Multicultural Machinations
Posted: Wed Dec 06, 2023 1:29 am
Douglas Mercer
December 5 2023
The Booker Prize is one of those maggot cosmopolitan awards that the Jews and their lackeys and hod carriers hand out, this one for the best book in English in a given year. If you read even a brief passage from this year’s winner you know that the author is hopelessly bereft of literary skill so some other supernumerary factor must be in play; after all they gave the Nobel Prize for literature to that foul bag and bone shop Boy Dylan in October 2016 to tweak America’s nose for the advent of Donald Trump. Certainly “guns and clubs followed him down all because his face was brown” is not high culture but is pitch perfect for the tone the insects in Sweden wanted to set in order to point a bony finger in our face not to vote for guy who said he wanted to make America White Again. And like the Pulitzer people the Bookers are no different, using their cudgel whenever they can to banish Whiteness. Two years back they picked a Jew who wrote a novel about a White family in South Africa turning their home over to a black servant (subtle that, eh?). And two years before that they tapped cretin Margaret Atwood’s The Testaments when she squeezed some of the last little pulp out of the Handmaid Tale’s franchise showing a fascist male White Supremacist state hell bent on enslaving women. You know the drill. Liberal maven maggots and cosmopolitan scum supposedly taking the high road against our people. It’s literature don’t you know and all the best people are anti-fascist.
The conglomerate who gave the initial boodle to the Booker Prize was steeped way back when in slavery (who wasn’t in the good old days?); there was a disjunction between the inception and the ones who rule it now but, deeply without surprise, the current pestiferous proprietors own this history and they make an ostentatious and obligatory show of weeping over it. These awards are in actuality are little more than propaganda tools of the multiracial order; they will pluck out a dutiful little anti-racist nitwits and nonentities from the sea of nitwits and nonentities and thrust them the public’s face like it is not the beggar’s ball which in fact it is. They want you to think that there is something called “culture” going on while the truly avant-garde and sophisticated know there has been no high culture since the Allies smashed the artwork of Arno Breker; a dirty Jew said that all poetry after Auschwitz is barbaric. Well, it’s barbaric all right but not because of the just so story of the six million; but because of the advent of Jewish power.
***
As for the judges they trot out in these travesties this year they picked five nondescript stooges but, trust me, they have hundreds more just like them on tap, all of them as interchangeable as widgets. They have their banal novelists, their two-bit hack actors, their theatrical impresarios, their overrated literary critics—and the poets? Don’t get me started on the poets. This year’s crop was off the rack standard issue vile, all of them leaning multicultural or, if they are somewhat centrist, will still go out of their way to swear up and down they are not transphobic. And this batch will go down in history as the ones who came through in the clutch, who when the ground shifted and the chips were down did not quail or quaver to do the Jews a good turn. Got to stop those nationalist uprisings you know. And if they try to stop it with as flimsy a thing as a threadbare novel it only goes to show that in the end we are going to win.
Something called Esi Edugynan (wait, what?) is listed as a “Canadian” but one look at her black as coal and ugly as sin mug and you know that there is nothing Canadian about her. No, she’s Ghanan to the bone that means that although she lives in the Great White North she won’t write lyrical paean to it as one born and bred (which would be weird in any case); no she will cherry pick the supposedly sad fates of that most ludicrous of thing: the black Diaspora. First she takes on no less a person than Adolf Hitler himself in Half Blood Blues where she depicts one of those hideous mulatto Rhineland Bastards. But as always back in the 1930s hatred was in vogue and a mixed-race German citizen didn’t stand a Chinamen’s chance. If they aren’t careful that knock on the door will come and they will simply disappear and be lost to history. Then she tackles the non-existent issue of black genius and wonders in print how much the oppression of blacks cost the world in terms of lost mental brilliance. Answer: none. In Washington Black the narrator (named George Washington Black) was a boy wonder who was enslaved but when he got free he apparently combined rat urine, albino bones, and a dollop of Big Magic and created cold fusion in a straw hut. Naturally the novel does a deep dive in to all the important issues of the day such as racial justice, racial inequality, the idea that some lives are more worthy than other lives — and for that she has become an influential part of the Canadian literary canon. It seems not to take much these days to join that canon which has seen better days.
