måndag 13 juni 2016

CV för Lennart Svensson


This is my Curriculum Vitae. In Swedish.




Detta är CV för Lennart Svensson, den svenske författaren född 1965, han som skrivit "Ernst Jünger -- A Portrait", "Antropolis" och "Eld och rörelse".

- - -

. 1984, examen från treårig samhällsvetenskaplig linje, Nolaskolan Övik.

. 1984-85, värnplikt som bevakningsgruppchef på I 21 i Sollefteå, vitsord 10-8-8.

. 1985-1987, universitetsstudier i Uppsala (historia, språk).

. 1987-89, arbete som kockelev på Sir Francis Drake i Uppsala. Jag fick lära mig både husmanskost och à la carte. Hösten 1988 avlades ett kockprov. Jag anställdes sedan som kock. Jag tog avsked i januari 1989.

. 1990, universitetsstudier (statskunskap, filosofi).

. 1990-95, ströjobb på Uppsalakrogar parallellt med universitetssudierna.

. 1997 fil kand-examen i indologi (= sanskrit).

. 1995-2010, skribentverksamhet, resulterande i artiklar i Flygrevyn, Vårt Försvar, Magasin Provins och andra publikationer. Jag har även gett ut dessa böcker på eget förlag:

. Den musiske matlagaren (kokbok, 2007)
. Eld och rörelse (noveller, 2007)
. Antropolis (roman, 2009)
. Till Smaragdeburg (roman, 2010)

. Sedan 2010 bor jag i Härnösand. Här har jag haft dessa praktikplatser och arbeten:

. April-juni 2010, praktik på restaurang Royal, Härnösand. Här friskade jag upp mina kunskaper i framför allt husmanskost.

. September-november 2011 – praktik på Mittuniversitetet. Arbetsuppgift: studentadministration.

. Januari 2012 – praktik på Brunneskolan, klassresurs/lärarassistent i 3:an.

. Februari 2012 – januari 2013 arbete som ekonomibiträde på Restaurang Portalen.

Sedan dess har jag jobbat som frilansskribent, bland annat med texter i veckotidningen Nya Tider.




Relaterat
Min värnplikt i dokument
Min fil kand
Medverkan i Nya Tider
Sollefteå där jag gjorde värnplikten 1984-85.

torsdag 2 juni 2016

Depicting the Crane in its Orbit


Hello.




In Sweden these days we have an early summer heatwave. 20 centigrade in the shade or so.

Therefore, I post this February picture to cool you off. It's taken from Övik Central Station. A tower crane is seen rotating over the buildings of the city. As it were, the photo is "depicting the crane in its orbit," referring to a song on the Cosmos Soundtrack from the early 80s.




Related
New Book
The Poetry and Purple Prose of Clark Ashton Smith
Ascended Masters: Some Info
Caza: The Ark

fredag 13 maj 2016

Svensk fantasy


Summary: this is a post about some Swedish fantasy authors.




Åke Ohlmarks var den förste svenske översättaren av Tolkien. Han var den störste! Och den förste -- och den siste. Han var den siste swashbucklern, en fejdande man och en resande man. Han visade mer än någon annan vad det är att ha personlighet och förmedla den i sina texter.

Ohlmarks saknade viss konstnärlighet. Han var något av en bulldozer. Dvs, nog hade han ett stort ordförråd men han var liksom inte någon stor fictionförfattare. Men han skrev de facto fiction, som "Sagan om Nibelungarna" och "Konungariket Skåne". Dessa var dock inte fantasy i egentlig mening, endast omdiktning av myt respektive historiefiktion.

En svensk fantasyroman som ännu lever är annars "Maktens vägar" av Bertil Mårtensson. Den är en trilogi med heroiska förtecken men skiljer sig ändå från Tolkien i sitt direktare tilltal, sin svenskhet och elegans. Värd sitt salt är den nog.

Mårtensson för mig osökt in på ämnet svensk fantastik idag. Vill ni veta något om Granström, Alf Yngve och Bjällerstedt-Mickos ska ni klicka på den länken. Det skrivs ännu en del fantasy i detta land.




Relaterat
Clarke: 2001 -- en rymdodyssé (1968)
Clarke: Möte med Rama (1973)
Boknytt: Science Fiction Seen From the Right
Bild: Sophia Delaunay

lördag 30 april 2016

Mina minnen av Robert Svensson, min bror


Summary in English: this is the Swedish version of my memories of my brother Robert Svensson (1963-2016). An English version of the text is to be found here.




1.


Som alltid skrivs denna blogg av mig, Lennart Svensson. Detta är min dödsruna över min bror. Och min bror Robert Svensson föddes i maj 1963 och dog i mars i år, 2016. Han var 52 när han dog.

Begravningsceremonin hölls 28 april i Kärlekens kapell vid Arnäs kyrka. Det var en grå dag men halvvägs in i ceremonin sken solen in. Det var ingen slump, säger jag som den mystiker jag är.

Robert var konstnär, en målare i akvarell och olja och privat verksam som tecknare (blyerts, tusch). Han utbildades vid konstavdelningen på Wiks Folkhögskola i två omgångar (1984-1985, 1986-87). Under 1990-talet hade han utställningar på Galleri Dombron, Uppsala, på Café Mannaminne, Nordingrå och på sitt eget Galleri Söråsele, Åsele, för att nu nämna de viktigaste utställningarna.

Han var en konstnär par preference, en född skapare av bilder. Det är sant att han också var en ganska bra skribent; till exempel när han studerade vid Uppsala universitet under 1980- och 1990-talet så gick skrivandet av uppsatser och PM lätt för honom. Man kan säga: skrivandet var en lek för honom men detta att skapa bilder var allvar. Han levde och andades alla aspekter av målning och teckning, som att begrunda nyanser och färg, färgen på himlen, färgen på skuggorna etc. etc., liksom olika sätt att teckna serier, att komponera scenografi i filmer et cetera. Till exempel nämnde han en gång att David Lynchs tv-serie Twin Peaks spelades in i studior med tak, innertak, vilket gör scenerna mer hemtrevliga, en aspekt som saknas i alla andra tv-dramer och komedier sedan långt tillbaka.

Ett sådant särdrag, att titta på TV och notera hur scenografin var gjord, kunde sysselsätta honom oändligt. Han var något av en glorifierad dagdrivare och släntrare, hade svårt att komma igång med vissa projekt. "Jag ska ta tag i det, nästa dag, jag lovar" kunde han säga. Och ändå levererade han, som omslagen han gjorde till mina romaner Antropolis och Till Smaragdeburg. Jag hade en vision för layouten och han implementerade den genom att texta snyggt och lägga till bilder.

Han hade sina lata drag men han var också en "go-getter", en som tog befälet. Såsom ledare för sitt rockband The Neurones på 80- och 90-talet. De uppträdde live här och där och gjorde några demos och inspelningar, som att ha en låt på ett spanskt antologialbum. Jag kan just nu inte hitta det på google. Poängen är i alla fall att när han ledde sitt band kunde han "peka med hela handen" och vara en musikalisk inspiratör och ledare samtidigt. Han spelade gitarr och sjöng och karriärmässigt kanske det inte ledde så långt men de demos de gav ut (jag har fortfarande kopior av dem, in alles bortåt 10-15 låtar) hade snits och sväng. Han var en musikalisk man, en man som leddes av musorna, de grekiska gudarna för poesi, sång och konst.

