Jonathan Bowden was a paradox: on the one hand, he was an avowed elitist and aesthetic modernist, yet on the other hand, he relished such forms of popular entertainment as comics, graphic novels, pulps, and even Punch and Judy shows, which not only appeal to the masses but also offer a refuge for pre- and anti-modern aesthetic tastes and tendencies. Bowden was drawn to popular culture because it was rife with Nietzschean and Right-wing themes: heroic vitalism, Faustian adventurism, anti-egalitarianism, biological determinism, racial consciousness, biologically-based (and traditional) notions of the differences and proper relations of the sexes, etc. Pulp Fascism collects Jonathan Bowden's principal statements on Right-wing themes in popular culture drawn from his essays, lectures, and interviews. These high-brow analyses of low-brow culture reveal just how deep and serious shallow entertainment can be. About Pulp Fascism: "Jonathan Bowden said that greatness lies in the mind and in the fist. Nietzsche combined both forms in the image of the warrior poet. For Bowden it was the image of the cultured thug. I give you Jonathan Bowden: cultured thug." -Greg Johnson, from the Foreword "Jonathan Bowden was uniquely gifted as a cultural critic and revisionist, willing to explore the obscure areas of high and low culture, and apply ideas from the former to the analysis of the later, starting always from the supposition that inequality is a moral good. Bowden's texts are dense and rich with reference and insight, yet remain entertaining and replete with humor." -Alex Kurtagi "Many men give speeches; Jonathan Bowden gave orations. To experience one of Bowden's performances must have been something like hearing Maria Callas in her prime or witnessing one of Mussolini's call to arms from a Roman balcony. "As an intellectual, Jonathan was a Renaissance man, or perhaps a bundle of contradictions: his novels and paintings were of Joycean complexity, and yet, in his orations and non-fiction writings, he was able to cut to the essence of a philosophy or political development in a way that was immediately understandable and, indeed, useful for nationalists. "Pulp Fascism could be called Bowden's 'unfinished symphony'- his attempt (not quite realized) to reveal the radical, ambivalent, and, in some cases, shockingly traditionalist undercurrents in pop culture. "That which envelops our lives is taken for granted . . . and thus rarely properly analyzed and understood. Bowden brings new life to those characters and comic-book worlds we too often dismiss as child's play." -Richard Spencer About the Author Jonathan Bowden, April 12, 1962-March 29, 2012, was a British novelist, playwright, essayist, painter, actor, and orator, and a leading thinker and spokesman of the British New Right. Born in Kent and largely self-educated, Bowden was involved with a series of Right-wing groups for which he was a popular speaker, including the Monday Club, the Western Goals Institute, the Revolutionary Conservative Caucus, the Freedom Party, the Bloomsbury Forum, the British National Party, and finally the New Right (London), of which he was the Chairman. Bowden was a prolific author of fiction, philosophy, criticism, and commentary.

Dr. Greg Johnson is the editor of Counter-Currents Publishing and its journal North American New Right (www.counter-currents.com), which draw upon the ideas of the European New Right to promote a new approach to White Nationalist politics in North America. New Right vs. Old Right collects 32 essays in which Dr. Johnson sets out his vision of White Nationalist "metapolitics" and distinguishes it from Fascism and National Socialism (the "Old Right"), as well as conservatism and classical liberalism (the "Phony Right"). Dr. Johnson rejects the Old Right's party politics, totalitarianism, imperialism, and genocide in favor of the metapolitical project of constructing a hegemonic White Nationalist consciousness within a pluralistic society. He argues that White Nationalists are too dependent on the model of hierarchical organizations and need also to work on creating resilient lateral networks. He offers New Rightist answers to a number of disputed questions within the White Nationalist community, including white culpability for our decline, Hitler and National Socialism, the Jewish question, the holocaust, the role of women, Christianity vs. paganism, and the relationships of populism, elitism, and democracy. He sets out some basic principles for creating a growing, resilient, networked movement. Finally, he criticizes distractions and dead-ends like "mainstreaming," conservatism, "premature" populism, and political violence. Engagingly written and constructively critical, Greg Johnson's New Right vs. Old Right is an important contribution to the emerging North American New Right. Praise for New Right vs. Old Right "Greg Johnson's basic point is that we must work to create a metapolitics of explicit white identity-that is, a movement that will develop 'the intellectual and cultural foundations for effective White Nationalist politics in North America, so that we can ultimately create a white homeland or homelands on this continent.' Greg is one of the reasons why I think this is a feasible project. . . . Greg received his Ph.D. in philosophy, and it shows. His forte is the well-developed argument presented in a lucid, easily understood style. Nobody can complain about this book being filled with turgid prose. And I can't find any major disagreements." -Kevin MacDonald, from the Foreword "In New Right vs. Old Right, Greg Johnson lays out his vision for a pro-white movement more focused on ideas, education, and communication than on politics or thuggery. True to this vision, his writing is extremely accessible. Throughout this collection, Johnson breaks down complex philosophical concepts and challenging ideas into tight, efficient sentences and effective explanations. Johnson doesn't drone on trying to sound clever. Like an enthusiastic professor, he truly wants his readers to understand why he believes it is morally right for whites-and all peoples-to determine their own collective destinies." -Jack Donovan, author of The Way of Men "Dr. Greg Johnson's New Right vs. Old Right delineates the differences between two 'Rights, ' without repudiating the common philosophical origins of both in opposing egalitarianism and other passe ideologies that continue to dominate much of the world. The primary value of this collection of essays, however, is that Dr. Johnson asks the perennial question, from our side: "what is truth?" In doing so he lays the foundations for a morality of the New Right. This book is therefore unique in the English-speaking Rightist milieu that was, for much of the post-1945 era, poorly served in comparison to its counterparts in Europe. As such, Dr. Johnson's book will be of relevance to many beyond the North American New Right, of which he is a founding father." -Kerry Bolton, author of Artists of the Right