The next contestant in the who hates the White man most parade is a malevolent mulatto whose mother was a vicious coal burner from England and whose father was Ghanan (we seem to be detecting a pattern here). Ajoah Andho (no, really) has two claims to infamy, the first is that she has been allowed to strut and preen across screens the world over as Lady Danbury in the vitriolic anti-White soap called Bridgerton the central conceit of which is to show a lot of niggers back in Regency London and pretend that is as natural as pie and right as rain. With this rather obvious and transparent ploy the show’s creators hope to not so subtly plant in the English brain that blacks are not savage criminals or incorrigible promiscuous ne’er-do-wells but genteel and suave aristocrats, who, when the time comes, will sweep the White damsel off her feet and on to bed. And of course we all remember that it was Andoh who said that during the coronation of King Charles the day’s proceedings had gone from the wonderful diversity of the Abbey to a terrible White balcony. She said the day had been so marvelous and mixed with the full panoply and sampling of London’s various and copious mystery meats on full display and then the balcony: “Oh, it’s so White.” This is one judge you can count on to excoriate a White riot when she sees one.
Mary Jean Chan is the next judge in the queue. She’s a “poet” who was they say irresistibly drawn to the Anglo world but who from what I can glean has written verses that don’t even rise to the level of “no tickie, no ‘raunrie.” She’s a queer naturally and has been known to bellow and bellyache about reports of racism towards East Asians (Chinese in particular!) which naturally caused her to reflect on her own experience of microaggressions. These Shoah-like events include (but are not limited to) a White man who shoved past her on the Tube; a White woman who grunted at her; a White couple who finished dinner and handed her the bill who, presumably, assumed that she was he bus boy—make yourself useful Han Sahn! The butch looking dyke from time gets stared at in the female bathroom by normal people thinking she is a lad (though not one from Shopshire!). Of course her blank (and vacant) verse is quite au courant and de rigueur and explores the hackneyed and regurgitated themes of identity, multilingualism, and the ever-popular post-colonial legacy (a bad one you can be sure of it).
The roll call of shame would not be complete without the useless White man who rounds out the field with some feints to the right even as he faints at the sight of being called a bigot. George Webb is described as a comedian/actor but wishy washy and worthless would be more apt. He got in his biggest row when he came out as a gender critical feminist, that is one of those who are all for liberation of women from the clutches of the patriarchy but have doubts that a dude in a skirt qualifies. In one of his shows his character experiments with “blackface” to break sexual taboos; when all hell reigned down on him after George Floyd blessedly breathed his last he said it was a backwards form of anti-racism. So much for him. He would never be the lone holdout when the Jews wanted a certain result.
And finally the panel had their necessary Hebrew in the form of Shakespearean literary critic James Shapiro. Most famous for exploring the Bard’s view on Jews (negative to be sure) Shapiro reflected that his exploration of the “Elizabethan cultural insecurities” relative to his tribesman caused him to reflect on the nature of intolerance. When the woke mob began replacing pictures of Shakespeare with that of Audre Lorde, he counseled caution and said that “Yes, senior white scholars like myself have to take a back seat, but it’s time for that.” Meaning it’s back of the bus time for the White man among whom he counts himself. But he’s a Jew despite his insincere protestations. And a Booker Prize judge for the year 2023.
***
In the Prophet Song Ireland is depicted as a dystopian nightmare where the blood dimmed tide is loosed. Is it a novel about how a once White country descended into Jew led into a boiling over maelstrom multicultural hellscape? No, not on anyone’s life. That would be racist and would never garner a Booker Prize. That book, though accurate, would never see the light of day, would never be published. The Garda in this novel are the avatars of a fascist state, fascist being cosmopolitan scum shorthand for White people. And the author Paul Lynch is a traitorous White man of probably nondescript middling basic bitch liberal leanings who sees a dark future on the cards if the White man’s berserker nature is ever let off the Jewish leash. Why if such a thing were to happen it would be the 1930s in Europe all over again and it would be another Shoah. He’s a prophet don’t you know; a prophet of anti-Whiteness.