Han gillade också att läsa (Tolkien, en del sf, folksagor, böcker om konst, serier) men hans stora intresse jämte konst var musik. Med utgångspunkt i new wave, rock och pop kunde han även gilla jazz, ambient och allt, även en och annan dansbanslåt och hårdrockslåt. Livnärande sig på tidningsutdelning kunde han "slösa" bort sina dagar genom att spela skivor, dricka kaffe, teckna...




2.

Vad gäller mig och Rob (som han kallades) stod vi ganska nära varandra från vår tidiga barndom och fram till omkring år 2000. När vi var barn lekte vi med cowboys och indianer och leksaksbilar, vi ritade och spelade spel, vi byggde plastmodeller, alltihop med en omisskännlig estetisk touch, som att uppskatta layouten och den allmänna känslan i spel, eller att bygga dioramor och ge en illusion av verkligheten, ett konstant konstprojekt som pågår än -- i så måtto att jag personligen fortfarande sysslar med det, genom att skriva romaner som är någon form av konceptuella dioramor.


Vi bodde i Övik, Ångermanland där vi gick i skolan, och därefter, i slutet av 80-talet, återsågs vi i Uppsala där vi båda studerade och hade våra respektive studentrum. Mötena vi hade under dessa år kunde vara ganska långt ifrån varandra men de var ändå viktiga per se, vi inspirerade varandra med det eller det citatet eller faktumet. Sedan, efter millennieskiftet, gled vi isär. Inte för att jag ska kritisera honom men i slutet blev han något indolent, som att han inte svarade på brev.

Han dog av en stroke och han upplevde en liten stroke förra året också, detta kan vara en indikation på hans allmänna tillstånd. Jag skulle inte säga att han bleknade bort, han jobbade med tidningsutdelning till slutet, distribution av morgontidningar hem till folk med sin cykel och för detta behöver man viss kondition. Men han blev lite "aloof", lite "beyond the beyond" mot slutet.

Jag tänker fortfarande på honom varje dag, så som jag nästan alltid har gjort. Men vi ska träffas igen, det är logiken i iden om reinkarnation, en idé jag stödjer. Och den kan uttryckas som: "inget möte är det första, inget farväl är det sista", sagt av Dénis Lindbohm. Själen är energi och energi kan inte förstöras, bara omvandlas till ett annat fysiskaliskt tillstånd.




3.

Robert gillade westerns, vilda västern-myten som ett bildmässigt fenomen; för oss som föddes på 60-talet var westerns något av en stapeldiet i form av serier, filmer och tv-serier. Till exempel var hans favoritserie Lucky Luke, en fransk komisk westernserie. Och när jag ärver Roberts Britains Deetail figurer, 54 mm cowboy figurer, kommer jag att tänka på honom. De kommer att vara ständiga påminnelser om hans väsen, ett slags minnesstatyetter.

När vi byggde plastmodeller förderog han plan, plan från andra världskriget. Elementet luft låg för honom ty förutom detta skrev han sin fil kand-uppsats om fågelmålningar av konstnärerna Lars Jonsson och Gunnar Brusewitz. Och min far sa att i sitt sista telefonsamtal med honom, den 26 mars, sa Robert att han skulle gå ut senare och titta på fåglar. På våren återvänder flyttfåglarna, det blir barmark och det torkar upp och i dessa ängder kan det vara en del fågelliv på Uppsalaslätten.

Han står på Uppsalaslätten och tittar på fåglar... det är en värdig bild av den man han var. "I'm far, far away, with my head up in the clouds"...




4.

Roberts favoritpopband var Echo and the Bunnymen.

Hans favorit bland svenska serietecknare var Jan Lööf.

Han gillade memoarböckerna av konstnären Peter Dahl. Robert var inte så mycket för Dahls konst i sig, men han gillade hur han berättade om sitt konstnärskap i böcker som Kanske konstnär etc. Speciellt uppskattade han Dahls livslånga projekt för att skapa ett fantasiland med sina tennsoldater, leksaksbilar, modelljärnväg och modellhus, landet "Caribanien". Detta, menade Robert, var Dahls mästerverk (i genren konceptuell konst) medan hans oljor och litografier inte var så minnesvärda.

Robert var en blond, nordisk typ, omkring 178 centimer lång, av en något kompakt uppbyggnad. Han var en man av den "pykniska, atletiska" typen, inte "leptosom, smal" typ som jag. Vi såg, som sig bör, besläktade ut men vi var av olika somatiska modeller.

Jag nämner hans utseende eftersom min roman Antropolis (2009) har ett kapitel där huvudpersonen möter konstnären Tim Parill. Parills utseende är skapat för romanen, han är en fiktion som sådan, men hans beteende som en disträ konstnär som tar emot en gäst i sin studio bygger mycket på Robert:
I ett av segmenthusen bodde Parill. Väl uppe på dess fjärde våning gick jag in i ett ljust, högt ateljérum, en riktig ateljé till skillnad från min egen som ju bara var övervåningen i mitt hus. En doft av terpentin och olja slog emot mig. Jag fann mäster himself sittande vid ett bord läsandes Antropolis Nyheter. -- Jag bugade lätt och slog mig ner, Parill nickade och reste sig. (...) Han bjöd på vin, skålade för mig och frågade om jag skulle köpa något – men när jag sa nej fortsatte han att läsa sin tidning. Jag tog tillfället i akt och såg mig omkring i ateljén, rymlig lokal med takhöjd på tre meter. Fönster endast mot norr; så ska det vara för målare, det visste jag, eftersom norrljuset var jämnare än det feta, flödande, sig–hela–dagen–flyttande söderljuset. Överallt stod dukar; det var både landskap och abstraktioner och något enstaka porträtt, alltsammans omisskännligt Parill. Det var kolorism och pastosa lager, det var spelande former, det var kraftlinjer som möttes och skildes, skummande bäckar, mörka djungler och psykedeliska ängar.
Efter en beskrivning av de märkliga föremål som pryder studion får vi denna bild av konstnären själv, "väldigt Robert" om jag får säga det själv:
Parill satt och stirrade ut i luften. Dammpartiklar for runt i en solstråle. Så reste han sig plötsligt och gick bort till sitt staffli. Från en hängare tog han upp en målarrock, svart och full med färgfläckar i skön slumpmässighet. Han torkade av fingrarna på den medan han målade. -- Jag sneglade på motivet, ett landskap med några hus intill en sjö, och en sol över några berg på andra stranden. (...) Man såg gula fält och skuggiga hus, koppargrön sjö och blåbärsblå himmel. -- Parill tryckte ut färg på paletten och verkade ha glömt min närvaro. Han tog upp en pensel, approcherade tavlan och började arbeta på skuggorna som husen gjorde. Han la på grönt och blått, korsade penseldragen och fick färgerna att nästintill blandas. "Skuggor är aldrig svarta," sa han. Jag instämde med denna visdom, bugade mig och gick mot dörren.

[kapitel 16, "Konstnären"]




Coda

Robert var en fascinerande typ och jag kunde fortsätta att berätta om hans särart. Men i ljuset av vad som redan sagts tror jag en exposé av några av hans konstverk är det bästa sättet att teckna ett porträtt av honom. Han var min bror och han är ännu levande för mig, så som jag antytt ovan. Och nu antyder jag det igen. Och förutom det så lever han vidare genom sina tavlor. Se själva.

(Alla tavlorna nedan är i privata samlingar. Man kan klicka på varje bild för att få en förstoring.)


