torsdag 12 februari 2015

Ny policy: fria e-böcker upphör

Summary in English: this is info about my free resources, my Swedish language e-books.

Du som gillar gratis, passa på: sista april är sista dagen för dig att ladda ner mina gratis e-böcker. Den 30/4 2015 är sista dagen jag har mina e-boksfiler uppe för fri nedladdning. Sedan tas de bort.

Varför? Därför. Gratispolicyn är slut för den här gången. Kanske kommer filerna upp igen på något annat sätt, kanske inte. Nu, effektivt från 30/4, är det cash on the table som gäller för dig som vill läsa Svensson. Köp böckerna på Adlibris.

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Filerna tas snart bort. Passa därför på nu och ladda hem dessa, du som gillar fria pdf:er och/eller epub-filer av romaner, essäsamlingar, diktsamlingar och en novellsamling, allesammans signerade Svensson. Dvs dessa:

Antropolis (2009) --- presentation --- pdf
Agajan äventyraren (2009) --- info --- pdf:en fritt på Dropbox --- epub-filen fritt på Dropbox
Till Smaragdeburg (2010) --- bloggtråd med recensioner --- pdf
Camouflage (2011) --- pdf:en direkt --- bloggtråd

Eld och rörelse (Etherion 2007) --- pdf:en direkt --- blogginlägg med citat

Grönt ljus (2009) --- presentation --- pdf
Tempel och trädgårdar (2011) --- info --- pdf

Skallet från den kapitolinska varginnan (2009) --- blogginlägg med länkar
Drakens spegelbild (2009) --- pdf:en direkt --- reklaminlägg

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Återigen: passa på och ladda ner nu, snart tas filerna bort (deadline 30/4, se ovan).

måndag 2 februari 2015

Junge Freiheit reviews "Ernst Jünger -- A Portrait"

In my Jünger biography I say this: Ernst Jünger was unique, a great author, maybe Germany's greatest author since Goethe. Not everyone has this outlook. But a review of my book in the German periodical Junge Freiheit has noted this strain, this way of lifting Ernst Jünger to the realm of classics.

Junge Freiheit is a German political weekly, a radical conservative forum for debate, culture and politics. The title means "Young Freedom". The paper was founded in 1986 and immediately, or shall we say, in the 1990's, became a subject of controversy, at least for the leftist German mainstream. Otherwise it's rather natural for a country like Germany, with its conservative past, to have a political magazine covering issues with some footing in tradition, moderation, anti-communism and anti-globalism.

The circulation of Junge Freiheit is 22.000 (2012 figure by courtesy of Wikipedia.) I even mentioned Junge Freiheit in my biography. In chapter 4 I touched upon how Jünger apreciated this right-wing, radical conservative newspaper. Therefore I was glad to hear that Karl-Heinz Schuck in Junge Freiheit 6/2015 has read my Jünger bio. Here I'll try to summarize his review, with quotes translated from the original German into English by me.

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Schuck begins by intimating that "Ernst Jünger -- A Portrait" is no academical biography but a portrait by a devoted reader: "To Svensson, Jünger is the greatest German author since Goethe, and this admiration for him shows through the almost 300 pages like a red thread."

Schuck notes how my book takes a wide outlook on the subject of Jünger, with a bio for starters and then summaries and critiques of his central works. Schuck likes the poingnant quotations and the way I explain them in relation to Jünger's philosophical creed.

To conclude, the review says this:
Svensson (...) cleverly connects Jünger's work with that of other authors having inspired him, and also with authors being to some extent like him. Enigmatically, we are shown common traits with the American Science Fiction author Robert Heinlein and Rudolf Steiner, the founder of Anthroposophy. This shows how wide and deep Ernst Jünger's thinking was and that therefore his reputation as a "Writer of the Century" is rightfully deserved.

The review can only be found in the paper issue of Junge Freiheit. However, if you want to check out Junge Freiheit in general, here it is.

As for my book -- "Ernst Jünger -- A Portrait" -- you can buy it on or For Swedish customers we for instance have the outlet Adlibris.