His novel posits a future where democracy and the liberal order have fallen away and the euphemistic far right has won the day. This of course is an anti mirror image of the actual Ireland where the police battle Whites on the street and where an Indian foists draconian Hate Speech laws to stifle White resistance. No matter the Jews are past masters of projection and Lynch is no different. Likely a dupe, gull and fool he truly believes the lie that it is fascism and White Supremacy that is the number one terror threat. It has been said that his subject “rings especially true given the scenes of violence that have erupted in Dublin in recent days.” Of course the current chief of police focused exclusively on the so-called lunatic hooligan faction driven by far right (ie, White) ideology. And just so you know the lunatic faction driven by far-right ideology is his definition of self-respecting White people.
It was the Syrian Civil War and it exodus that led to German women getting sexually assaulted on New Years Eve 2015. Lynch doesn’t see it. He cares neither a jot nor a whit about White women getting raped or, if he does, thinks it is just the price you pay. He is on record (we are keeping track) as saying one of the main (it was the main: we’re keeping track) inspiration for his novel was the Syrian war, the ensuing refugee crisis, and the West’s indifference to the plight of refugees. And the Dublin in his story follows a family in a “terrifying” new world where democracy falls always. Did you catch that? Did you hear the echoes? Laconically Ezra Pound defined democracy as a country run by Jews, and behind the mirage that’s all it is. Lynch is said to have had world events like Brexit and the rise of nationalism in Europe in mind when he wrote it. Again, the code is all: what he’s saying is that he was worried sick about even the faintest groping of White people toward defending themselves: and as a prophet he sends up his warning against it. The straight up description of the books says that it imagines the Republic of Ireland slipping into totalitarianism after the rise of the rightwing National Alliance takes control. Is this a reference to Williams Pierce? Or just one of those uncanny serendipities that happen from time to time? Either way the point is more than taken—and you wonder if more even needs to be said.
“We do have a failure of imagination when it comes to truly understanding what makes somebody, for example, get on those boats with a child. In many ways, we don't quite understand the complexities of what's involved in getting a person to that point.”
So said the egregious Lynch.
“Lynch’s dystopian Ireland reflects the reality of war-torn countries, where refugees take to the sea to escape persecution on land. It is an attempt at radical empathy.”
So said the Jewish Press.
“When I hear the word empathy I reach for my Browning.”
So said I.
***
The tsunami like events in Ireland that put the world on notice happened on November 23 2023. In the face of it the entire world of multiracial multicultural cosmopolitan demons went full Fukushima. In another one of those serendipities we just heard about the recent Booker Prize was awarded on November 26 2023. To recapitulate for the obtuse in the back of the room: White men in Ireland took a stand against the invasion of their country by race aliens comprised of international mystery meat and (lo and behold) three days later our multicultural multiracial panel gives the “big” award to a novel which is in essence a medication on the evil of just such an uprising. A coincidence? A snowball in hell has more of a chance.
The multiracial stooges deny it. But they would of course. Esi Edugynan said that the uprising of White people in Ireland was “in the discussion” and “I will admit that this was something that did get raised.”
You don’t say.
But then she laid on some obfuscatory blather about how they picked the most polished and accomplished work and that one cannot let world events dictate the choice. She said “I really have to stress that that was not the reason that Prophet Song won the prize.”
Please. She has to stress it because it is so transparently not true. Lynch himself said of the “riots” that the energy that fueled them is always there and that in Ireland “we do find now that we have a far-right presence.” He said that “we” need to think about that and what that means. I can tell him what it means. It means he is going to lose. It means that his ready to be pulped book will have an inordinately short shelf life before it is consigned to the oblivion it so richly deserves. Sure he’s the literati’s brand spanking new shining star right now, sure he’s the fair-haired boy of the Jews and their lackeys and water carriers, he’s now one of literature’s beautiful people, he’s the toast of the town and is riding high on his newfound fame. But it means nothing and his getting the award was nothing but an obvious propaganda point and a blatant message to the world. The message was quite clear: despite the “awful” scenes in Ireland the establishment has its own back, the Empire is more than ready and willing to strike back, and the world of art and culture like Jesus rose three days later to bathe the world in beatific salvation. That is the message is that multiculturalism will save the day, and the Jews are in control. It’s not at all true of course or won’t be for long. And one needn’t be a prophet, or win a big award, to know in fact their day is done.