"Riddaren och bäcken" (oljemålning av en medeltida riddare som kommer till en bäck i skogen)


"Nonfigurativ" (nonfigurativ oljemålning som undersöker färg och form per se)


"Stilleben" (oljemålning av blommor, tämligen åt det impressionistiska hållet)


Omslaget till "Antropolis," utfört av Robert


"Söråselesommar" (oljemålning av Söråselesjön, södra Lappland)


"Saltoluokta" (oljemålning av sjön Langas och omgivande berg i norra Norrbotten)


"Sommarhimmel" (akvarell av Söråselesjön)


"Solnedgång" (oljemålning av norrländskt hus, motivet i sig ihopfantiserat och ej en avbildning av något IRL)




Relaterat
Andlig glädje
Antropolis
Vid min mammas grav
English version of this obituary
Den översta bilden föreställer Robert någon gång under 1990-talet. Nästa bild visar honom under hängande av bilder på Genebiblioteket i Övik, samma decennium.

A Memory of Robert Svensson, My Brother


As always this blog is written by me, Lennart Svensson. I have a brother who recently passed away and these are my memories of him. A Swedish version of the text is to be found here. -- The burial ceremony itself was held at Kärlekens kapell, Arnäs kyrka, on April 28. I was there and it was a dignified ceremony. One detail: it was a grey day but halfway into the ceremony the sun shone in. And this was no coincidence, I say as the mystic I am.




1.

My brother Robert Svensson was born in May, 1963. He died in March, 2016.

Robert was 52 when he died. He was an artist, a painer in aquarellle and oil on canvas and privately active as a draughtsman (pencil, ink). He was educated at the art department of Wik Folkhögskola for two separate years (1984-1985; 1986-87). In the 1990s he had exhibitions at Galleri Dombron, Uppsala, at Café Mannaminne, Nordingrå and at his own Galleri Söråsele, Åsele, to mention the most important exhibitions.

He was an artist at heart, a born creator of pictures. It’s true that he also was a rather fine writer; for instance, when studying at Uppsala university in the late 1980s and 1990s writing essays and papers came easy to him. However, I’d say: writing was a game to him but pictorial shaping was serious. He lived and breathed all the aspects of painting and drawing, pondering nuances and coloring, the color of the sky, the color of shadows etc. etc.– as well as different styles of drawing comics, of composing frames in movies et cetera. For instance, maybe he told me or I told him that David Lynch’s TV series Twin Peaks was filmed in studios with ceilings, inner roofs, making the scenes more homely, a feature absent in all the other TV dramas and comedies since way back.

Such a feature, watching TV and noting how the scenography was composed, this could occupy him endlessly. He was something of a glorified loiterer and saunterer, having a hard time to get going with some projects. ”I’ll get into it, next day, I promise” he could say. And yet he did deliver, like the covers he drew for my Swedish novels Antropolis and Till Smaragdeburg. I envisoned the layout and he implemented it, doing fine lettering and adding drawings.

He had his lazy traits but he also was a go-getter, taking charge. Like leading his rock band the Neurones in the 80s and 90s. They performed live here and there and did some demos and recordings, like having a song on a Spanish anthology album. When googling it now I can’t find it. However, the point is that when leading his band he could ”point with the whole hand” and be a musical inspirator and leader at the same time. He played guitar and sang and career-wise it didn’t lead that long but the demos (I still have copies of them, some 10-15 songs) had a lot of flair and pizazz. He was a musical man, a man led by the Muses, the Greek gods of poetry, song and art.

He also liked ro read (Tolkien, the odd sf tale, fairy tales, books on art, comics) but his main interest along with art was music. With a basis in new wave rock and pop he also cherished jazz, ambient and whatnot, even the odd Swedish dansband song and heavy metal song. Subsisting on his paper route work he could ”waste” away his days by playing records, drinking coffee, drawing...




2.

As for me and Rob (as he was called) we were rather close from our early childhood and until about the year 2000. When we were young we played with cowboys and indians and toy cars, we drew and played games, we assembled plastic models, all of it having some aesthetic quality, that of appreciating the very layout and feel of the game, or, that of building dioramas and giving an illusion of reality, a constant art project going on for ever – like, I’m personally still at it, writing novels that are some sort of conceptual dioramas.


We lived in Övik, Ångermanland where we went to school, and then in the late 80s we reconvened in Uppsala where we both studied and had our respective student bedsits. The meetings we had during these years could be rather far apart, however, in some ways they were essential, we bonded, we inspired each other with that odd line or fact. Then, after the millennium, we kind of drifted apart. Not that I critisize him but at the end he became rather lethargic, like not answering letters.

He died of a stroke and he experienced a slight stroke last year too, this could be an indication of his general state. I wouldn’t say he faded away, he did work with his paper route to the end, distributing morning papers to homes with his bike and for this you need some condition. However, he became a bit aloof, a bit ”dormant” at the end.

I still think of him every day, as I’ve almost always have. But we’ll meet again, that’s the logic of reincarnation, ”no meeting is the first, no goodbye is the last” as Dénis Lindbohm said. The soul is energy and energy can’t be destroyed, only transformed into another physical state.




3.

Robert liked westerns, the wild west myth as an iconographic phenomenon; to us being born in the 60s westerns was a staple diet in comics, films and TV series. A favorite comic of his was Lucky Luke, a French western comic series. And when I inherit Robert’s Britains Deetail figures, 54 mm cowboy figures, I will think of him. They will be constant reminders of his being, a kind of memorial statuettes.

When building plastic models his favorite was planes, WWII planes. He had an aerial trait – for in additon to this, he wrote his Bachelor of Art degeree paper about the bird paintings of Swedish artists Lars Jonsson and Gunnar Brusewitz. And my father said that, in his last phone conversation with him on March 26, Robert said that he would go out later and look at the birds. In spring the migratory birds return to Sweden, the snow-free and drying, soon-to-sprout lands, having some wealth of birdlife.

He’s standing in the Uppsala plain, looking at the birds... a worthy image of the man he was. ”I’m far, far away, with my head up in the clouds...”




4.

Robert's favorite pop band was Echo and the Bunnymen.

His favorite Swedish comics artist was Jan Lööf.

He liked the memoir books by Swedish artist Peter Dahl. Robert wasn’t so much into Dahl’s art per se but he liked the way he told of his artistic career (Kanske konstnär etc.). Specifically, he appreciated Dahl’s lifelong project of creating a fantasy land with his tin soldiers, toy cars, model railroad and model houses, the land ”Caribanien”. This, Robert meant, was Dahl’s masterpiece (in the realm of conceptual art), his oils and litographies were not as memorable.

Robert was a blond, Nordic guy, about 178 centimers tall, of a somewhat compact build. He was a man of the ”pyknic, athletic” type, not the ”leptosome, slim” type like me. We indeed looked akin but we were of different somatic models.