My presentation of "Ernst Jünger -- A Portrait" on this blog
Living Traditions' (Australia) review of the Jünger book
Nordic Sphinx: A Svensson Poem

torsdag 22 januari 2015

The Sun in the Dark (poem)

Now I feel like publishing a poem. It's written by guess who. It's called, "The Sun in the Dark".

I'm a central Scandinavian poet. Another example of my poems is this one. But now make room for, "The Sun in the Dark":

The sun shines in the dark
beaming through space illuminating Earth
lighting my way as I go shopping:

- sunripe tomatoes
- solar baked grain
- mellow yellow bananas
- Solisan vitamin drink

Sol invictus! Triumphant Sun!

The sun burns in the dead of space
boils in 5.000 maybe FIVE MILLION degrees
radiating its heat in the abyss
and reaching our clod of earth,
to be filtered by the atmosphere
sieved through the air
shining through a tree
and shining on me
as I go home from the store
with solar bread in my basket.

Book Review of "Ernst Jünger -- A Portrait"
The Adventurous Heart
Jünger the Pious
On the Marble Cliffs
Jünger and the Craft of Science Fiction

onsdag 7 januari 2015

Some Notes on Spengler

Now and then I think about what to post here on Svenssongalaxen. This thinking is mostly done at 9 PM, after I've put out the lights and try to sleep. And now, after some deliberations, soul-searching and meditation, I've decided to give you this piece on Oswald Spengler's relevance today. I concentrate on Spengler's views on culture and art. Moreover I discuss "the city" rather a lot, the way the image of the modern city tends to symbolize Spengler's view on the fate of our civilization.


Oswald Spengler was a German scholar. About 100 years ago he wrote about the collapse of civilization in ”The Decline of the West” (1918-22).

So what, indeed, was Spengler? Just another Grand Old Man saying Profound Things on How Bad Things Are Today? -- I'd say he is grand. And worth listening to. Oswald Spengler’s ideas on the lifecycles of cultures with birth, blossom and death is highly relevant to our age. I’m telling you the truth: this is no mere Untergangsromantik, no indulgence in dark forebodings, although there might be a risk to read him that way too. It’s said that the Right have a tendency to dwell on pessimistic subjects, to secretly rejoice in the death and destruction of a society gone wrong, and maybe Spengler’s book caters to that urge somehow.

Be that as it may. All I can say is: with the help of Spengler we can face the transforming of civilizations. What we need is sobriety in our outlook, all in order to understand ourselves and the world. And in our culture, in the current international world-city civilization we have, as Spengler says, passed the apex. What’s left is reruns, recycling, parodies and copies. No-one takes anything seriously anymore. All that is left is consumerism, populism and panem et circensis. Nietzsche’s ”Last Man” rules supreme.

We’re at the end of a great era. Spengler says that our culture, the West, the faustic confluence, stood at its height around 16-1700. Since then we’ve mostly seen degeneration, the repetition of styles, dilettantism. The artist of the good old days – masters like a Bach, a Rafael, a Milton – created with good measure (Greek metron), learning his craft and confidently producing work after work. The artist of a later, romantic era for his part had to go beyond that, he couldn’t just repeat the Greatness of Old. But in so doing he had a tendency in trying to reach the unreachable, often failing in the task. See here for instance Ezra Pound’s outcry about his "Cantos" cycle: ”I can’t make it cohere!” That never happened to the masters of the great era.

This is a clever observation by Spengler. He for himself exemplifies with Wagner. Neither Wagner can really make it cohere. I myself love Wagner but I admit that the crevices and paddings show in his Great Work. It's somewhat devoid of measure -- metron.


Spengler is right in his critique on romantic fausticism. But otherwise you shouldn’t read him all too programmatically. I mean, if everything in the West after 1700 is Entartung and degeneration then for example Spengler's own work, ”The Decline of the West” from 1922, can't be taken seriously...! So let’s not focus solely on the decline-element. And Spengler himself privately admitted after his work had been published and Europe and the West gathered strength after WW1, that the title of the book should have been ”The Triumph of the West”. For through all the analyses of his work, his constructs by which the pattern of rise-blossoming-decay is to be proved, runs a great admiration of the west and its culture. It is the faustic culture, symbolised by Goethe’s Faust who wants to do everything, know everything, experience everything. It’s a veritable praise of the faustic world, of its geniuses in their cells probing the depths of existence, its explorers mapping every white patch of the globe, its inventors inventing previously unseen things, its schoolboys drawing dreamcars with a view to drive them along never-ending highways: I’m heading out to the highway… Roll on down the highway… Midnight on a never-ending highway…

