lördag 30 april 2016

Mina minnen av Robert Svensson, min bror


Summary in English: this is the Swedish version of my memories of my brother Robert Svensson (1963-2016). An English version of the text is to be found here.




1.


Som alltid skrivs denna blogg av mig, Lennart Svensson. Detta är min dödsruna över min bror. Och min bror Robert Svensson föddes i maj 1963 och dog i mars i år, 2016. Han var 52 när han dog.

Begravningsceremonin hölls 28 april i Kärlekens kapell vid Arnäs kyrka. Det var en grå dag men halvvägs in i ceremonin sken solen in. Det var ingen slump, säger jag som den mystiker jag är.

Robert var konstnär, en målare i akvarell och olja och privat verksam som tecknare (blyerts, tusch). Han utbildades vid konstavdelningen på Wiks Folkhögskola i två omgångar (1984-1985, 1986-87). Under 1990-talet hade han utställningar på Galleri Dombron, Uppsala, på Café Mannaminne, Nordingrå och på sitt eget Galleri Söråsele, Åsele, för att nu nämna de viktigaste utställningarna.

Han var en konstnär par preference, en född skapare av bilder. Det är sant att han också var en ganska bra skribent; till exempel när han studerade vid Uppsala universitet under 1980- och 1990-talet så gick skrivandet av uppsatser och PM lätt för honom. Man kan säga: skrivandet var en lek för honom men detta att skapa bilder var allvar. Han levde och andades alla aspekter av målning och teckning, som att begrunda nyanser och färg, färgen på himlen, färgen på skuggorna etc. etc., liksom olika sätt att teckna serier, att komponera scenografi i filmer et cetera. Till exempel nämnde han en gång att David Lynchs tv-serie Twin Peaks spelades in i studior med tak, innertak, vilket gör scenerna mer hemtrevliga, en aspekt som saknas i alla andra tv-dramer och komedier sedan långt tillbaka.

Ett sådant särdrag, att titta på TV och notera hur scenografin var gjord, kunde sysselsätta honom oändligt. Han var något av en glorifierad dagdrivare och släntrare, hade svårt att komma igång med vissa projekt. "Jag ska ta tag i det, nästa dag, jag lovar" kunde han säga. Och ändå levererade han, som omslagen han gjorde till mina romaner Antropolis och Till Smaragdeburg. Jag hade en vision för layouten och han implementerade den genom att texta snyggt och lägga till bilder.

Han hade sina lata drag men han var också en "go-getter", en som tog befälet. Såsom ledare för sitt rockband The Neurones på 80- och 90-talet. De uppträdde live här och där och gjorde några demos och inspelningar, som att ha en låt på ett spanskt antologialbum. Jag kan just nu inte hitta det på google. Poängen är i alla fall att när han ledde sitt band kunde han "peka med hela handen" och vara en musikalisk inspiratör och ledare samtidigt. Han spelade gitarr och sjöng och karriärmässigt kanske det inte ledde så långt men de demos de gav ut (jag har fortfarande kopior av dem, in alles bortåt 10-15 låtar) hade snits och sväng. Han var en musikalisk man, en man som leddes av musorna, de grekiska gudarna för poesi, sång och konst.

Han gillade också att läsa (Tolkien, en del sf, folksagor, böcker om konst, serier) men hans stora intresse jämte konst var musik. Med utgångspunkt i new wave, rock och pop kunde han även gilla jazz, ambient och allt, även en och annan dansbanslåt och hårdrockslåt. Livnärande sig på tidningsutdelning kunde han "slösa" bort sina dagar genom att spela skivor, dricka kaffe, teckna...




2.

Vad gäller mig och Rob (som han kallades) stod vi ganska nära varandra från vår tidiga barndom och fram till omkring år 2000. När vi var barn lekte vi med cowboys och indianer och leksaksbilar, vi ritade och spelade spel, vi byggde plastmodeller, alltihop med en omisskännlig estetisk touch, som att uppskatta layouten och den allmänna känslan i spel, eller att bygga dioramor och ge en illusion av verkligheten, ett konstant konstprojekt som pågår än -- i så måtto att jag personligen fortfarande sysslar med det, genom att skriva romaner som är någon form av konceptuella dioramor.