I mention his overall look because in my nove Antropolis (2009) I have a chapter where the main character meets up with the artist Tim Parill. Parill’s look is made up, he’s a fiction as such, but his behavior as a distraught artist receiving a guest in his studio is very much based on Robert:
In one of the segment houses lived Parill. Once up on the fourth floor, I entered a bright, lofty atelier, a real studio unlike my own that was just the upstairs floor in my house. A smell of turpentine and oil struck me. I found the master himself seated at a table reading Antropolis News. – I bowed slightly and sat down, Parill nodded and stood up. (...) He offered wine, toasted me and asked if I would buy anything – but when I said no, he continued to read his paper. I took the opportunity and looked around in the studio, a spacious room with a ceiling height of three meters. A window only to the north; thus it must be for a painter, this I knew, because the light from the north was smoother than the saturated, flowing, over-the-whole-day-shifting southern light. Everywhere sat canvases; they were both landscapes and abstractions and some individual portraits, all of it unmistakably Parill. There was colorism and rich layers of paint, there was the play of forms, there were power lines meeting and parting, there were foaming streams, dark jungles and psychedelic meadows.
After a descriptions of odd objects decorating the studio we have this image of the artist, ”very Robert” if I may say so:
Parill sat and stared into the air. Dust particles danced around in a sunbeam. Then he suddenly got up and went to his easel. From a hanger he picked up a painter coat, black and full of color patches in quaint randomness. He wiped his fingers on it while he painted. – I glanced at the canvas, a landscape with a few houses next to a lake and a sun over some mountains on the other side. (...) You could see yellow fields and shady houses, a copper green lake and a blueberry sky. From a tube Parill pressed out some paint onto the palette and seemed to have forgotten my presence. He picked up a brush, approached the canvas and started working at the shadows cast by the houses. He put on green and blue, crossing the brush strokes and having the colors blend. ”Shadows are never black,” he said. – I agreed to this wisdom, bowed and headed for the door.

[chapter sixteen, ”The Artist”]




Coda

Robert was a fascinating guy and I could go on telling about his peculiarity. However, in light of what I've already told I guess that a sample of his artworks is the best way to portray him. He was my brother and he's still alive to me, I've intimated it above and now I say it again. And above that, his art lives on. Judge for yourselves.

(All the paintings below are in private collections. Click on each picture to get an enlargement.)


"The Knight and the Brook" (oil painting of a medieval knight coming to a brook in the woods)


"Nonfigurative" (nonfigurative oil painting exploring color and shape per se)


"Still Life" (oil painting of flowers, rather much in the impressionist vein)


Cover of "Antropolis," executed by Robert


"Söråsele Summer" (oil painting of Lake Söråsele, southern Lapland)


"Saltoluokta" (oil painting of Lake Langas and surrounding mountains in northern Norrbotten)


"Summery Sky" (aquarelle of Lake Söråsele)


"Sunset" (oil painting of a Norrlandic house, the motif as such is made up, not being a "real life" motive)




Related
Son of Sweden (poem)
A Presentation of Antropolis
In Swedish: Antropolis
In Swedish: On Spiritual Joy
In Swedish: The Death of My Mother
Swedish Version of This Obituary
The top picture is of Robert sometime in the 1990s. The next picture shows him at Genebiblioteket in Övik, hanging pictures before an exhibition, same decade.

torsdag 28 april 2016

Radikala inlägg på denna blogg


Summary in English: this is a collection of links to right-wing posts, in Swedish, on this blog. -- Den här bloggen har funnits i 8 1/2 år. Den startades i november 2007. Här ska jag berätta om denna bloggs politiska sida. För att vara exakt ska det handla om länkar till diverse högerpräglad, radikalkonservativ litteratur jag behandlat genom åren.




Denna blogg är ingen nischblogg. Den innehåller inte bara politik. Nej, den innehåller ett och annat. Gå till denna innehållsförteckning och botanisera. Där finner ni länkar till artiklar om bilar, om politik, om science fiction och annat. Ni finner inlägg om filosofi, esoterism, historia och info om mina böcker.

Men om vi nu pratar politik, vad har jag då att komma med där? Om vi, som utlovat, talar högermässig litteratur, vad kan jag bjuda på?

Jo detta.

Om vi börjar med högervinklad science fiction kan jag ge dessa tre länkar:

. Norman Spinrads "The Iron Dream" (1972). Spinrad roade sig i denna roman att skriva så som Adolf Hitler kunde ha skrivit. Gå hit och läs mer, detta är en odödlig sf-klassiker.
. Robert Heinleins "Starship Troopers" var en kontroversiell bok när den kom 1959, ja även senare. Den handlade om nödvändigheten av diktatur i tider av totalt krig. Mer här.
. Frank Herberts "Dune" kan sägas vara "arkeofuturism i aktion". Boken skildrar en ålderdomlig framtid, en framtid där det nya och skenbart ålderdomliga samsas. Här.

Det om sf. Om vi ser till politiska essäer, vad har jag då recenserat? Jo, till exempel detta:

. Julius Evolas "Ride the Tiger" (1961). Det är en bok om att, som radikalkonservativ, i viss mening bejaka den moderna tidens nihilism och materialism. Förutsatt att man har ordning inom sig, och har en tro på högre värden, kan nihilismen vara en renande kraft. Mer här.
. Oswald Spenglers "Västerlandets undergång". Spengler såg, till skillnad från liberaler, inga "eviga framsteg". Nej han ansåg att kulturer lever upp, blomstrar och går under i ett fast mönster. Även om jag är mer av optimist än pessimist så är Spenglers syn berikande. Den är ett rungande alternativ till förnumstiga liberalers framstegstro. Gå hit.
. Friedrich Nietzsche var, utåt sett, en ateist-nihilist. Men under ytan fanns en tro på något högre, det fanns "gudomliga begär", "evig återkomst" och annat esoteriskt. Se här.

Nietzsche påverkade för sin del både Spengler och Evola. Och han påverkade Ernst Jünger, som jag skrivit en del om. Ett axplock ur mina Jüngerartiklar är dessa:

. En biografisk skiss över Jüngers bravader tiden 1945-1998. (Han levde 1895-1998.)
. En recension av romanen "Heliopolis" från 1949.
. En recension av "Das abenteuerliche Herz" från 1938.

Det var några länkar till högerradikala texter på denna blogg. Väl bekomme.




Relaterat
Science Fiction Seen From the Right
Spinrad: The Iron Dream
Ambrose: Eisenhower - Soldier and President (1991)
Arméstaben: SoldF 1957
Göteborgs konstmuseum

onsdag 27 april 2016

An Interview With Lennart Svensson, Author of "Borderline"


This is an interview. Technically I conduct it with myself = an auto interview. The focus is on my works, past and present.




Q: Can you state your name and place of birth?

A: Certainly. I'm Lennart Svensson, born in the north of Sweden in 1965. I turned 50 in December last year, 2015.

Q: Do you like being 50?

A: I do. But as Ernst Jünger said, "spirit has no age". So I'm not indulging in being this or that age. I simply am.

Q: Speaking of Ernst Jünger you published a biography of him in 2014. Comments?

A: None, other than that the book is still to be bought. From a creative point of view I knew the subject, Jünger, I enjoyed writing the book and now my fellow brethren and sistren can read about Jünger and be amazed and intrigued, being led to spiritual clarity.

Q: Spiritual clarity indeed. Your essay "Borderline" is receiving coverage here and there these days. Like this review on Heathen Harvest.

A: Indeed. They even seem to like the book.

Q: Why is "Borderline" so important?

A: It's a beacon of hope for a culture bogged down in relativism and nihilism. The science community of today advocates reductionism which is absurd; holism is the only way ahead. There has to be an element of metaphysics in physics, otherwise it gets totally unintelligible. That's what "Borderline" is about -- as well as being a strategic overview of Plotinus's eidetic, "ideas-based" ontology. I also discuss how his followers brought the doctrine into our times, followers like Goethe, Ernst Jünger and Hugo Fischer. As Fischer has demonstrated, Plotinus can teach today's scientists a lot about metaphysics.