The West: it’s the architecture where the front necessarily has to express something. That’s a typical western trait. We don’t always notice it since we’re born into it. But: ”Christian temples speak loudly about their interior, Muslim temples remain silent about it, antique temples doesn’t even think about it.” Spengler concludes that the cathedral starts from within, the antique temple from without; the mosque for its part both begins and ends in its interior, in its gilded, arabesque-fretted grotto. Few other scholars can make such succinct, symbolically telling summaries.


The West: it’s about central perspective and analytical languages, about a marching, drum-induced pace along boulevards that seemingly lose themselves in the hazy distance à la Champs Elysée, Unter den Linden, Valhallavägen and Sunset Boulevard. The symbol of the West is the plain, that of the Middle East is the cave.

The West: in Spengler’s vein it’s about the city, the faustic city with its fountains, squares, parks and boulevards, unique elements in a unique creation, living with it and dying with it. But as long as it lives we can walk in these megacities and feel sentimental over the beauty of these fronts with their cranea, volutes and gargoyles, over these interiors with their galleries, exedras, cupolas and pilasters, their halls and marble tables with gold inscriptions like these:
If in Infinity the Self forever flows
repeated endlessly in endless repetition
so arch the sure and numberless porticoes
upon themselves with force and impartition;
from everything out-surges love for life,
from vastest star to smallest kernel
and every pressure, agony and strife
is in the Lord our God but rest eternal.
This poem by Goethe ("Wenn im Unendlichen") was something of a Leitmotif for Spengler’s work: it was the cyclical, recurring pattern in the development of cultures that he wanted to capture. There were other Goethean influences – Faust of course, and the tendency to see history and indeed every aspect of human culture (cities, countries etc) as an organism and not a mechanism. Other than that Spengler was formed by Nietzsche, and here primarily by his Dionysean thought, his vision of the archaic, pre-classical antiquity. Archaic times had a more dreamlike quality, people then living in trance-like states with intuition to the fore, as compared to the late classic times where sobriety, transparence and analysis came to dominate. Spengler then saw the same pattern repeat itself in early European times with the Edda being sung in misty German forests, exuding a dream-saturated, adolescent power that slowly matures in the city culture (= civilization) and becomes overripe in the world city, the phase we now live in: international world-city civilization.


Eulogies for the West aside, we now live in end times and we have to see the signs, read the writing on the wall. And reading papers and watching TV makes it clear that today’s pundits don’t see these signs. Instead, they believe in a never-ending liberal utopia just around the corner, coming real if we only increase this and that aspect (education, free markets, growth) in quantative fashion. So a Spenglerian analysis comes in handy here. Why, exactly are we running out of steam, why is our current culture lacking vigour?

As intimated, the Faustian culture emerged in medieval days and blossomed around 16-1700. Barring some good works of art after this in general it’s a dismal time, a time of decadence. One of these is the cult of the novel, the long, the longer than long prose narrative as the optimal expression of literature. Gone is the archaic, noble héroïde sung in metric stanzas; instead we get bourgeois classics, urban narratives about shopkeepers, dandies, criminals, demimondes and liberated women: ”The latter-day epic focuses on the doings of a Nana, a Bel-Ami, a Hertha, and they’re all sterile.” The modern novel is a product of the city and will have nothing to say mankind of the future – to future man who will live in a more authentic, but not 19th century-like, culture. Instead it might, using Guillaume Faye’s concept, become an archeofuturist world.

Coda: The City

As mentioned the civilization of today is an international world city culture. We're governed by an elite traveling from mega city to mega city; they feel lost in the nearest countryside. Spengler stated this in 1922 and it’s still viable. It’s in the chapter ”The Soul of the City” and here we get his critique in a nutshell. The city is born as an extended village, grows in medieval times around a castle or a dome, blossoms in early modern times and declines successively ever after – declines, not on the surface that gets shinier than ever, but essientially since nothing new is created and everything is a repetition of styles, nostalgia and romanticism.