Vi bodde i Övik, Ångermanland där vi gick i skolan, och därefter, i slutet av 80-talet, återsågs vi i Uppsala där vi båda studerade och hade våra respektive studentrum. Mötena vi hade under dessa år kunde vara ganska långt ifrån varandra men de var ändå viktiga per se, vi inspirerade varandra med det eller det citatet eller faktumet. Sedan, efter millennieskiftet, gled vi isär. Inte för att jag ska kritisera honom men i slutet blev han något indolent, som att han inte svarade på brev.

Han dog av en stroke och han upplevde en liten stroke förra året också, detta kan vara en indikation på hans allmänna tillstånd. Jag skulle inte säga att han bleknade bort, han jobbade med tidningsutdelning till slutet, distribution av morgontidningar hem till folk med sin cykel och för detta behöver man viss kondition. Men han blev lite "aloof", lite "beyond the beyond" mot slutet.

Jag tänker fortfarande på honom varje dag, så som jag nästan alltid har gjort. Men vi ska träffas igen, det är logiken i iden om reinkarnation, en idé jag stödjer. Och den kan uttryckas som: "inget möte är det första, inget farväl är det sista", sagt av Dénis Lindbohm. Själen är energi och energi kan inte förstöras, bara omvandlas till ett annat fysiskaliskt tillstånd.




3.

Robert gillade westerns, vilda västern-myten som ett bildmässigt fenomen; för oss som föddes på 60-talet var westerns något av en stapeldiet i form av serier, filmer och tv-serier. Till exempel var hans favoritserie Lucky Luke, en fransk komisk westernserie. Och när jag ärver Roberts Britains Deetail figurer, 54 mm cowboy figurer, kommer jag att tänka på honom. De kommer att vara ständiga påminnelser om hans väsen, ett slags minnesstatyetter.

När vi byggde plastmodeller förderog han plan, plan från andra världskriget. Elementet luft låg för honom ty förutom detta skrev han sin fil kand-uppsats om fågelmålningar av konstnärerna Lars Jonsson och Gunnar Brusewitz. Och min far sa att i sitt sista telefonsamtal med honom, den 26 mars, sa Robert att han skulle gå ut senare och titta på fåglar. På våren återvänder flyttfåglarna, det blir barmark och det torkar upp och i dessa ängder kan det vara en del fågelliv på Uppsalaslätten.

Han står på Uppsalaslätten och tittar på fåglar... det är en värdig bild av den man han var. "I'm far, far away, with my head up in the clouds"...




4.

Roberts favoritpopband var Echo and the Bunnymen.

Hans favorit bland svenska serietecknare var Jan Lööf.

Han gillade memoarböckerna av konstnären Peter Dahl. Robert var inte så mycket för Dahls konst i sig, men han gillade hur han berättade om sitt konstnärskap i böcker som Kanske konstnär etc. Speciellt uppskattade han Dahls livslånga projekt för att skapa ett fantasiland med sina tennsoldater, leksaksbilar, modelljärnväg och modellhus, landet "Caribanien". Detta, menade Robert, var Dahls mästerverk (i genren konceptuell konst) medan hans oljor och litografier inte var så minnesvärda.

Robert var en blond, nordisk typ, omkring 178 centimer lång, av en något kompakt uppbyggnad. Han var en man av den "pykniska, atletiska" typen, inte "leptosom, smal" typ som jag. Vi såg, som sig bör, besläktade ut men vi var av olika somatiska modeller.

