There is a youngish married woman who, contrary to all of her apolitical or Trump-supporting girlfriends, is an armchair social justice warrior who makes a daily habit of squirting anti-White posts on Facebook. Her friends roll their eyes when her name comes up and some have unfollowed her because they find her posts irritating.
She is an anachronism. On matters of identity, there is nothing left to debate. What’s left is signalling. In other words, informing your peers on where your loyalty belongs.
NFL’s Take a Knee campaign is a prominent example of such signalling. It was never a debate on “freedom of expression” — it is an affirmation of identity. White GenZ kids are getting red-pilled younger and younger as events pull them onto history’s stage.
A poem written by Lucius Somesuch, originally posted by him at Chateau Heartiste and in the comments on my blog yesterday.
In days of gold we dreamed on the heather
Beneath Heaven’s broad splendor that brightly shone.
Tonight we writhe in highwaisted pleather
Frantically doing things best left undone.
My locks are coiffed to tres chic perfection,
My alabaster limbs with glitter flicker.
My glassy gaze gives strangers an erection,
My thoughts are distant, on liquor, twitter.
Time threatens furrows, the prudes would warn me
And Beauty’s prime prances ‘fore an open grave,
And the Air’s Dark Prince muses to harm me,
But the beat goes on, and tonight I rave.
What have I to do with maidenly prudence
Or with the matron’s fond worrisome cares?
Why should I sit all alone and rue? Dance!
I’ve got left before me many fine years!
The Invisible Worm wings on the blast
And the omens are rich that Eyes Wide Shut
Was a documentary. But I have cast
Mine with the devils’ lot. Snort a line. Rut.
— Lucius Somesuch
Documentary filmmaker by training, Krzysztof Kieslowski had expressed an array of moral themes through female beauty at least since his Decalogue television series (1988). International audiences first saw his eye for detail and its power to render inscrutable concepts in 1991’s The Double Life of Veronique. The film follows the lives of two women at their crossroads, each played by Irene Jacob: Veronique, who makes the necessary compromises and lives, and Weronika, who flies too close to the sun and falls:
In Blue, the fist installment of the three-color trilogy (1993-1994), Kieslowski works with the earthy Juliette Binoche. The hardness of her character lets her survive a horror that would have destroyed a weaker woman, but the story is about her letting go of her pride to find grace in humility:
In White, Julie Delpy’s angelic radiance belies her cruelty. An even more cruel comeuppance makes her a woman again. In this flashback scene, she’s downright beatific:
Red once again features Irene Jacob personifying feminine selflessness. As I mentioned in an earlier post, there is a scene in which Jacob’s character tells her confidante, a cynical retired judge, that her younger brother is a heroin addict and she wants to help. His advice to her: Être. Just be. She’s confused by his answer, so he repeats: être. As I also noted then, this is not over.
Each of the installments of the trilogy focuses on its respective theme liberté, égalité, and fraternité. That said, I see another dimension to Kieslowski’s nominally Revolutionary themes: a vision that a reunified Europe had an opportunity to become whole by reconciling its humane but frivolous half with its spiritually raw, debased other half.
Short-term, things have worked out a bit differently, but the trilogy ends on a prophecy. Foreshadowing the present cataclysm, the events in Red culminate with a tempest and a new day for its survivors.