December 5 2023
The Booker Prize is one of those maggot cosmopolitan awards that the Jews and their lackeys and hod carriers hand out, this one for the best book in English in a given year. If you read even a brief passage from this year’s winner you know that the author is hopelessly bereft of literary skill so some other supernumerary factor must be in play; after all they gave the Nobel Prize for literature to that foul bag and bone shop Boy Dylan in October 2016 to tweak America’s nose for the advent of Donald Trump. Certainly “guns and clubs followed him down all because his face was brown” is not high culture but is pitch perfect for the tone the insects in Sweden wanted to set in order to point a bony finger in our face not to vote for guy who said he wanted to make America White Again. And like the Pulitzer people the Bookers are no different, using their cudgel whenever they can to banish Whiteness. Two years back they picked a Jew who wrote a novel about a White family in South Africa turning their home over to a black servant (subtle that, eh?). And two years before that they tapped cretin Margaret Atwood’s The Testaments when she squeezed some of the last little pulp out of the Handmaid Tale’s franchise showing a fascist male White Supremacist state hell bent on enslaving women. You know the drill. Liberal maven maggots and cosmopolitan scum supposedly taking the high road against our people. It’s literature don’t you know and all the best people are anti-fascist.
The conglomerate who gave the initial boodle to the Booker Prize was steeped way back when in slavery (who wasn’t in the good old days?); there was a disjunction between the inception and the ones who rule it now but, deeply without surprise, the current pestiferous proprietors own this history and they make an ostentatious and obligatory show of weeping over it. These awards are in actuality are little more than propaganda tools of the multiracial order; they will pluck out a dutiful little anti-racist nitwits and nonentities from the sea of nitwits and nonentities and thrust them the public’s face like it is not the beggar’s ball which in fact it is. They want you to think that there is something called “culture” going on while the truly avant-garde and sophisticated know there has been no high culture since the Allies smashed the artwork of Arno Breker; a dirty Jew said that all poetry after Auschwitz is barbaric. Well, it’s barbaric all right but not because of the just so story of the six million; but because of the advent of Jewish power.
***
As for the judges they trot out in these travesties this year they picked five nondescript stooges but, trust me, they have hundreds more just like them on tap, all of them as interchangeable as widgets. They have their banal novelists, their two-bit hack actors, their theatrical impresarios, their overrated literary critics—and the poets? Don’t get me started on the poets. This year’s crop was off the rack standard issue vile, all of them leaning multicultural or, if they are somewhat centrist, will still go out of their way to swear up and down they are not transphobic. And this batch will go down in history as the ones who came through in the clutch, who when the ground shifted and the chips were down did not quail or quaver to do the Jews a good turn. Got to stop those nationalist uprisings you know. And if they try to stop it with as flimsy a thing as a threadbare novel it only goes to show that in the end we are going to win.
Something called Esi Edugynan (wait, what?) is listed as a “Canadian” but one look at her black as coal and ugly as sin mug and you know that there is nothing Canadian about her. No, she’s Ghanan to the bone that means that although she lives in the Great White North she won’t write lyrical paean to it as one born and bred (which would be weird in any case); no she will cherry pick the supposedly sad fates of that most ludicrous of thing: the black Diaspora. First she takes on no less a person than Adolf Hitler himself in Half Blood Blues where she depicts one of those hideous mulatto Rhineland Bastards. But as always back in the 1930s hatred was in vogue and a mixed-race German citizen didn’t stand a Chinamen’s chance. If they aren’t careful that knock on the door will come and they will simply disappear and be lost to history. Then she tackles the non-existent issue of black genius and wonders in print how much the oppression of blacks cost the world in terms of lost mental brilliance. Answer: none. In Washington Black the narrator (named George Washington Black) was a boy wonder who was enslaved but when he got free he apparently combined rat urine, albino bones, and a dollop of Big Magic and created cold fusion in a straw hut. Naturally the novel does a deep dive in to all the important issues of the day such as racial justice, racial inequality, the idea that some lives are more worthy than other lives — and for that she has become an influential part of the Canadian literary canon. It seems not to take much these days to join that canon which has seen better days.