Jag nämner hans utseende eftersom min roman Antropolis (2009) har ett kapitel där huvudpersonen möter konstnären Tim Parill. Parills utseende är skapat för romanen, han är en fiktion som sådan, men hans beteende som en disträ konstnär som tar emot en gäst i sin studio bygger mycket på Robert:
I ett av segmenthusen bodde Parill. Väl uppe på dess fjärde våning gick jag in i ett ljust, högt ateljérum, en riktig ateljé till skillnad från min egen som ju bara var övervåningen i mitt hus. En doft av terpentin och olja slog emot mig. Jag fann mäster himself sittande vid ett bord läsandes Antropolis Nyheter. -- Jag bugade lätt och slog mig ner, Parill nickade och reste sig. (...) Han bjöd på vin, skålade för mig och frågade om jag skulle köpa något – men när jag sa nej fortsatte han att läsa sin tidning. Jag tog tillfället i akt och såg mig omkring i ateljén, rymlig lokal med takhöjd på tre meter. Fönster endast mot norr; så ska det vara för målare, det visste jag, eftersom norrljuset var jämnare än det feta, flödande, sig–hela–dagen–flyttande söderljuset. Överallt stod dukar; det var både landskap och abstraktioner och något enstaka porträtt, alltsammans omisskännligt Parill. Det var kolorism och pastosa lager, det var spelande former, det var kraftlinjer som möttes och skildes, skummande bäckar, mörka djungler och psykedeliska ängar.
Efter en beskrivning av de märkliga föremål som pryder studion får vi denna bild av konstnären själv, "väldigt Robert" om jag får säga det själv:
Parill satt och stirrade ut i luften. Dammpartiklar for runt i en solstråle. Så reste han sig plötsligt och gick bort till sitt staffli. Från en hängare tog han upp en målarrock, svart och full med färgfläckar i skön slumpmässighet. Han torkade av fingrarna på den medan han målade. -- Jag sneglade på motivet, ett landskap med några hus intill en sjö, och en sol över några berg på andra stranden. (...) Man såg gula fält och skuggiga hus, koppargrön sjö och blåbärsblå himmel. -- Parill tryckte ut färg på paletten och verkade ha glömt min närvaro. Han tog upp en pensel, approcherade tavlan och började arbeta på skuggorna som husen gjorde. Han la på grönt och blått, korsade penseldragen och fick färgerna att nästintill blandas. "Skuggor är aldrig svarta," sa han. Jag instämde med denna visdom, bugade mig och gick mot dörren.

[kapitel 16, "Konstnären"]




Coda

Robert var en fascinerande typ och jag kunde fortsätta att berätta om hans särart. Men i ljuset av vad som redan sagts tror jag en exposé av några av hans konstverk är det bästa sättet att teckna ett porträtt av honom. Han var min bror och han är ännu levande för mig, så som jag antytt ovan. Och nu antyder jag det igen. Och förutom det så lever han vidare genom sina tavlor. Se själva.

(Alla tavlorna nedan är i privata samlingar. Man kan klicka på varje bild för att få en förstoring.)


"Riddaren och bäcken" (oljemålning av en medeltida riddare som kommer till en bäck i skogen).


"Nonfigurativ" (nonfigurativ oljemålning som undersöker färg och form per se).


"Stilleben" (oljemålning av blommor, tämligen åt det impressionistiska hållet).


Omslaget till "Antropolis," utfört av Robert.


"Söråselesommar" (oljemålning av Söråselesjön, södra Lappland).


"Saltoluokta" (oljemålning av sjön Langas och omgivande berg i norra Norrbotten).


"Sommarhimmel" (akvarell av Söråselesjön).


"Solnedgång" (oljemålning av norrländskt hus, motivet i sig ihopfantiserat och ej en avbildning av något IRL).




Relaterat
Andlig glädje
Antropolis
Vid min mammas grav
English version of this obituary
Den översta bilden föreställer Robert någon gång under 1990-talet. Nästa bild visar honom under hängande av bilder på Genebiblioteket i Övik, samma decennium.

A Memory of Robert Svensson, My Brother


As always this blog is written by me, Lennart Svensson. I have a brother who recently passed away and these are my memories of him. A Swedish version of the text is to be found here. -- The burial ceremony itself was held at Kärlekens kapell, Arnäs kyrka, on April 28. I was there and it was a dignified ceremony. One detail: it was a grey day but halfway into the ceremony the sun shone through. And this was no coincidence, I say as the mystic I am.




1.

My brother Robert Svensson was born in May, 1963. He died in March, 2016.

Robert was 52 when he died. He was an artist, a painer in aquarellle and oil on canvas and privately active as a draughtsman (pencil, ink). He was educated at the art department of Wik Folkhögskola for two separate years (1984-1985; 1986-87). In the 1990s he had exhibitions at Galleri Dombron, Uppsala, at Café Mannaminne, Nordingrå and at his own Galleri Söråsele, Åsele, to mention the most important exhibitions.

