J. Burden

Edward McLaren's Bothelford's Gone could be set in many towns in Britain. It's the story of teenager Jack Grundon, whose parents divorce, raise him on screens, sedate him with ADHD medication, and subject him to a school system which exposes him to perversion and anti-white literature. Jack befriends Agatha, the victim of a Muslim grooming gang in Bothelford, and tries to rescue her from a forced marriage to one of her abusers. If the left has its Omnicause — a suite of seemingly unrelated issues like climate change, queer liberation, and Gaza, which algorithms and ideology present as one struggle — then Bothelford's Gone proves the right has an Omnicrisis. The existential issues facing Britain are sapping its population of the courage to turn the tide against entropy. ‘So evil,’ he said, lowly. ‘What am I supposed to call it? Evil. It is evil.’ What he didn’t say aloud, but felt shiver through his head against his own will, was the new fact that he had just realised: that he too was evil. He was evil and had been made to participate in evil in order to prevent him from fighting it. Jack didn’t feel this to be an exaggeration, and he knew—he just knew—on some level that this was a tactic of the chimera. A monster sits at the centre of Bothelford, like the drunk Arab disrespecting its war memorial. This egregore has a hypnotic television for a head and fangs dripping with blood. But that blood might pool into a Powellite halo behind Bothelford's quasi-pagon patron saint, Marine Emery, who calls for Englishmen to avenge their children and slay the monsters of modern Britain...

Mass Society. This is the first installment of a new series of essays and interviews on the American 20th century. (Link below)