Q: Is that all?

A: No. In addition to this, "Borderline" tells about holistic ethics, how to act as a human being given that the world is an organism and not a machine. Man is not a robot; man is a microcosmic organism mirroring the organic macrocosm. Man has will, thought and compassion in his being and in the book I teach how to acknowledge this. Also, I speak about literature and art in this respect, depicting people like C. D. Friedrich, T. S. Eliot and Edith Södergran and their holistic opuses. Ernst Jünger also gets a chapter; he's referred to throughout the book and specifically, his approach to "life, universe and everything" is covered in chapter 25.

Q: Strictly speaking, "Borderline" was published last year. This year, 2016, you've published another book-length essay, "Science Fiction Seen From the Right". What's this?

A: This is a study summing up 20th century science fiction and fantasy, seen from a conservative point of view. Now, it doesn't cover every author in the field, not even every author having once held some conservative view. However, it does cover a lot regarding an overview of the field from a traditionalist standpoint. Authors like Heinlein, Herbert, Lewis, Tolkien, Bradbury, Pournelle, Niven, Dick, van Vogt, Howard, Lovecraft and Clark Ashton Smith are covered, along with Borges and Castaneda and some additional names like Moorcock and Bradbury. Even Ernst Jünger gets a chapter...!

Q: He's always there.

A: He is, when there's reason to mention him.

Q: Apart from this, the conservative angle, what made you write the book?

A: It was a labor of love. I mean, I do have a polemical message with it all, an errand of snatching back sf from leftists and Social Justice Warriors who currently seem to occupy the genre. The conceptual-political battle is raging and I'm on the right side. That said, the book is also about the wonder and glory sf and fantasy give us, about ideas and visions, about fantastic stories in the realms of future lands, lost worlds and parallel demesnes. I've been reading sf and fantasy for over thirty years and this is my report.

Q: And the future? Of your operation at large?

A: I can give no details but I currently write this and that, both works of fact and fiction.

Q: But as for fiction, you have already published novels?

A: I have. In Swedish I've published the novels "Antropolis" and "Till Smaragdeburg". Here's a presentation in English of "Antropolis".

Q: In Swedish, you say. Those books were published in 2009-2010. Since then you've written and published yourself in English. Do you still consider yourself a Swedish author?

A: You could say: if a Swedish editor mails me and asks about manuscripts in Swedish I can send him that. And if an English speaking editor asks me about manuscripts in English, I can give him that too. I'm rather bilingual, you might say. The mail is lennart.svensson24ATcomhem.se

Q: Briefly, the world situation at large. Are we in for it? Is this the end?

A: No, of course not. There's no risk for major war as this link will tell you. The world might seem a mess right now but the forces of Light are advancing. The Russian leader Putin has done a lot, in intervening in MENA 2015-2016, to rectify the situation. He might not be a saint and I don't support his every move -- and I remain being a SWEDISH nationalist -- but he is on the good side. The Westworld, for its part, is enmeshed in evil. With the US as a linchpin it's a corrupt regime in need of reformation and this will also come about, on legal grounds and not with an all-out shooting war. That's what I see before me. The fear-based thinking has to give way to a more constructive approach.

Q: Constructive? Isn't there a propaganda war raging, isn't this a time to fight and not to build?

A: OK. I mean, the situation is dire and we need to stand firm in opposing evil. But the situation isn't as bad as many internet pundits, even on the right side, seem to think. A war it is but it's a propaganda war and a frequency war -- thus, tune in to your own frequency and don't become dejected by reading false visions of a looming war. Stand firm in your personal being, employing "C3", that is, meditate and be "calm, cool and collected". A man who controls his breath controls the world.




Related
Ernst Jünger -- A Portrait (2014)
Borderline
Heathen Harvest reviews Borderline
Science Fiction Seen From the Right
Antropolis

måndag 25 april 2016

Review: The Illuminoids (Wilgus 1980)



Secret History can be interesting. And Neil Wilgus might be the right man to guide the reader through its nooks and crannies. His book is entitled ”The Illuminoids” and was issued in USA in 1978. This is based on the British 1980 NEL issue.




1.

We live today in a kind of virtual war: propaganda war, frequency war, a war of nerves. Our inner minds are the battlefield.

To win in this war we must stay cool and stay informed. As for speading information about grey area operations fact books is the way to goo. For its part, to write novels fictionalizing parts of the narrative is a dead end. From this view, that of highlighting the viable factbook, the readable, succinct factbook, I’ll here take a look at Neil Wilgus’s ”The Illuminoids”. It was issued over 30 years ago but it still has something to tell us. Wilgus admits the grey area character of his subject, the secret history of the West, and in doing this portrays an area of research often shunned by manistream academics. Wilgus tries to stay critical of the worst excesses of conspiracy research.

As intimated, you should not fictionalize this subject. In this respect, Robert Anton Wilson and Robert Shea’s ”Illuminatus” trilogy from 1975 has not aged as well as Wilgus’s book. Their novel is rather lively and intriguing as such – but to have the elite club in question not as villains but as some kind of ”give them the benefit of the doubt, who knows what’s right or wrong” is out of sync with the zeitgeist. Evil forces has run the Westworld from the sidelines since at least the 1700s – and Neal Wilgus, in his factbook-cum-essay, portrays this better than Shea-Wilson in their hip novel trilogy.

Wilgus was right in writing a nonfiction book on the subject. He had read the Wilson-Shea trilogy, however, as intimated his own ”The Illuminoids” takes a critical approach to the written sources concerned. This attitude holds its ground. This approach to the material still benefits us today, 35 years later, when we are in the process of ridding the world of the globalist elite club empire.




2.

Neil Wilgus writes about the historical Illuminati, secret dealings, crimes, wars and rigged ”secret history moves” in ”The Illuminoids”. The title per se is meant to be a derivation of the Illuminati, meaning ”like / of the Illuminati” or somesuch. Wilgus’s sources include Nesta Webster’s ”World Revolution – The Plot Against Civilization” (1921) and ”Secret Societies and Subversive Movements” (1924), John Robison’s ”Proofs of a conspiracy” (1797) and Clarence Kelly’s ”Conspiracy Against God and man” (1974).

Now let’s take a look at the contents. The first half of the 190 page book is a captivatng narrative of elite club doings in Europe and the US from the 1700s and on. The latter half of the book is made up of diverse timelines and chronicles, repeating some of what’s gone before and adding some new facts.

Chapter one, for its part, is called ”Some Founding Fathers” (p 17), telling of the founding of the Illuminati in 1776, its prosperity and subsequent forbidding ten years later (but the group continued to exist in spite of it). Then is depicted secret aspects of the American Revolution: it is told in detail about George Washington, secret club involvment and the occult imagery of the US government seal. This was unknown to many in 1978 but today it’s common knowledge.

Chapter two is called ”A Rogue’s Gallery” (p 34), covering the French revolution. With figures like Mirabeau, abbé Sieyes, Talleyrand, the Duke of Orléans, Cagliostro, the diamond necklace affair, the German Union (1787) as a new Illuminati form, dr. theol Karl Bahrdt, Anarcharsis Clootz, and the Count Saint Germain as alchemist. Of the latter I’ve blogged here.