He was an artist at heart, a born creator of pictures. It’s true that he also was a rather fine writer; for instance, when studying at Uppsala university in the late 1980s and 1990s writing essays and papers came easy to him. However, I’d say: writing was a game to him but pictorial shaping was serious. He lived and breathed all the aspects of painting and drawing, pondering nuances and coloring, the color of the sky, the color of shadows etc. etc.– as well as different styles of drawing comics, of composing frames in movies et cetera. For instance, maybe he told me or I told him that David Lynch’s TV series Twin Peaks was filmed in studios with ceilings, inner roofs, making the scenes more homely, a feature absent in all the other TV dramas and comedies since way back.

Such a feature, watching TV and noting how the scenography was composed, this could occupy him endlessly. He was something of a glorified loiterer and saunterer, having a hard time to get going with some projects. ”I’ll get into it, next day, I promise” he could say. And yet he did deliver, like the covers he drew for my Swedish novels Antropolis and Till Smaragdeburg. I envisoned the layout and he implemented it, doing fine lettering and adding drawings.

He had his lazy traits but he also was a go-getter, taking charge. Like leading his rock band the Neurones in the 80s and 90s. They performed live here and there and did some demos and recordings, like having a song on a Spanish anthology album. When googling it now I can’t find it. However, the point is that when leading his band he could ”point with the whole hand” and be a musical inspirator and leader at the same time. He played guitar and sang and career-wise it didn’t lead that long but the demos (I still have copies of them, some 10-15 songs) had a lot of flair and pizazz. He was a musical man, a man led by the Muses, the Greek gods of poetry, song and art.

He also liked ro read (Tolkien, the odd sf tale, fairy tales, books on art, comics) but his main interest along with art was music. With a basis in new wave rock and pop he also cherished jazz, ambient and whatnot, even the odd Swedish dansband song and heavy metal song. Subsisting on his paper route work he could ”waste” away his days by playing records, drinking coffee, drawing...




2.

As for me and Rob (as he was called) we were rather close from our early childhood and until about the year 2000. When we were young we played with cowboys and indians and toy cars, we drew and played games, we assembled plastic models, all of it having some aesthetic quality, that of appreciating the very layout and feel of the game, or, that of building dioramas and giving an illusion of reality, a constant art project going on for ever – like, I’m personally still at it, writing novels that are some sort of conceptual dioramas.


We lived in Övik, Ångermanland where we went to school, and then in the late 80s we reconvened in Uppsala where we both studied and had our respective student bedsits. The meetings we had during these years could be rather far apart, however, in some ways they were essential, we bonded, we inspired each other with that odd line or fact. Then, after the millennium, we kind of drifted apart. Not that I critisize him but at the end he became rather lethargic, like not answering letters.

He died of a stroke and he experienced a slight stroke last year too, this could be an indication of his general state. I wouldn’t say he faded away, he did work with his paper route to the end, distributing morning papers to homes with his bike and for this you need some condition. However, he became a bit aloof, a bit ”dormant” at the end.

I still think of him every day, as I’ve almost always have. But we’ll meet again, that’s the logic of reincarnation, ”no meeting is the first, no goodbye is the last” as Dénis Lindbohm said. The soul is energy and energy can’t be destroyed, only transformed into another physical state.




3.

Robert liked westerns, the wild west myth as an iconographic phenomenon; to us being born in the 60s westerns was a staple diet in comics, films and TV series. A favorite comic of his was Lucky Luke, a French western comic series. And when I inherit Robert’s Britains Deetail figures, 54 mm cowboy figures, I will think of him. They will be constant reminders of his being, a kind of memorial statuettes.

When building plastic models his favorite was planes, WWII planes. He had an aerial trait – for in additon to this, he wrote his Bachelor of Art degeree paper about the bird paintings of Swedish artists Lars Jonsson and Gunnar Brusewitz. And my father said that, in his last phone conversation with him on March 26, Robert said that he would go out later and look at the birds. In spring the migratory birds return to Sweden, the snow-free and drying, soon-to-sprout lands, having some wealth of birdlife.

He’s standing in the Uppsala plain, looking at the birds... a worthy image of the man he was. ”I’m far, far away, with my head up in the clouds...”




4.

Robert's favorite pop band was Echo and the Bunnymen.

His favorite Swedish comics artist was Jan Lööf.

He liked the memoir books by Swedish artist Peter Dahl. Robert wasn’t so much into Dahl’s art per se but he liked the way he told of his artistic career (Kanske konstnär etc.). Specifically, he appreciated Dahl’s lifelong project of creating a fantasy land with his tin soldiers, toy cars, model railroad and model houses, the land ”Caribanien”. This, Robert meant, was Dahl’s masterpiece (in the realm of conceptual art), his oils and litographies were not as memorable.