That the current times are a time of repetition and recycling, of pastische and parody and remakes, is clear to everyone. Everything is basking in the glory of past masters, making covers and commentaries, mimicking the originality of true creators. The demand for ”originality” is long gone. The words cultural fatigue spring immediately into mind.

Spengler is pointing these things out for us. He may be making too broad generalisations sometimes. And he's too pessimistic. I for one don't think that all is lost. Individuals, "aristocrats of the soul" can survive the decay by their erudition and willpower and thus become the leaders of a new era. That said, on the whole Spengler's work is truly enlightening. He learns us to see, to think in greater terms than the ”eternal development, eternal progress” of the liberal mind. After blossoming comes decay, after decay comes interregnum, and after interregnum comes a new dawn with a new birth. Exactly how the New West would appear he didn’t say, he believed that as westerners all our traits and characteristics would disappear and then a totally new culture would arise on top of the rubble. Spengler didn't sketch the next phase too clearly, adhering to the motto: ”It doesn’t pay a prophet to be too specific”, as Samuel Pepys said. To us who will live to see the fall of the West Spengler’s book however is a good companion, the educated man’s guide to the crumbling of the current civilization.

[Note: Oswald Spengler lived 1880-1936.]

Swedish Mystique
The Poetry and Purple Prose of Clark Ashton Smith
Ascended Masters: Some Info
Caza: The Ark
More Poems on This Blog
Top image, Stockholm City. Bottom image, from Härnösand's library

torsdag 25 december 2014

The Quiet Season

Hereby some unstructured ravings and rants.

"Screaming at the window"... thus the song "Diary of a Madman" by Ozzy Osbourne. So why this quote? Am I, Svensson, screaming at the window these days? Not exactly. I just like the tone of that line: "Screaming at the window"... Ozzy knew what he spoke about in writing a song by a madman. He had mental illness in his family and he also wrote "Am I Going Insane", with Black Sabbath. "Diary" was an Ozzy solo song.

Madness rides the starwinds... Lovecraft said. OK. At my house this season there's no tangible madness, it's rather ice cold winds and snow en masse, at least outside. But never mind that. I'll stay inside for some days now.

The picture was taken last autumn. I like it because it's a selfie of the "not posing" kind. Enjoy.

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What's up next on the blog? I dunno. This and that, chit-chat, dissertations, fiction and fact or whatever. As for my current reading habits I now read the venerable Robert Heinlein (American, 1907-1988), mostly his 40's and 50's stuff. Bare-bones operational and scientific narratives by a both knowing and arrogant as well as intriguing and thought-provoking author. You could quote his circa 40 books and both get examples of nihilist reductionism and spiritually affirmative views. But what I nowadays like with the man are the operational, military-style organized adventures such as "Sixth Column", "The Puppet Masters" and "Starship Troopers". As an ex-Navy Lieutenant Heinlein knew a lot about conducting operations, both intelligence-wise and more hands-on. He knew the routines of an operational organization, he knew about managing people, he knew about hierarchies and why they are needed. Keyword: responsibility.

The narratives of his novels are credible; with the speculative, Sci Fi-element added they are deathless yarns, even though the narrative style is a bit bare-bones and devoid of atmosphere. But this is compensated by a catching dialogue, succinct summaries of this-and-that scientific background, some wise-cracking and the en passant-dropping of wisdom.

In short: from, say, 1950 and well into the 1980's Heinlein along with Isaac Asimov and Arthur C. Clarke was considered as SF:s "Big Three". Bless the other two but the one in the trio selling the most today is Heinlein and there's a reason for this: readability, relatability, a narrative tone that's personal and yet efficient. Then it's no downside that the man also, in many respects, was a rightwinger: duty, honour country; only by taking responsibility you become free and "there aint no such thing as a free lunch". This was his lasting creed, as I see it.

Related (in Swedish)
Heinleins författarskap: några anteckningar
George S. Patton, Jr
D-dagen 1944
Slaget om Caen, del 1
"Camouflage", en krigsroman jag skrivit

tisdag 9 december 2014

Svenssons novellsamling

Summary in English: this is about a short story collection written by Lennart Svensson, a book available only in Swedish.

