate act of revenge. Instead, he takes care to highlight to the reader the essence of artistic creation, the importance of tradition in artistic activity and the religious springs of all art. He then exhorts his readers to adopt “traditional forms developed for the current time to express emotions and feelings like awe, reverence, the sacred, the holy, the transcendental – positive human feelings.” (p.94). In more practical terms he also suggests the revival of the sixteenth century office of Lord Lieutenant to be appointed by the Crown and endowed with the task of protecting the local communities of Britain from the ideological and commercial aims of financial and political elites (p.46). It remains to be seen, however, if the ugliness and evil of modern British “anti-culture” – as well as that of the rest of the world ruled by Trotskyist internationalist elites – can be eradicated without a removal of these elites themselves.



One Response

  1. BUY says:

    I don’t quibble with one thing that he says. Which this review could be in every newspaper in the country.

    Admin, regarding your Ostara Goddess article -do you not realize that modern paganism and Wicca is part of the same Culture War, the same subversion of Christianity, and has had the same Jewish-born promoters?

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