Robert was a blond, Nordic guy, about 178 centimers tall, of a somewhat compact build. He was a man of the ”pyknic, athletic” type, not the ”leptosome, slim” type like me. We indeed looked akin but we were of different somatic models.

I mention his overall look because in my nove Antropolis (2009) I have a chapter where the main character meets up with the artist Tim Parill. Parill’s look is made up, he’s a fiction as such, but his behavior as a distraught artist receiving a guest in his studio is very much based on Robert:
In one of the segment houses lived Parill. Once up on the fourth floor, I entered a bright, lofty atelier, a real studio unlike my own that was just the upstairs floor in my house. A smell of turpentine and oil struck me. I found the master himself seated at a table reading Antropolis News. – I bowed slightly and sat down, Parill nodded and stood up. (...) He offered wine, toasted me and asked if I would buy anything – but when I said no, he continued to read his paper. I took the opportunity and looked around in the studio, a spacious room with a ceiling height of three meters. A window only to the north; thus it must be for a painter, this I knew, because the light from the north was smoother than the saturated, flowing, over-the-whole-day-shifting southern light. Everywhere sat canvases; they were both landscapes and abstractions and some individual portraits, all of it unmistakably Parill. There was colorism and rich layers of paint, there was the play of forms, there were power lines meeting and parting, there were foaming streams, dark jungles and psychedelic meadows.
After a descriptions of odd objects decorating the studio we have this image of the artist, ”very Robert” if I may say so:
Parill sat and stared into the air. Dust particles danced around in a sunbeam. Then he suddenly got up and went to his easel. From a hanger he picked up a painter coat, black and full of color patches in quaint randomness. He wiped his fingers on it while he painted. – I glanced at the canvas, a landscape with a few houses next to a lake and a sun over some mountains on the other side. (...) You could see yellow fields and shady houses, a copper green lake and a blueberry sky. From a tube Parill pressed out some paint onto the palette and seemed to have forgotten my presence. He picked up a brush, approached the canvas and started working at the shadows cast by the houses. He put on green and blue, crossing the brush strokes and having the colors blend. ”Shadows are never black,” he said. – I agreed to this wisdom, bowed and headed for the door.

[chapter sixteen, ”The Artist”]




Coda

Robert was a fascinating guy and I could go on telling about his peculiarity. However, in light of what I've already told I guess that a sample of his artworks is the best way to portray him. He was my brother and he's still alive to me, I've intimated it above and now I say it again. And above that, his art lives on. Judge for yourselves.

(All the paintings below are in private collections. Click on each picture to get an enlargement.)


"The Knight and the Brook" (oil painting of a medieval knight coming to a brook in the woods).


"Nonfigurative" (nonfigurative oil painting exploring color and shape per se).


"Still Life" (oil painting of flowers, rather much in the impressionist vein).


Cover of "Antropolis," executed by Robert.


"Söråsele Summer" (oil painting of Lake Söråsele, southern Lapland).


"Saltoluokta" (oil painting of Lake Langas and surrounding mountains in northern Norrbotten).


"Summery Sky" (aquarelle of Lake Söråsele).


"Sunset" (oil painting of a Norrlandic house, the motif as such is made up, not being a "real life" motive).




Related
Son of Sweden (poem)
A Presentation of Antropolis
In Swedish: Antropolis
In Swedish: On Spiritual Joy
In Swedish: The Death of My Mother
Swedish Version of This Obituary
The top picture is of Robert sometime in the 1990s. The next picture shows him at Genebiblioteket in Övik, hanging pictures before an exhibition, same decade.

torsdag 28 april 2016

Radikala inlägg på denna blogg


Summary in English: this is a collection of links to right-wing posts, in Swedish, on this blog. -- Den här bloggen har funnits i 8 1/2 år. Den startades i november 2007. Här ska jag berätta om denna bloggs politiska sida. För att vara exakt ska det handla om länkar till diverse högerpräglad, radikalkonservativ litteratur jag behandlat genom åren.




Denna blogg är ingen nischblogg. Den innehåller inte bara politik. Nej, den innehåller ett och annat. Gå till denna innehållsförteckning och botanisera. Där finner ni länkar till artiklar om bilar, om politik, om science fiction och annat. Ni finner inlägg om filosofi, esoterism, historia och info om mina böcker.