1. Info

Härmed info om en bok skriven av mig. I fortsättningen av detta inlägg kommer jag att omtala mig själv i tredje person. Ske alltså. Boken det gäller är denna:

Titel: Eld och rörelse
Författare: Lennart Svensson
Utgivningsår: 2007
Förlag: Etherion

Pdf:en till boken finns här, på Dropbox. Filen är på 146 sidor. Den innehåller 13 noveller plus en kortroman, själva "Eld och rörelse". Bland novellerna kan nämnas "Riddaren, djävulen och döden" (gillad av dramatikern Perceval), "Mordet på Olof Palme betraktat som recension av fiktiv kriminalroman (gillad av Amelia Andersdotter) och "Norrlandsproblematiken" (gillad av Björn Lindström).

Boken gavs ut i pappersform 2007. Sedan ett bra tag finns filen fritt på Dropbox.

2. En recension

Nyss nämndes vad några ansåg om samlingen. Härmed en mer utförlig recension.

Recensionen är skriven av Fredrik F. G. Granlund. Han har gett ut diktsamlingen "Annorlunda men ensam". Liksom ett flertal noveller, nu senast i Catahyas antologi 2014.

I december 2008 recenserade Granlund "Eld och rörelse" på bloggen Marmeladkungen. Han siktar där in sig på bokens titelberättelse, kortromanen "Eld och rörelse". Så här säger han bland annat:
Den avslutande kortromanen ”Eld och rörelse” är kafkaesque. Stilistiskt lik många av Franz Kafkas verk – huvudpersonen tituleras till och med F. Jag erinrar mig att författaren läst ”Processen” flertalet gånger – samt förstått dess innebörd. För den här texten nyttjar i och med att läsaren dras med i en krigssituation någonstans, i någon tid, Kafkas styrka i berättandet, då man som läsare inte vet vem som krigar mot vem, vart det utspelas och om huvudpersonen F. är ond eller god. Slutet är dessutom allt annat än man tänkt sig, vilket är en STOR styrka! Men under tiden är det vemodigt, ödesdigert, synnerligen medryckande och gripande (även när man inte förstår militärjargongen).

3. I närkamp med texten

Sedan går Granlund i närkamp med texten:
Svensson utnyttjar samtidigt extrema berättargrepp som jag inte är säker på om han själv reflekterade över vid skrivandes stund. Det är välskrivet men skiftar kraftigt (!) i tempus. Här följer ett exempel där jag skriver ut tempusskiftningarna i versaler:

"Han HEJDAR sig där vägen LÖPER in i skogen; trädkronorna STRÄCKER sig mot varandra och BILDAR en tunnel – långt därborta ÖPPNAR sig terrängen igen, därifrån och bortom Bortom kan han i andanom se träkors utan tal, rad efter rad av kopplade gevär, demolerad fiendemateriel, fångkolonner, nedslagsbrisader, framryckande låglinjer, retirerande soldater, ambulanser i skytteltrafik, ksp-soldater med ammoband i kors över bröstet, pansarspetsar, attackflyg, söndersprängda kroppar, trotylsvarta himlar, vita vajande fanor.

Plötsligt STANNADE motorcykeln med ett hostande. F. VAKNADE upp ur sin dagdröm och KICKADE igång maskinen, DROG upp halsduken över nästippen och STYRDE tillbaka till förläggningen. Han SER tysta trädridåer fladdra förbi, han KÄNNER en bitande vind, han HÖR ventilernas sång. Maskinen HAR tydliga växellägen, distinkta bromsar och lågt lufttryck i däcken." (sid 126; recensentens egna versaler)

Saken är den att detta ovan påpekande av hur det skiftar i tempus faktiskt fungerar. Men det borde inte göra det. Hade jag inte recenserat den här boken hade jag förstås ändock observerat det. Men då främst i kapiteluppdelningen, för vartannat kapitel berättas i presens, vartannat i imperfekt. Efter några kapitel blandas dock detta mitt i kapitlen. Kanske sådant en van läsare, kanske rentav en kritiker, märker, tänker du nu. Men så är inte fallet. Här skiftar och varierar Svensson mellan presens och imperfekt lite hur som helst genom denna berättelse.

