The Eldritch Evola & Others

  [←342]

  Bogart was a similar professional, who keep the drinking, though heavy, after work hours, and also like Scott, that “easy to work with” image helped keep him in demand with producers where more “temperamental” artistes might have been exiled. See my essay on Bogart reprinted in The Homo and the Negro. Oddly enough, Brian Dillon, in his review of this book, refers to Scott as “Bacall-beautiful”: “Brian Dillon on Scott Walker’s manic pop stardom and long vanishing act.” The Guardian, Friday, July 27, 2012.

  [←343]

  “Stretch” was Scott’s nickname, for his height, and the title of one of his MOR albums; “endlessly” recalls Kraftwerk’s “Europe Endless” and again, the puppet strings of Dandy in Aspic. David Toop’s essay describes Scott’s music as “flexing, sagging, cracking, breathing, stretched over bloody fluidity.”

  [←344]

  From the essay “Black Sheep Boy,” pp. 56–57—the title comes from a song on one of Scott’s solo albums, but it’s also the title of Joel Grey’s solo album, who is best known for his performance in Cabaret with Garland’s daughter, Liza.

  [←345]

  The Essential Titus Burckhardt: Reflections on Sacred Art, Faiths, and Civilizations (Bloomington, Indiana: World Wisdom Books, 2003), pp. 141, 197.

  [←346]

  Trevor Lynch, Trevor Lynch’s White Nationalist Guide to the Movies, ed. Greg Johnson, Foreword by Kevin MacDonald (San Francisco: Counter-Currents, 2012).

  [←347]

  There may also be an echo here of what Baron Evola writes in his book, Saggi sull’Idealismo Magico (“Essays on Magical Idealism”), published in 1925. As paraphrased at the Gornahoor.net site: In this trial, he must destroy every such mental and emotional support. He must “deny every faith, violate every moral land social law, scorn every sentiment of humanity, every love and generosity, every passion, affirm an implacable and all-pervasive skepticism, reaching finally a conscious and critical madness.”

  [←348]

  One might also find a hint of make your own Hitler plan in The Boys from Brazil as well. As an intermediate form, we might consider Taxi Driver, the creation of Paul Schrader and Martin Scorsese, whose backgrounds—strong, religious communities—have provided relative immunity to the Cockroach. De Niro’s Travis Bickel refuses to join the cockroaches in the streets, and successfully, though murderously, rescues the child prostitute; he even, ironically, fails at suicide and becomes an urban hero.

  [←349]

  Vladimir Nabokov, Lectures on Russian Literature, ed. Fredson Bowers (Orlando, Fl.: Harcourt, 1981), p. 104.

  Table of Contents

  Title

  Copyright

  Contents

  Dedication

  Preface

  Acknowledgements

  The Eldritch Evola

  The Lesson of the Monster; or, The Great, Good Thing on the Doorstep

  The Princess & the Maggot

  The Corner at the Center of the World: Traditional Metaphysics in a Late Tale of Henry James

  “A General Outline of the whole”: Lovecraft as Heideggerian Event

  Mike Hammer, Occult Dick: KISS ME DEADLY as Lovecraftian Tale

  A Light Unto the Nations: Reflections on Olaf Stapledon’s THE FLAMES

  My Wagner Problem—& Ours

  Our Wagner, Only Better: Harry Partch, Wild Boy of American Music

  Ralph Adams Cram: Wild Boy of American Architecture

  The WinkleTwins Win One! Owen Wister’s Philosophy 4: A Tale of Harvard University

  Light Entertainment: The (Implicitly) White Music of Scott Walker

  Andy Nowicki’s THE COLUMBINE PILGRIM

  The Huxley of the Alternative Right

  Bright Lights, Big Nothing

  About the Author

  Notes