James J. O'Meara's The Homo and the Negro brings a "queer eye" to the overwhelmingly "homophobic" Far Right. In his title essay, O'Meara argues that the Far Right cannot effectively defend Western civilization unless it checks its premises about homosexuality and non-sexual forms of male bonding, which are undermined not just by liberals and feminists, but also by Judeo-Christian "family values" advocates. O'Meara also uses his theory to explain the stigmatization of Western high culture as "gay" and the worship of uncultured oafs as masculine ideals. Although O'Meara grants that the "gay rights" movement is largely subversive, he argues that homosexuals have traditionally played prominent roles in creating and conserving Western civilization. The Homo and the Negro collects 14 pieces on such topics as conservatism, homosexuality, race, fashion, Occupy Wall Street, Mad Men, The Gilmour Girls, The Untouchables, The Big Chill, They Live, popular music (Heavy Metal, Black Metal, New Age, Scott Walker), and such figures as Noel Coward, Oscar Wilde, and Humphrey Bogart. Shaped by an eccentric, post-WWII American upbringing, O'Meara draws upon "masculinist" writers like Hans Bluher, Alisdair Clarke, and Wulf Grimsson, as well as the Traditionalism of Rene Guenon, Julius Evola, and Alain Danielou.

Since 2001, Trevor Lynch's witty, pugnacious, and profound film essays and reviews have developed a wide following among cinephiles and White Nationalists alike. Lynch deals frankly with the anti-white bias and Jewish agenda of many mainstream films, but he is even more interested in discerning positive racial messages and values, sometimes in the most unlikely places. Trevor Lynch's White Nationalist Guide to the Movies gathers together some of his best essays and reviews covering 32 movies, including his startling philosophical readings of Pulp Fiction, The Dark Knight Trilogy, and Mishima; his racialist interpretations of The Lord of the Rings and Gangs of New York; his masculinist readings of The Twilight Saga and A History of Violence; his insights into the Jewish nature of the superhero genre occasioned by Guillermo del Toro's Hellboy movies; and his hilarious demolitions of The Matrix Trilogy, The Girl With the Dragon Tattoo series, and the detritus of Quentin Tarantino's long decline. Trevor Lynch's White Nationalist Guide to the Movies establishes its author as a leading cultural theorist and critic of the North American New Right. "Trevor Lynch provides us with a highly literate, insightful, and even philosophical perspective on film-one that will send you running to the video rental store for a look at some very worthwhile movies-although he is also quite willing to tell you what not to see. He sees movies without the usual blinders. He is quite aware that because Hollywood is controlled by Jews, one must typically analyze movies for their propaganda value in the project of white dispossession. Trevor Lynch's collection is a must read for anyone attempting to understand the deep undercurrents of the contemporary culture of the West." - Kevin MacDonald, author of The Culture of Critique, from the Foreword "Hollywood has been deconstructing the white race for nearly a century. Now Trevor Lynch is fighting back, deconstructing Hollywood from a White Nationalist point of view. But these essays are not just of interest to White Nationalists. Lynch offers profound and original insights into more than 30 films, including Christopher Nolan's The Dark Knight, Quentin Tarantino's Pulp Fiction, Guillermo del Toro's Hellboy, and Martin Scorsese's Gangs of New York. These essays combine a cultural and philosophical sophistication beyond anything in film studies today with a lucid, accessible, and entertaining prose style. Every serious cineaste needs to read this book." - Edmund Connelly "The Hollywood movie may be the greatest vehicle of deception ever invented, and the passive white viewer is its primary target. Yet White Nationalist philosopher and film critic Trevor Lynch demonstrates that truth is to be found even in this unlikeliest of places. If American audiences could learn the kind of critical appreciation Mr. Lynch demonstrates for them, their seductive enemies in Tinseltown wouldn't stand a chance." - F. Roger Devlin, author of Alexandre Kojeve and the Outcome of Modern Thought "Trevor Lynch's White Nationalist Guide to the Movies is not some collection of vein-popping rants about Hollywood's political agendas. It's a thoughtful and engaging examination of ideas in popular films from a perspective you won't find in your local newspaper or in Entertainment Weekly. Lynch has chosen films that-in many cases-he actually enjoyed, and playfully teased out the New Right themes that mainstream reviewers can only afford to address with a careful measure of scorn. How many trees have been felled to print all of the Marxist, feminist, minority-pandering 'critiques' of contemporary celluloid over the past fifty years? Isn't it about time we read an explicitly white review of The Fellowship of the Ring, or Traditionalist take on take on The Dark Knight?" - Jack Donovan, author of The Way of Men