4. FG gillade boken

Fler än aktuell recensent gillade boken. FG säger detta:
Göran Lundstedt, kritiker på SydSv, har noterat ”en genomgående känsla av ödslighet i Svenssons noveller, en hård värld där drömmen flytt”. Titelstoryn jämförde han med Ernst Jüngers ”Sturm”. Och undertecknad kan bara hålla med. Kortromanen Eld och rörelse ska publiceras igen!
Detta säger Granlund om opuset. Och han säger än mer:
... skillnaden gentemot andra novellsamlingar (av debutanter) är att vi här har en titelnovell som är såpass bra att med lite redaktörskap, en typograf, och annan kunnig förlagspersonal skulle kunna bli en klassiker. Ändå finns här ingen charm. Bara ödslighet. Hade författaren ifråga publicerat denna kortroman alléna i bokform hade jag imponerats mer än jag gör av novellsamlingen per se. Därmed inget illa sagt om novellsamlingen i sig; det är bara det att jag vill ge närmast all kudos till titelnovellen, för just så bra är den.
Detta ansåg alltså Granlund om "Eld och rörelse".

Boken är som sagt på 146 sidor. Pdf:en innehåller bara text, men pappersutgåvan hade för sin del ett omslag i svartvitt av Anatol Boström, föreställande sökarljus mot en nattlig himmel (se nedan). Innehållet består av 14 noveller, med titlar som "Synkrongeneratorn", "Ett svenskt Roswell", "Latonia", "Kvartsklippan" och "Åsiktskonstnär", förutom titelstoryn och lite annat.

Granlunds hela recension läser ni här. Och hans egen diktsamling finns recenserad på denna blogg, här.

5. Om författaren till "Eld och rörelse"

"Eld och rörelses" författare heter Lennart Svensson. Svensson föddes 1965 i Åsele. 1985-2010 bodde han i Uppsala, där han bland annat skaffade sig en fil kand i indologi. Våren 2010 flyttade han till Härnösand. År 2007 utgav han på eget förlag novellsamlingen "Eld och rörelse".

2009 kom romanen ”Antropolis”. Nova SF beskrev den som ”lättläst och personligt språk, massor med tankar och resonemang, sympatiskt innehåll” (Mats Linder i nr 20). 2014 utgav så Svensson "Ernst Jünger -- A Portrait" på Manticore Press. Svensson har även publicerat artiklar i tidningar som Flygrevyn, Magasin Provins och Nya Tider.

Pdf:en direkt, från Dropbox
Eld och rörelse, fri resurs
Mina lumparminnen
Camouflage (2011)
Kriget Gondavien -- Mirotanien

fredag 5 december 2014

The Golden Boy (poem)

Hereby a poem by me, Svensson. It's called "The Golden Boy". First there's an introduction, then the poem proper begins.

There's a lot of talk about GOLD these days. Investors and bankers are debating the value of buying gold. Despite gold being unproductive and sterile in modern economic terms, people still want to own it and be charmed by its shiny yellow allure.

Gold is romantic, gold is for poets and dreamers. In olden days poets and soldiers (and whores they say) accepted nothing but payment in gold. Paper money would have been an insult. So hereby a tribute to that everlasting metal.

There’s gold in the blood,
gold in the sunshine,
gold on the weathercock
and gold on the bookspine.

There’s gold everywhere:
gold on the street
and gold within me,
small particles of gold
pumping around
in the bloodstream.

I’m Elvis in gold lamé,
the sprinter with the golden shoes,
Salomo in Jersualem where
silver was worthless.
I’m a hockey champion with golden helmet,
I’m the Nordic Frode with the Golden Age.

I’m a golden king and a golden boy,
literally I am:
through the gold in my blood I am gold,
a walking-talking, one-man Fort Knox.

Antropolitan -- The Only Way to Fly
Secular Hymns
Caza: The Ark
Details (flash fiction)
Coleridge's The Rime

lördag 29 november 2014

Media Coverage of the Jünger Book

The buzz around "Ernst Jünger -- A Portrait" continues.

Swedish weekly Nya Tider has payed attention to my Jünger book. No 48/2014 runs an item about it. It's only a short piece, however, all the facts are there. So I've taken the liberty to translate a few lines from it, for your information and reading pleasure.