The next contestant in the who hates the White man most parade is a malevolent mulatto whose mother was a vicious coal burner from England and whose father was Ghanan (we seem to be detecting a pattern here). Ajoah Andho (no, really) has two claims to infamy, the first is that she has been allowed to strut and preen across screens the world over as Lady Danbury in the vitriolic anti-White soap called Bridgerton the central conceit of which is to show a lot of niggers back in Regency London and pretend that is as natural as pie and right as rain. With this rather obvious and transparent ploy the show’s creators hope to not so subtly plant in the English brain that blacks are not savage criminals or incorrigible promiscuous ne’er-do-wells but genteel and suave aristocrats, who, when the time comes, will sweep the White damsel off her feet and on to bed. And of course we all remember that it was Andoh who said that during the coronation of King Charles the day’s proceedings had gone from the wonderful diversity of the Abbey to a terrible White balcony. She said the day had been so marvelous and mixed with the full panoply and sampling of London’s various and copious mystery meats on full display and then the balcony: “Oh, it’s so White.” This is one judge you can count on to excoriate a White riot when she sees one.
Mary Jean Chan is the next judge in the queue. She’s a “poet” who was they say irresistibly drawn to the Anglo world but who from what I can glean has written verses that don’t even rise to the level of “no tickie, no ‘raunrie.” She’s a queer naturally and has been known to bellow and bellyache about reports of racism towards East Asians (Chinese in particular!) which naturally caused her to reflect on her own experience of microaggressions. These Shoah-like events include (but are not limited to) a White man who shoved past her on the Tube; a White woman who grunted at her; a White couple who finished dinner and handed her the bill who, presumably, assumed that she was he bus boy—make yourself useful Han Sahn! The butch looking dyke from time gets stared at in the female bathroom by normal people thinking she is a lad (though not one from Shopshire!). Of course her blank (and vacant) verse is quite au courant and de rigueur and explores the hackneyed and regurgitated themes of identity, multilingualism, and the ever-popular post-colonial legacy (a bad one you can be sure of it).
The roll call of shame would not be complete without the useless White man who rounds out the field with some feints to the right even as he faints at the sight of being called a bigot. George Webb is described as a comedian/actor but wishy washy and worthless would be more apt. He got in his biggest row when he came out as a gender critical feminist, that is one of those who are all for liberation of women from the clutches of the patriarchy but have doubts that a dude in a skirt qualifies. In one of his shows his character experiments with “blackface” to break sexual taboos; when all hell reigned down on him after George Floyd blessedly breathed his last he said it was a backwards form of anti-racism. So much for him. He would never be the lone holdout when the Jews wanted a certain result.
And finally the panel had their necessary Hebrew in the form of Shakespearean literary critic James Shapiro. Most famous for exploring the Bard’s view on Jews (negative to be sure) Shapiro reflected that his exploration of the “Elizabethan cultural insecurities” relative to his tribesman caused him to reflect on the nature of intolerance. When the woke mob began replacing pictures of Shakespeare with that of Audre Lorde, he counseled caution and said that “Yes, senior white scholars like myself have to take a back seat, but it’s time for that.” Meaning it’s back of the bus time for the White man among whom he counts himself. But he’s a Jew despite his insincere protestations. And a Booker Prize judge for the year 2023.
***
In the Prophet Song Ireland is depicted as a dystopian nightmare where the blood dimmed tide is loosed. Is it a novel about how a once White country descended into Jew led into a boiling over maelstrom multicultural hellscape? No, not on anyone’s life. That would be racist and would never garner a Booker Prize. That book, though accurate, would never see the light of day, would never be published. The Garda in this novel are the avatars of a fascist state, fascist being cosmopolitan scum shorthand for White people. And the author Paul Lynch is a traitorous White man of probably nondescript middling basic bitch liberal leanings who sees a dark future on the cards if the White man’s berserker nature is ever let off the Jewish leash. Why if such a thing were to happen it would be the 1930s in Europe all over again and it would be another Shoah. He’s a prophet don’t you know; a prophet of anti-Whiteness.