Men om vi nu pratar politik, vad har jag då att komma med där? Om vi, som utlovat, talar högermässig litteratur, vad kan jag bjuda på?

Jo detta.

Om vi börjar med högervinklad science fiction kan jag ge dessa tre länkar:

. Norman Spinrads "The Iron Dream" (1972). Spinrad roade sig i denna roman att skriva så som Adolf Hitler kunde ha skrivit. Gå hit och läs mer, detta är en odödlig sf-klassiker.
. Robert Heinleins "Starship Troopers" var en kontroversiell bok när den kom 1959, ja även senare. Den handlade om nödvändigheten av diktatur i tider av totalt krig. Mer här.
. Frank Herberts "Dune" kan sägas vara "arkeofuturism i aktion". Boken skildrar en ålderdomlig framtid, en framtid där det nya och skenbart ålderdomliga samsas. Här.

Det om sf. Om vi ser till politiska essäer, vad har jag då recenserat? Jo, till exempel detta:

. Julius Evolas "Ride the Tiger" (1961). Det är en bok om att, som radikalkonservativ, i viss mening bejaka den moderna tidens nihilism och materialism. Förutsatt att man har ordning inom sig, och har en tro på högre värden, kan nihilismen vara en renande kraft. Mer här.
. Oswald Spenglers "Västerlandets undergång". Spengler såg, till skillnad från liberaler, inga "eviga framsteg". Nej han ansåg att kulturer lever upp, blomstrar och går under i ett fast mönster. Även om jag är mer av optimist än pessimist så är Spenglers syn berikande. Den är ett rungande alternativ till förnumstiga liberalers framstegstro. Gå hit.
. Friedrich Nietzsche var, utåt sett, en ateist-nihilist. Men under ytan fanns en tro på något högre, det fanns "gudomliga begär", "evig återkomst" och annat esoteriskt. Se här.

Nietzsche påverkade för sin del både Spengler och Evola. Och han påverkade Ernst Jünger, som jag skrivit en del om. Ett axplock ur mina Jüngerartiklar är dessa:

. En biografisk skiss över Jüngers bravader tiden 1945-1998. (Han levde 1895-1998.)
. En recension av romanen "Heliopolis" från 1949.
. En recension av "Das abenteuerliche Herz" från 1938.

Det var några länkar till högerradikala texter på denna blogg. Väl bekomme.




Relaterat
Science Fiction Seen From the Right
Spinrad: The Iron Dream
Ambrose: Eisenhower - Soldier and President (1991)
Arméstaben: SoldF 1957
Göteborgs konstmuseum

onsdag 27 april 2016

An Interview With Lennart Svensson, Author of "Borderline"


This is an interview. Technically I conduct it with myself = an auto interview. The focus is on my works, past and present.




Q: Can you state your name and place of birth?

A: Certainly. I'm Lennart Svensson, born in the north of Sweden in 1965. I turned 50 in December last year, 2015.

Q: Do you like being 50?

A: I do. But as Ernst Jünger said, "spirit has no age". So I'm not indulging in being this or that age. I simply am.

Q: Speaking of Ernst Jünger you published a biography of him in 2014. Comments?

A: None, other than that the book is still to be bought. From a creative point of view I knew the subject, Jünger, I enjoyed writing the book and now my fellow brethren and sistren can read about Jünger and be amazed and intrigued, being led to spiritual clarity.

Q: Spiritual clarity indeed. Your essay "Borderline" is receiving coverage here and there these days. Like this review on Heathen Harvest.

A: Indeed. They even seem to like the book.

Q: Why is "Borderline" so important?

A: It's a beacon of hope for a culture bogged down in relativism and nihilism. The science community of today advocates reductionism which is absurd; holism is the only way ahead. There has to be an element of metaphysics in physics, otherwise it gets totally unintelligible. That's what "Borderline" is about -- as well as being a strategic overview of Plotinus's eidetic, "ideas-based" ontology. I also discuss how his followers brought the doctrine into our times, followers like Goethe, Ernst Jünger and Hugo Fischer. As Fischer has demonstrated, Plotinus can teach today's scientists a lot about metaphysics.


Q: Is that all?