Chapter three is called ”Evolution of Revolution” (p 50), containing more about the French revolution. This chapter succinctly treats figures like Franz Anton Mesmer, the Marquis de Sade and Meyer Amschel Rothschild, p 51-52. Then there are some notes on the secret history of the 1700s before the revolution, with Diderot and the Encyclopaedists, Montequieu, Voltaire and Rousseau. We even read of Beaumarchais who wrote the plays ”The Barber of Seville” and ”The Marriage of Figaro,” later set to music by Mozart. Also, we read about Casanova, Tom Paine, Philippe Buonarroti and Louis de Saint-Just, a Jacobin, all of it told in a witty style, trying to capture the grey area of secret society Europe.




3.

Chapter four is entitled ”The Illuminoids” (page 68), taking up a few loose ends and giving us the secret history development to the present day (= the day of Wilgus’s writing, the mid 1970s). Here are mentioned such as Spanish alumbrados, Saint-Martin, Willermooz, Raymond Lull and the Middle East’s assassins (hashishin). On page 75f is told the story of the Nine Unknown, also covered by Pauvels and Bergier in ”Morning of the Magicians” (Fr. 1960, Eng. 1963, reportedly, a survey of the debunk kind, however, might still be worth the effort). – Furthermore are treated Manichaeism, Sufism, Atlantis, Guy Warren Ballard and the I AM strain. Any follower of this my blog knows that I AM is the moral-ontological statement of all times. The rest of the chapter (p 84-110) provides many clues to America’s secret history during the 1800 and 1900s, some of which I will elaborate upon below.

Chapter five is called ”An Illuminated Chronology” (p 113). This is a timeline from shortly before 1776, the Illuminati founding, to today.

Chapter six is called ”An Outline of Illuminated History” (p 137). This is a timeline from Atlantis to today, with various digressions in the maze of facts surrounding secret history.

Finally, we have ”Sources of Illumination” (p 177), a list of sources and some additional information.




4.

As we have seen Wilgus begins his book by talking about the 1700s, ”the times of Wigs, Horses and Muskets” with names like Washington, Mirabeau, Robespierre and Casanova etc. etc. All this has its interest but I will not go into it here. In the rest of this review I will look into various aspects of secret history of recent times, phenomena Wilgus elaborates upon with a rather balanced and – important! – not dismissive style. He is not out to debunk, like many other ”respectable” writers of the subject tend to be. Overall, Wilgus has noted the circumstantial evidence and deemed that it can not be ignored. You can’t debunk him because he’s got vast resources of bunk...!

A subject treated in chapter four is the establishment of the US Federal Reserve bank, as such, a privately owned cartel issuing debt notes, pretending to be a national bank issuing money. Wilgus relates some already known, yet interesting facts such as the following. – In the US state of Georgia there is an island called Jekyll Island. In a mansion on this island some top names in banking and finance held a meeting in November 1910. Two top politicians who attended were Deputy Minister of Finance A. Platt Andrew and Senator Nelson Aldrich. From the banking sector participated J. P. Morgan-men such as Henry P. Dawson, Charles D. Norton and Benjamin Strong and the Rockefeller-man Frank Wanderlip. The meeting resulted in plans that led to the founding of America’s privately owned Federal Reserve.

- - -

Wlgus also tells of the Anti-Mason movement in the United States, a failed attempt in the 19th century to stop the elite club governance. – That the United States was founded by Masons is not a secret. Washington, Jefferson and other fathers of the republic were active in the secret society of Freemason. Freemasonry as such may have some spiritual strains but on the top levels it soon got hi-jacked and co-opted by power-mad operators of the illuminoid kind.

Then came an American opposition to Freemasonry. A significant example is William Morgan’s book from 1826 in which Masonic activities were revealed: ”Illustrations from Freemasonry”. This gave rise to a protest movement against this secret club. For example, in 1830 was held anti-Masonic conventions in Massachusetts and Vermont where they presented evidence that the Freemasons had been taken over by the subversive, atheist-nihilist Illuminati, founded in 1776 in Bavaria. Illuminati had on his program the abolition of the family, private property, inheritance rights, patriotism and religion, and the establishment of a world state, so you can understand that people were upset. In light of the revelations, a new political party in the United States became the Anti-Masonic Party. They stood in the presidential election in 1832. But no breakthrough was reached either then or later this decade. The party was disbanded in 1838.




5.

Then there are som lines on the silver standard and uts drama. Even in the Bible, under King Solomon, silver was belittled. ”Silver was not considered valuable in the days of Salomon,” it says in 2 Chronicles 9:21. This is seen as an early devaluation of silver coining by the pseudonym R. E. Search in ”Lincoln Money Martyred” (1935). But the Bible passage does not speak of the coin, but how Solomon preferred gold for household items and art objects. Coins didn’t begin to be used until several centuries later, according to established history. About Search and the antique currency debate we read in page 87 of Wilgus’s book.

- - -

Can political murders generally be attributed to conspiracies? Is the theory of ”the lone madman” a routinely put up cover story? Indeed, there are indicia that many famous presidential, prime minister and head of state murders may have been planned. Archduke Franz Ferdinand in 1914, Stolypin, President McKinley, Kennedy, M. L. King, Malcolm X and so on and so on.

For instance, Wilgus relates suspicions concerning Secretary of Defese James Forrestal’s death in 1945 at Bethesda Hospital Neuroligical Ward. Even Joseph McCarthy died there in 1957, officially of jaundice but according to secret history theory, a deliberately injected drug overdose (mescaline or LSD), which may have made him suicidal. Cooper has more details on the Forrestal-murder.

Drugs: it is since the 1970s proved that the CIA experimented with drugs on people. According to Wilgus, the CIA, for example, admitted that it gave Dr. Frank Olsen LSD in 1953 so that he died (= this triggered him to suicide). In addition to LSD, the CIA developed drugs that would brainwash people or trigger the programming they received, or have retired agents forget information they received when they were in active service. In other instances, the CIA has been experimenting with mind control, arising out of such as B. F. Skinner’s behavioral sciences and ”aversion therapy” (= make people dislike something by associating it with discomfort). In addition, there are such things as brain surgery / lobotomy and surgical implanting of electrodes in the brain. To some extent, the brain works as a computer that can be programmed. All organizations, from the church and the army to the prison system, know this says Wilgus (page 90). On a smaller scale, this applies on such a case as the 1970s SLA terrorist group who kidnapped the millionaire daughter of Patty Hearst and had her take part in a bank robbery.

Behavior manipulation can also be used to control gunmen and killers. This may be suspected of Robert Kennedy’s assassin Sirhan Sirhan, and Lee Harvey Oswald, the grey area figure and patsy of the JFK murder. – More about the theories of Sirhan can be found on page 91 in Wilgus’ book.

Already in the 1700s there were behavioral manipulation in the form of hypnosis, developed by Franz Anton Mesmer. He was a German who lived from 1734 to 1815. The subject of behavioral control in connection with the Jacobins time in power (and Weisshaupt, the founder of the Illuminati), Wilgus treats on the pages 92-93.




6.

A theory that Wilgus discusses is this: that it is the Democratic Party of the United States that draws the country into war, and possibly the Democrats have been a little more elite club-influenced than the Republicans. Just look at the Democratic presidents Wilson (World War I), Roosevelt (World War II), Truman (Korean War) and Johnson (Vietnam War). Truman and Roosevelt were both highest degree Freemasons (33rd level) and Roosevelt placed the Illuminati pyramid symbol on the back of the one dollar note. Besides Democrats the elite club Council on Foreign Relations (CFR) has been the haunt of America’s elite in general, where the member list included people like Nixon, Eisenhower and Kissinger and Henry Cabot Lodge, Zbigniew Brzezinsky and Jimmy Carter.