For example it says:
Nya Tider has a writer named Lennart Svensson. He has contributed to the magazine since 2013, mostly by way of cultural items. Now he has broadened his record by writing a biography of the author Ernst Jünger. The book is called Ernst Jünger -- A Portrait and is published by Manticore Press.

On 290 pages Svensson tells about Jünger's life and his central books such as Heliopolis, the war diaries, Storm of Steel, On the Marble Cliffs and Eumeswil. Jünger's role as an outsider is also discussed as well as his spiritual sides. And his ideas about art, literature and history.
There's more but this is the gist of it.

As for Nya Tider, it's a rather promising independent newspaper, publishing stories and presenting views that MSM tends to be silent about. As concerns items like immigration, multiculturalism, the seedier side of foreign affairs, the corruption of MSM and established politicians. Nya Tider also covers books and films beside the mainstream and presents interviews with counter-culture figures like Jared Taylor. Also, there's sometimes articles on foreign policy by Manuel Ochsenreiter of the German monthly Zuerst!

Nya Tider began circulation by the late fall of 2012. Editor-in-chief is Vavra Suk.

More on the Book
Everyday Songs With Religious Feeling
The Swedenborg Machine (short story)
The Middle Zone (short story)
The New Improved Sun (poem)

lördag 22 november 2014

Today: Seven Year Anniversary For This Blog

By this time every year there's a glorious non-event occuring: the anniversary of this blog. I started it in the fall of 2007, on this very day: November 22.

It was fun to get going blogging. I had planned it for some time, not having had access to the internet until that autumn, the autumn of 2007. And when I finally managed to log into Blogger and "got the blog", got access to the editing page, well, I kinda blogged rather heavliy. Short entries, inspired entries, experimental language entries. Sometimes more than one per day, imagine that...!

This went on for the rest of 2007 and some time into 2008. Successively I started to write more prepared, edited stuff, however still retaining "that blog feeling". Like being able to push the envelope and say things that aren't allowed in MSM.

But this was all in Swedish. Since about August this year, 2014, I mostly blog in English. Now, I have an inkling that most of my readers still are Swedish. But I have some English language readers too and now the default mode of the blog is English entries. And educated Swedes all know English so thus it will be, thus Svenssongalaxen will remain, I guess: a blog in English.

- - -

So then, what shall I celebrate the anniversary with? As for older Swedish entries they are "powered by Google"; they find their readership by way of people googling their way to them. Then as for English entries, what have I got to say? -- Well, I could give you this guide, presenting some links to the blog.

A fine entry discussing modern media (on the theme of "MSM going down, new media triumphs") is this one, summarizing an article by "The Dollar Vigilante" Jeff Berwick. Very succinct.

And if you're into literary entries on this blog, take a look at "The Rime of the Ancient Mariner" or "The Not-So-Good of Philip K. Dick"

Lastly, here's an ultra-short story of mine, "Details".

And so on and so forth. To sum it up, blogging is a fine pastime, a great means of communication and, sometimes, something of an art form. Nobody knows what a blog is, you're defining it as you go along. And often blogging can be a team effort by writer and readers combined, more so than in the traditional relationship between an author and his readership. By way of commenting the readers contribute to the text and change it, receiving it in this and that way. Because the reception of a work is eminently a part of the work.

The New Improved Sun (poem)
The Swedenborg Machine
Secular Hymns -- Ordinary Songs With Religious Feel
Who Are the Ascended Masters?
Is Obama the Mahdi?

tisdag 18 november 2014

I Wanna Be Seen Green (poem)

It's November and it's alright. I only want to be here now. I don't long for Christmas. Pure existence in the Here and Now will do.

Hereby another poem, another work of my own. It's about the colour green, of verdure; I have a green period now, as it were. The poem is something of a borderline piece, bordering on the parodic as well as the fantastic. You choose where the emphasis lies.
I hit the sack in my four-poster bed
with a four-leaf clover under my head.

Then I trail off into lands unseen
with a clarkashtonesque, jewelry sheen...

There I dance with a heavenly sprite
on a flowery meadow lush, green and bright.

Starry-eyed I sail over ground
to a secret pool where I can’t be found.

