This is my Essay that Glenn Beck falsely claimed was a speech by Dugin.
We have well learned the lesson of the proletarian, and carefully ponder upon its meaning. No, we no longer believe in a bright future. We have no more illusions about the Human ability to create something great and fair, without being this “only Human”. Thanks to the treachery of October we finally convinced that “man is something that should be overcome”. “People is not a goal, it is only the path to the Superman”.
“We figured our solution was to be more hardcore, and more uncompromising, in every respect, in both our politics and our music. The problem was that we were still buying into the same idea of counterculture, the idea that you could break the system merely through acts of nonconformity. In other words, punks basically had the same theory of revolution that hippies had, we just thought that they hadn’t done a very good job of it, and we were going to show them the proper way. Unfortunately, the whole thing was misguided. In a sense, we were insufficiently critical of the hippies, and of the ’60s. Not only did their rebellion fail, but the whole analysis that informed their approach to rebellion was totally wrong.”
Just who are these protesters, and why is “Euromaidan” so much more ugly and violent than the Orange Revolution of nine years ago? What role is the ultra-nationalist “Right Sector” playing in this uprising, and who is paying for its expenses?
Originally posted on Angel Millar:
The Crescent and The Compass: Islam, Freemasonry, Esotericism, and Revolution in The Modern Age is available now! My third book, The Crescent and The Compass, focuses on…
Modern revolutionaries are believers, no less committed and intense than were the Christians or Muslims of an earlier era. What is new is the belief that a perfect secular order will emerge from the forcible overthrow of traditional authority. This inherently implausible idea gave dynamism to Europe in the nineteenth century, and has become the most successful ideological export of the West to the world in the twentieth.
This is a story not of revolutions, but of revolutionaries: the innovative creators of a new tradition. The historical frame is the century and a quarter that extends from the waning of the French Revolution in the late eighteenth century to the beginnings of the Russian Revolution in the early twentieth. The theater was Europe of the industrial era; the main stage, journalistic offices within great European cities. The dialogue of imaginative symbols and theoretical disputes produced much of the language of modern politics.