- - -

A note on the subject ”Wall Street and Bolshevism,” from Wilgus’ book. Banker J. P. Morgan had spent money on President Wilson’s campaign in 1912. Then he financed Lenin’s and Trotsky’s Russian Revolution, as well as selling weapons to the English before the First World War. The affair of Lusitania played a part in this. A central player in these times was President Wilson’s adviser Colonel E. M. House. House participated in the founding of the CFR. He also wrote a novel painting a picture of an elite club operator: ”Philip Dru, Administrator”.

- - -

Overall, Wilgus book is crisply written, a popular history rendering with a certain depth. Wilgus takes no position on the material but he seems to suggest that the topic of secret history has substance. The official history of our times, that history can only be created by decisions made by official bodies, is incorrect. Elite clubs and secret groups with hidden agendas have characterized the history of the West since the 1700s.

Moreover, I am proud that I own the English edition of this book. It has among other things a memorable cover (see picture). The American edition was much simpler.




Related
Ascended Masters
Cooper: Behold a Pale Horse (1991)
New World Order: What it Means [in Swedish]

onsdag 13 april 2016

Book News: Science Fiction Seen From the Right (Svensson 2016)


My new book is out now on Amazon. It's a massive, book-length essay about 20th century science fiction and fantasy.




"Science Fiction Seen From the Right" is now to be bought from an internet bookstore near you. This study examines 20th century SF and fantasy, focusing on works having some discernible relation to eternal values such as faith, responsibility, duty, honor and courage. The chapters depict American and European authors like Heinlein, Herbert, Lewis, Tolkien, Jünger, Boye, Howard, Lovecraft, Borges, Pournelle, Dick, Bradbury et cetera. In addition, there are chapters delineating the development of the genre and a look at comics, films and specific themes such as nihilism, history and war.

Some product details:

Paperback: 378 pages
Publisher: Numen Books (March 24, 2016)
Language: English
ISBN-10: 0994252595
ISBN-13: 978-0994252593
Product Dimensions: 6 x 0.8 x 9 inches

Some quotes from the book could come in handy. For instance, this I say about Ray Bradbury:
We all know that Ray Bradbury (1920-2012) was a man longing for years gone by, for the American 1920s with T-Fords, striped cotton suits and icecream sundaes. But this kind of sentimentality can’t be tolerated in a study like this. Tradition isn’t about being sentimental, it’s about acknowledging Eternal Values, values that still can lift us, inspire us and guide us, offering an alternative to the current materialism and nihilism. For in essence, sentimentality is a form of nihilism. Therefore it takes some time to sort out the Bradbury stories having to say something to us even today, stories about Faith, Musicality, Awareness and Courage. [p 299]
And about H. P. Lovecraft I, for instance, say the following:
Lovecraft had read Oswald Spengler’s Decline of the West (1918-1922), an outline saying that the Westworld is doomed, having its best days behind it. Decadence rules and this Lovecraft for instance conceptualized in his New York stories (He, Cool Air, The Horror at Red Hook). He cherished the Colonial times when white anglo-saxons ruled America and he resented the large-scale, 20th century-style immigration; q.v. the short story The Street, catching in nuce the sociological development of America. Lovecraft was pretty much against the modern lifestyle and embraced old-school and archaic attitudes aplenty. [p 235]
The following is another take on the subject of nihilism in science fiction:
[N]ovels like Gene Wolfe’s The Book of the New Sun (1980-1983), Sam J. Lundwall’s No Time for Heroes (1971) and Harry Harrison’s Bill, the Galactic Hero (1965) are all rather enjoyable, the first for its accomplished style, the latter two for their drive and wit. -- That said, to have an executioner as main character (Wolfe) overall leads out into nothingness, as does the banterings of the other two, I figure. A hero is led by Will, Truth and Compassion; an antihero is a symbol of the opposite, of decadence, whose core concept is nihilism. If you accept that, then these books can be estimated at their true value. Just don’t come and say that they’re some kind of alltime, essential classics pointing the way ahead. For this some embracing of ideals is needed, some spiritual elevation. [p 332]
The following I say about Jerry Pournelle's classic of Military SF, The Prince (2001):
Duty, honor and mayhem, portraying ”the muddy, bloody business of fighting on the ground”. This is one for the grunts, basking in ”the everlasting glory of the infantry”. This is serving, this is loyalty, this is bonds of friendship, tied in blood; a gust of wind from the archaic, staged in the future. Thus, we again have the archeofuturist strain that often seems to accompany right-wing SF. [p 293]
A portal figure of the book is Robert A. Heinlein. In chapter one I for instance say this regarding his topical fiction:
The ideals of olden times are still viable. Self-restraint, self-reliance, responsibility and nobility of character must be remembered and imparted, again and again. And in his 1950s novels Heinlein did just that. Maybe his later books strayed off into ”strange lands” for a right-winger but we must remember that Heinlein remained an anti-communist all his life, bent on opposing the most nihilistic and murderous regime there ever was, this in a time when the mainstream intellectual embraced socialism and collectivism. [p 16]
In other words, this is what you get in "Science Fiction Seen From the Right" -- a venturing out into the vistas of wonder and glory, right-wing style.




Related
A Presentation of the Book on the Publisher's Site
Sample Chapter: European Dystopias (Huxley, Orwell, Samyatin etc)
Buy the Book on Amazon
Buy the Book on Adlibris

onsdag 6 april 2016

Borderline Reviewed


All praise to "Borderline -- A Traditionalist Outlook for Modern Man".




On the Manticore Press site there was recently a review of my book "Borderline". In it, N.M. Phoenix praises the book’s synthesis of holism, anti-reductionism and mysticism. The survey of perennially minded, traditionally inclined authors treated in the book is also appreciated:
The ending chapters cover Nietzsche and a few profound poets whom portray Tradition and holistic thought. It is difficult for me to reiterate his chapter on Nietzsche, which also discusses Evola in depth, but it is certainly one of the best chapters. It ties in much of what was recently mentioned and its relevance to the teachings of both Evola and Nietzsche. Following this chapter is a discussion on Södergran, T.S. Eliot, Freidrich, Swedenborg, and Jünger respectively. These were no less enjoyable chapters, and I have personally fell in love with Södergran whom I was unaware of until this work.
As a coda of the review Phoenix has this:
"Borderline" by Svensson is worth reading, contemplating, and applying in practice. Even weeks later I recall parts and allows me to shift how one thinks about things. It is an excellent survey of Perennialism, and is filled aplenty with writers and philosophers to further study. Think of it as a college course, or lecture, and contemplate the content. It is well worth the time and effort.
The whole review can be read here.




Related
N. M. Phoenix Reviews "Borderline"
More Info About the Book
My Bibliography

söndag 3 april 2016

April Post


It's been a while since I posted something new on this blog. Therefore this post of diverse content.




1.

My recent reads. First it's "Saint Bridget's Pilgrimage" by Heidenstam, a novel written on poetic prose which works rather well. However, it's a bit contrived in places which is always the risk with "poetic prose". Overall, I liked reading a full-length novel about a spiritual person even though her self-deprecating manners are a bit alien to me.

Then it's "Rommel" by Desmond Young. The parts about Rommel's WWI career, France 1940 and the desert war are OK, an informed author (Young was an army colonel) telling about Rommel's wars as succinct as can be, with the right amount of telling detail.

