Cover of the English translation by David Schreiber
(Arktos, London, 2013)
Either way - book or pamphlet - it's probably one of the most badly written works ever published; certainly the worst I've had the misfortune to read in a long, long time. If this is the best that a graduate student of history and politics from the University of Stuttgart and darling of the alternative Right can muster, then (a) the German education system is in trouble and (b) the identitarian movement is even more ideologically vacuous than one might have imagined.
Willinger disingenuously claims his work is not a manifesto, but this is precisely what it is; a succinct and clear declaration of his views on what's wrong in Europe today, who's to blame - the soixante-huitards - and what future changes should be made. What the work doesn't do - despite what it says on the back-cover blurb - is move seamlessly between radical politics and existential philosophy. Nor does it set out its arguments (such as they are) in a poetic fashion.
Rather, it remains stuck in a reactionary rut and relies upon the ugly, prosaic and völkisch-organic language of fascism, or what Victor Klemperer characterized as the lingua tertii imperii. A standardized and stereotypical language which lacks all nuance and loveliness, all subtlety or sophistication; a language that forever speaks with one tone: loud, monotonous, and threatening - like the barking of an Alsatian dog.
It's certainly not the German used by Goethe, Heine, or Rilke. It makes a noise, yes, and it continues to pass the word along along, but it creates no sense of communion as George Steiner would say. Willinger gives us dead metaphors and ready-made slogans in place of ideas; his writing lacks vitality, style, and, above all, humour. It does, however, successfully mix common vulgarity and prejudice with high flights of romantic twaddle and fatal amounts of saccharine pathos.
The pamphlet-manifesto is divided into forty-one chapters and a brief Preface in which Willinger writes of a (prepare to yawn) crisis of the European spirit, which he blames on the post-War generation and their corrupt theories that have "determined the social discourse ... and dominated all the dialogues"[80] for the last fifty years or so.
Speaking on behalf of his own generation, born shortly before the Millennium, Willinger demands a return to fixed identities, real values, and traditional family life; a return which will, apparently, mean an end to boredom and loneliness - as well as to the twin evils of multiculturalism and feminism. For the "perpetual, deep resentment" [25] that Willinger openly admits to feeling and which shapes his thinking, expresses itself not only in the form of racism, but also misogyny and homophobia.
And thus, it's not only the artists and intellectuals associated with May 1968 (the month and year of my own birth) who are to blame for making poor Markus feel so bad about himself and his life, it's also the immigrants (particularly the Muslims), the abortionists, the queers, the perverts and the scowling feminists ... Oh, and it's also the Americans and the big corporations who have "inflicted countless and terrible wounds on our planet" [74] with their irresponsible greed (like every good Nazi, Willing is a romantic anti-capitalist at heart who adores Nature and values every tree and every mountain as sacred).
Not that he wants to "damn and demonize" [46] anybody of course. He just wants the above to learn how to be a little bit more like him; that is to say, someone ready to die for the one great thing that provides a final refuge ...LOVE! In this world of pain and sorrow, writes Willinger, the highest goal and greatest happiness is to find true love.
But of course, as much as Willinger may talk of love and want to receive such, like all men of ressentiment he doesn't know how to give love. And so he quickly recoils back into hate and the language of violence, fantasizing about life not in the bedroom, but the barracks: "If there is any masculinity, honour, and camaraderie today, the credit is due, above all, to the hard training that men received in the army." [85]
Not surprisingly, therefore, Willinger wants a return to compulsory military service, so that all young men might be taught how to obey orders, how to fight, and how to make the ultimate sacrifice.
Perhaps they'll also be taught how to recognise real beauty: for although Willinger concedes that "there is no accounting for taste and every attempt at defining a definitive aesthetic standard is inherently impossible" [93], he knows good art when he sees it - "the sort that stands in unity with the natural world, the sort that radiates pride and glory, that represents something real and in which we can find meaning" [94].
Not modern art, obviously, which is formless and fragmented. And stomach turning.
