Or, “Weaponized Artism”
I took a college class in Asian Art History years ago, which, at least in the history of India, could be renamed “History of Muslims’ Destruction of Art.” It struck a chord that resonated with me: centuries of religious/cultural monument-building and craft paved over by a new dynasty of foreign warlords, and that was then: today they opt to use dynamite on offending sculptures that now only exist in photographs and in still-living memory. Liberals now seem dead set on continuing the work of The Islamic State and its predecessors, and the defacement and destruction of American Confederate monuments in the South have brought me back to some of my worst fears.
While monuments and temples are all well and good, and their losses generally tragic, the destruction of visual art undoubtedly steals the spotlight from that of written words. In a previous video I spoke of how Leftists wish to cover up the written body of work of challenging politicians, particularly John C. Calhoun and his theories of statecraft and anti-federalism. But that is closer to attempted censorship and an outright coverup. Poetry has suffered just as much. Without a doubt, some of the best poets, even the most well known today, were Right-minded–at least anti-consumerist Romantics. I don’t mean “small government Jeffersonians,” I’m referring to the 20th century Monarchists, Fascists and the like such as Ezra Pound or Yeats. Their names and works survive in public schools throughout the Western World, but their politics have been hushed! Even if you were be taught about Imagism and The Cantos, you’d likely not hear a word about their origins, of Pound’s defecting to Italy before the second World War and being imprisoned in a US POW camp when he first penned them. Yeats believed so strongly in Aristocracy and the necessity (and nobility) of both an underclass and a ruling class that it permeated his daily life, living in a cottage adjoined to a restored, Norman tower in Ireland. Yet they would pretend that his ideas didn’t permeate his poetry too?
Why would someone on the Right be artistically inclined at all? It’s partly a rhetorical question–I don’t think anyone on the Far Right “hates” art; our reverence of the past is inseparable from it. But we all know that there is one side of the political spectrum which claims ownership of creativity (or post-modernism anyway). Poetry’s origins lie in song or chant–not just rhythm necessarily, but resonance: all parts resonating to form chords. The politics of the Far Right can most generally be described as derived from the Truth, and that is what permits some of the best writers and poets on the Right to be so impacting with their words. While Liberal-minded folks may be able to contend when the subject matter is more impersonal, their words on the human condition have always rung hollow–now more than ever with the advent of post-modernism.
The coming years will bring a rise in Right-wing art and literature, and a re-learning of artists that came and went unnoticed in the sphere of Liberal education, as the political Right delves deeper into tradition and human nature and seeks to find the Right’s place in art and culture. Just as Liberals (implicit or otherwise) have for decades published poetry compilations and collections to showcase their world view, there is now a response from the Right, one which will grow in size and strength.