Lastly, it's "God Talks With Arjuna," Paramahamsa Yogananda's Bhagavadgita translation and commentary. The author can convey Perennialism in a highly readable manner. This is syncretism at its best.




2.

They talk about "ending the Fed". Having the US Federal Reserve, the scheme of issuing dollars as a sort of debentures and not "valueable money," to end -- that would be a victory for the forces of Freedom and Light, taking back power from a private cartel of bankers and putting it with the constitutional government.

And indeed, now it seems that this has happened -- discreetly -- by way of having the Federal Reserve put under governmental control. This is shown by its web address now ending .gov instead of (as from its beginning until now) .org.

Check it up yourselves if you don't believe me.




3.

Spring is here, most of the snow is gone. Some parts of the sounds surrounding the town are iced, some have open water.




4.

My philosophy of life, an ethic anchored in Being, is the following: a man should test his strength, push his limits concerning hardships and hunger and face death, ingraining memento mori in his mind; all these actions make him sober up and in the long run, raise him mentally. To this, the active man has to learn how to meditate, how to sit correctly in zazen position and breathe calmly and gently. Both ”to meditate” and ”to live in the world” are actions; both the vita contemplativa and the vita activa require willpower.

Will is the basic element of the universe along with Thought and Compassion. In the Beginning were Will and Thought; they united and then chose to merge with the Light. Man is a mirror of God; God created man’s soul by taking of his own Eternal Light. Man, like God, is a composite of Will, Thought and Compassion. By saying, ”I AM”, man affirms his divine nature.

A man of action has to know about the limited lifespan of his physical body (= ”death”), he has to live in the here-and-now and he has to see wholes, not being led by details. The way to live anchored in Being can be characterized as ”seek rest in action – operate with ease and skill – meditate while acting – I am, therefore I act – we all have to act – live anchored in True Reality, acknowledge your Inner Light – live holistically and here and now”.




Related
New Book
The Poetry and Purple Prose of Clark Ashton Smith
Ascended Masters: Some Info
Caza: The Ark
Henri Rosseau, "The Repast of the Lion"

torsdag 10 mars 2016

Online Now: Finnish Review of "Borderline -- A Traditionalist Outlook for Modern Man"


In 2015 Numen Books published my philosophical essay "Borderline -- A Traditionalist Outlook for Modern Man". Now it's been reviewed by the Finnish site Sarastus.




Sarastus is a Finnish langauge site for traditional culture. Maybe typical of the site is writer Markku Siira, describing himself as "a traditionalist from Northern Finland. Among his interests are the history of Europe, esotericism, religion, metapolitics, poetry, literature, and etymology". Now Mr. Siira has written and posted a review of "Borderline" on Sarastus. He has also kindly provided me with an English translation, which I will publish below with only some marginal, introductory notes by myself. In other words, here is given the whole of Mr. Siiras text, complete and unabridged.

The title of the review is "The Boundary Lines of Traditionalism". Siira begins the text with an overview of the world situation, a situation that could warrant pessimism:
National-radical circles throughout Europe often flirt with Western or Indian esotericism, not to mention the Spenglerian cyclical worldview. Radical traditionalists may mention the Kali Yuga of Hinduism; the dark era, when after some greater or more prosaic event the world sinks yet deeper into the decay brought about by liberal modernism. For cultural pessimists, this negative undertone is not unfamiliar, whatever their religious context, and I admit that I have often thought so myself during the decades of my esoteric truthseeking.
Then we're told of an instance of optimism:
Apparently one needs to be born Swedish to achieve a particular mixture of bright optimism and traditionalism, as is the case with Lennart Svensson. Svensson, who was born in 1965, is a writer who in addition to his Swedish works has previously written English portraits on Ernst Jünger and the composer Richard Wagner. Svensson lives in Northern Sweden, and has a degree in Indology; in the course of these studies, Svensson became convinced of the truth inherent in the Traditionalist school of thought.

In 2015, Numen Books published Svensson's latest book Borderline: A traditionalist Outlook for Modern Man. I purchased this book after reading Svensson's blog and after having followed his Facebook updates, which interested me, but also irritated me somewhat because of his lavish future optimism and excessive esoteric syncretism. However, it is at times broadening to step beyond one's own stubborn trains of thought, and read something different.
Below is given the rest of the review, which I won't comment on:
Svensson's view is indeed somewhat different. Drawing from the Vedic tradition, meditation, as well as the metapolitics of the European New Right, he has the nerve to claim that the grim and depraved Kali Yuga belongs to the past, and we have in fact stepped again into the time of Sat Yuga, the new golden age of peace and beauty, even though many in the midst of the world's turmoils are not yet aware of it. Svensson also believes that the devastation of a third world war is unlikely, even though many major powers speak of a new Cold War and rattle their sabres verbally and even physically.

To get to the the core of this kind of thinking, Svensson has written Borderline. In this book, he aims to present integral traditionalism for today's man, and at the same time opens the border areas of philosophy, science, art and morality. Svensson serves a holistic table setting, and highlights the historical characters from the ancient Greek Plotinus to Goethe, Carl Jung and to Swedish Emanuel Swedenborg.

Svensson's traditionalism also integrates Nietzscheanism in it, which at first glance seems a little strange, but the reader gets used to these arguments in the context of the book. According to Svensson, Nietzsche, who talked about the death of God, was not an advocate of nihilism and materialism, but one of the European idealistic "grey area" philosophers: the man of Will, who channelled ancient Greece's Dionysian and Apollonian energies.

Borderline is a comprehensive package: it includes metaphysics, quantum physics, reductionism, romance and ethics. The reader will become familiar with Ernst Jünger's friend and a kind of mentor, the German philosopher Hugo Fischer; with Fichte, T.S. Eliot and many other "borderline cases". Svensson even delves into the more dubious secrets of spiritual awareness, with reference to Rudolf Steiner's anthroposophy and Christology.

Also part of the book are "Nietzschean" poet Edith Södergran, as well as the painter of the Romantic movement and the European soul landscape artist, Caspar David Friedrich.

Despite this breathtaking character cavalcade, Svensson's work is held together by a clear red thread of perennial philosophy. This thread bridges together the holy writings of the Indian Bhagavad Gita, Christian mysticism, as well as Western arts and sciences. Svensson has also read his Julius Evola, and encourages readers to give him a chance, even in the midst of our seeming chaos and nihilism, for a worldview based on order and balance, as well as for the meditative "I AM"-way of life. As is always the case in human spiritual development, everything starts with oneself; this is how the Evolian spirit of nobility can be excavated from under the internal indolence through esoteric knowledge and active action.
Siira ends his review with this quote from the book, an aphorism by me LS summarizing my creed:
You have to be an Aristocrat of the Soul exerting order, not a Chaos Man exerting chaos. And truly, these are chaotic, decadent times. The Chaotic Mindset rules seemingly supreme. So then, how is it to be an Aristocrat of the Soul in this time of decay? What does it mean today to be an esotericist having order within; how does he project this order to the outside world? Does he even do it; is he maybe satisfied with being a quietist, reclining in splendid isolation? This is also feasible. To abstain from direct action is also a way of acting. The Aristocrat of the Soul is the key figure of today, when the esoteric and mythical forces are rejuvenated. Kali Yuga is over. Sat Yuga is here, an era dedicated to art, science and spirituality. [Borderline, p 216]




Related
Original Finnish Text of the Review on Sarastus
Info about "Borderline" on Svenssongalaxen
Buy the book on Amazon
Buy the book on Adlibris
Svensson Interview
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