His novel posits a future where democracy and the liberal order have fallen away and the euphemistic far right has won the day. This of course is an anti mirror image of the actual Ireland where the police battle Whites on the street and where an Indian foists draconian Hate Speech laws to stifle White resistance. No matter the Jews are past masters of projection and Lynch is no different. Likely a dupe, gull and fool he truly believes the lie that it is fascism and White Supremacy that is the number one terror threat. It has been said that his subject “rings especially true given the scenes of violence that have erupted in Dublin in recent days.” Of course the current chief of police focused exclusively on the so-called lunatic hooligan faction driven by far right (ie, White) ideology. And just so you know the lunatic faction driven by far-right ideology is his definition of self-respecting White people.
It was the Syrian Civil War and it exodus that led to German women getting sexually assaulted on New Years Eve 2015. Lynch doesn’t see it. He cares neither a jot nor a whit about White women getting raped or, if he does, thinks it is just the price you pay. He is on record (we are keeping track) as saying one of the main (it was the main: we’re keeping track) inspiration for his novel was the Syrian war, the ensuing refugee crisis, and the West’s indifference to the plight of refugees. And the Dublin in his story follows a family in a “terrifying” new world where democracy falls always. Did you catch that? Did you hear the echoes? Laconically Ezra Pound defined democracy as a country run by Jews, and behind the mirage that’s all it is. Lynch is said to have had world events like Brexit and the rise of nationalism in Europe in mind when he wrote it. Again, the code is all: what he’s saying is that he was worried sick about even the faintest groping of White people toward defending themselves: and as a prophet he sends up his warning against it. The straight up description of the books says that it imagines the Republic of Ireland slipping into totalitarianism after the rise of the rightwing National Alliance takes control. Is this a reference to Williams Pierce? Or just one of those uncanny serendipities that happen from time to time? Either way the point is more than taken—and you wonder if more even needs to be said.
“We do have a failure of imagination when it comes to truly understanding what makes somebody, for example, get on those boats with a child. In many ways, we don't quite understand the complexities of what's involved in getting a person to that point.”
So said the egregious Lynch.
“Lynch’s dystopian Ireland reflects the reality of war-torn countries, where refugees take to the sea to escape persecution on land. It is an attempt at radical empathy.”
So said the Jewish Press.
“When I hear the word empathy I reach for my Browning.”
So said I.
***
The tsunami like events in Ireland that put the world on notice happened on November 23 2023. In the face of it the entire world of multiracial multicultural cosmopolitan demons went full Fukushima. In another one of those serendipities we just heard about the recent Booker Prize was awarded on November 26 2023. To recapitulate for the obtuse in the back of the room: White men in Ireland took a stand against the invasion of their country by race aliens comprised of international mystery meat and (lo and behold) three days later our multicultural multiracial panel gives the “big” award to a novel which is in essence a medication on the evil of just such an uprising. A coincidence? A snowball in hell has more of a chance.
The multiracial stooges deny it. But they would of course. Esi Edugynan said that the uprising of White people in Ireland was “in the discussion” and “I will admit that this was something that did get raised.”
You don’t say.
But then she laid on some obfuscatory blather about how they picked the most polished and accomplished work and that one cannot let world events dictate the choice. She said “I really have to stress that that was not the reason that Prophet Song won the prize.”
Please. She has to stress it because it is so transparently not true. Lynch himself said of the “riots” that the energy that fueled them is always there and that in Ireland “we do find now that we have a far-right presence.” He said that “we” need to think about that and what that means. I can tell him what it means. It means he is going to lose. It means that his ready to be pulped book will have an inordinately short shelf life before it is consigned to the oblivion it so richly deserves. Sure he’s the literati’s brand spanking new shining star right now, sure he’s the fair-haired boy of the Jews and their lackeys and water carriers, he’s now one of literature’s beautiful people, he’s the toast of the town and is riding high on his newfound fame. But it means nothing and his getting the award was nothing but an obvious propaganda point and a blatant message to the world. The message was quite clear: despite the “awful” scenes in Ireland the establishment has its own back, the Empire is more than ready and willing to strike back, and the world of art and culture like Jesus rose three days later to bathe the world in beatific salvation. That is the message is that multiculturalism will save the day, and the Jews are in control. It’s not at all true of course or won’t be for long. And one needn’t be a prophet, or win a big award, to know in fact their day is done.