I dive in the water, I’m finding a stone,
a crystalline object, an emerald throne.

I sit on the throne like a submarine king
and I’m falling asleep as the fish start to sing.

The next thing I know, I’m awake in my bed
with an emerald gem lying under my head.

The four-leaf clover has somehow been changed
into a precious stone – am I deranged...?

Or maybe it’s so, that what we see in our dreams
is more than meets the eye, more than it seems?

The Poetry and Purple Prose of Clark Ashton Smith
Ascended Masters: Some Info
Swedish Mystique
Caza: The Ark
More Poems on This Blog
Pic Åke Ehrenberg

torsdag 13 november 2014

Rave Review of My Jünger Book

In Australia there's a magazine called Living Traditions. They write about spirituality, history and culture. Now they've reviewed "Ernst Jünger -- A Portrait".

On the whole the unsigned review is positive towards my book. In fact, Living Traditions (= LT) seems to have nothing negative to say about it.

For instance LT says this, about the life-story of Jünger you find at the beginning of the book:
Svensson’s biography (...) is precise and matter of fact, it avoids all the undue speculation and interpretation found in so many other biographies and offers a clear and accurate picture of Junger’s truly amazing life. He offers a detailed look at Junger’s role in WWI and WWII and his literary output.
LT summarizes various chapters of the book, LT in the process making these apt reflections:
The next chapters examines his [= Jünger's] other books such as his WWI volumes, here Junger has much in common with Julius Evola he does not just discuss war but the mindset required to be a devoted warrior. At the same time Junger produces more adventurous literature which is hard to place in a single genre, his books in this vein are enigmatic and thought provoking. On the Marble Cliffs is an example of this new style which can be read on multiple levels and needs reflection to be fully appreciated for the work of literature it is.
LT has more praise to give my book. Like this:
In chapters 20 and 21 Svensson goes way beyond a traditional biography and offers a substantial examination of German figures that influenced Junger and then offers an exceptional comparison of Junger with Yukio Mishima, Carlos Castenada and Julius Evola. In Chapter 26 after examining the role of religion in Junger’s work as well as reoccurring key esoteric themes Svensson looks at Junger the fantasy writer and compares him to others such as Tolkein. Svensson also considers other characteristics of Junger such as his surprising optimism, sense of play and poetic side.
And lastly the pay-off. LT seems to like "Ernst Jünger -- A Portrait", stating:
Svensson offers us a superb biography (...) Rather than get caught up in all the fruitless debate about Jünger in the 20’s he offers an honest yet nuanced approach which in my mind stands up rather well compared to academic biographies which spend their time in politically correct disputation. (...) Svensson has produced an amazing work which is not only approachable but perceptive. His analysis of obtuse aspects of Jünger’s work not found in other biographies makes this a must read by themselves. When you add the sheer comprehensiveness of the work this really is a biography of the very highest calibre.
That was that. Whole review here. You find it by clicking on "feature reviews" in the left margin.

Info About the Book
The Adventurous Heart
Jünger the Pious
On the Marble Cliffs
Jünger and the Craft of Science Fiction
Thomas Cole: "The Return"

måndag 10 november 2014

Sword and Staff (poem)

Now for a poem of my hand. Everything on this blog is by me, and who "me" is you should have found out by this time.

It's time for a poem, a gnomic piece, a scholarly text in poetic form. If you're in for mysticism and metaphysical poetry, this might be for you.

An old wisdom tells us:
we need both the Sword of Reason
and the Wand of Intuition,
both The Pentacle of Valour
and The Cup of Sympathy.

Bring ’em all on your journey,
forgetting one and you’re lost.

Without the sword you’ll go mad.
Without the wand you can’t find the way.
Without the pentacle you’ll dare nothing
and without the cup you’ll lose your heart.

Thus a golden wisdom.
So sing this for memory:

”Sword and staff, cup and pentacle,
emerald, sapphire, topaze and ruby –
reason, intuition, courage, sympathy –
eeny, meeny, miny, mo”...

Swedish Mystique
Caza: The Ark
Details (flash fiction)
Coleridge's The Rime
PKD Stories I'm Critical Of
Painting by Luigi Russolo


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