Finally, bringing his manifesto to a close, Willinger calls for brave, passionate action. And weapons. He promises that a final verdict will shortly be passed upon people like me who are responsible for the downfall of mankind and the ruin of the world; nihilists who knowingly destroy everything holy and fight against everything natural; queers for whom the concept of identity is a crisis in and of itself.
To be honest, one rather hopes it'll be a death sentence, if only so one never has to read any more of his appalling books ...
Rather, it remains stuck in a reactionary rut and relies upon the ugly, prosaic and völkisch-organic language of fascism, or what Victor Klemperer characterized as the lingua tertii imperii. A standardized and stereotypical language which lacks all nuance and loveliness, all subtlety or sophistication; a language that forever speaks with one tone: loud, monotonous, and threatening - like the barking of an Alsatian dog.
It's certainly not the German used by Goethe, Heine, or Rilke. It makes a noise, yes, and it continues to pass the word along along, but it creates no sense of communion as George Steiner would say. Willinger gives us dead metaphors and ready-made slogans in place of ideas; his writing lacks vitality, style, and, above all, humour. It does, however, successfully mix common vulgarity and prejudice with high flights of romantic twaddle and fatal amounts of saccharine pathos.
The pamphlet-manifesto is divided into forty-one chapters and a brief Preface in which Willinger writes of a (prepare to yawn) crisis of the European spirit, which he blames on the post-War generation and their corrupt theories that have "determined the social discourse ... and dominated all the dialogues"[80] for the last fifty years or so.
Speaking on behalf of his own generation, born shortly before the Millennium, Willinger demands a return to fixed identities, real values, and traditional family life; a return which will, apparently, mean an end to boredom and loneliness - as well as to the twin evils of multiculturalism and feminism. For the "perpetual, deep resentment" [25] that Willinger openly admits to feeling and which shapes his thinking, expresses itself not only in the form of racism, but also misogyny and homophobia.
And thus, it's not only the artists and intellectuals associated with May 1968 (the month and year of my own birth) who are to blame for making poor Markus feel so bad about himself and his life, it's also the immigrants (particularly the Muslims), the abortionists, the queers, the perverts and the scowling feminists ... Oh, and it's also the Americans and the big corporations who have "inflicted countless and terrible wounds on our planet" [74] with their irresponsible greed (like every good Nazi, Willing is a romantic anti-capitalist at heart who adores Nature and values every tree and every mountain as sacred).
Not that he wants to "damn and demonize" [46] anybody of course. He just wants the above to learn how to be a little bit more like him; that is to say, someone ready to die for the one great thing that provides a final refuge ...LOVE! In this world of pain and sorrow, writes Willinger, the highest goal and greatest happiness is to find true love.
But of course, as much as Willinger may talk of love and want to receive such, like all men of ressentiment he doesn't know how to give love. And so he quickly recoils back into hate and the language of violence, fantasizing about life not in the bedroom, but the barracks: "If there is any masculinity, honour, and camaraderie today, the credit is due, above all, to the hard training that men received in the army." [85]
Not surprisingly, therefore, Willinger wants a return to compulsory military service, so that all young men might be taught how to obey orders, how to fight, and how to make the ultimate sacrifice.
Perhaps they'll also be taught how to recognise real beauty: for although Willinger concedes that "there is no accounting for taste and every attempt at defining a definitive aesthetic standard is inherently impossible" [93], he knows good art when he sees it - "the sort that stands in unity with the natural world, the sort that radiates pride and glory, that represents something real and in which we can find meaning" [94].
Not modern art, obviously, which is formless and fragmented. And stomach turning.
Finally, bringing his manifesto to a close, Willinger calls for brave, passionate action. And weapons. He promises that a final verdict will shortly be passed upon people like me who are responsible for the downfall of mankind and the ruin of the world; nihilists who knowingly destroy everything holy and fight against everything natural; queers for whom the concept of identity is a crisis in and of itself.
To be honest, one rather hopes it'll be a death sentence, if only so one never has to read any more of his appalling books ...
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