A: No. In addition to this, "Borderline" tells about holistic ethics, how to act as a human being given that the world is an organism and not a machine. Man is not a robot; man is a microcosmic organism mirroring the organic macrocosm. Man has will, thought and compassion in his being and in the book I teach how to acknowledge this. Also, I speak about literature and art in this respect, depicting people like C. D. Friedrich, T. S. Eliot and Edith Södergran and their holistic opuses. Ernst Jünger also gets a chapter; he's referred to throughout the book and specifically, his approach to "life, universe and everything" is covered in chapter 25.

Q: Strictly speaking, "Borderline" was published last year. This year, 2016, you've published another book-length essay, "Science Fiction Seen From the Right". What's this?

A: This is a study summing up 20th century science fiction and fantasy, seen from a conservative point of view. Now, it doesn't cover every author in the field, not even every author having once held some conservative view. However, it does cover a lot regarding an overview of the field from a traditionalist standpoint. Authors like Heinlein, Herbert, Lewis, Tolkien, Bradbury, Pournelle, Niven, Dick, van Vogt, Howard, Lovecraft and Clark Ashton Smith are covered, along with Borges and Castaneda and some additional names like Moorcock and Bradbury. Even Ernst Jünger gets a chapter...!

Q: He's always there.

A: He is, when there's reason to mention him.

Q: Apart from this, the conservative angle, what made you write the book?

A: It was a labor of love. I mean, I do have a polemical message with it all, an errand of snatching back sf from leftists and Social Justice Warriors who currently seem to occupy the genre. The conceptual-political battle is raging and I'm on the right side. That said, the book is also about the wonder and glory sf and fantasy give us, about ideas and visions, about fantastic stories in the realms of future lands, lost worlds and parallel demesnes. I've been reading sf and fantasy for over thirty years and this is my report.

Q: And the future? Of your operation at large?

A: I can give no details but I currently write this and that, both works of fact and fiction.

Q: But as for fiction, you have already published novels?

A: I have. In Swedish I've published the novels "Antropolis" and "Till Smaragdeburg". Here's a presentation in English of "Antropolis".

Q: In Swedish, you say. Those books were published in 2009-2010. Since then you've written and published yourself in English. Do you still consider yourself a Swedish author?

A: You could say: if a Swedish editor mails me and asks about manuscripts in Swedish I can send him that. And if an English speaking editor asks me about manuscripts in English, I can give him that too. I'm rather bilingual, you might say.

Q: Briefly, the world situation at large. Are we in for it? Is this the end?

A: No, of course not. There's no risk for major war as this link will tell you. The world might seem a mess right now but the forces of Light are advancing. The Russian leader Putin has done a lot, in intervening in MENA 2015-2016, to rectify the situation. He might not be a saint and I don't support his every move -- and I remain being a SWEDISH nationalist -- but he is on the good side. The Westworld, for its part, is enmeshed in evil. With the US as a linchpin it's a corrupt regime in need of reformation and this will also come about, on legal grounds and not with an all-out shooting war. That's what I see before me. The fear-based thinking has to give way to a more constructive approach.

Q: Constructive? Isn't there a propaganda war raging, isn't this a time to fight and not to build?

A: OK. I mean, the situation is dire and we need to stand firm in opposing evil. But the situation isn't as bad as many internet pundits, even on the right side, seem to think. A war it is but it's a propaganda war and a frequency war -- thus, tune in to your own frequency and don't become dejected by reading false visions of a looming war. Stand firm in your personal being, employing "C3", that is, meditate and be "calm, cool and collected". A man who controls his breath controls the world.




Related
Ernst Jünger -- A Portrait (2014)
Borderline
Heathen Harvest reviews Borderline
Science Fiction Seen From the Right
Antropolis

onsdag 13 april 2016

Book News: Science Fiction Seen from the Right (Svensson 2016)


My new book is out now on Amazon. It's a massive, book-length essay about 20th century science fiction and fantasy.




"Science Fiction Seen from the Right" is now to be bought from an internet bookstore near you. This study examines 20th century SF and fantasy, focusing on works having a relation to eternal values like faith, responsibility, duty, honor and courage.

This is the angle employed. This is what you might call a conservative, traditionalist way of looking at SF. Otherwise we always hear from leftist pundits, in and out of the field, that no eternal values exist and that everything essentially is darkness and oblivion.

The chapters of the current book depict American and European authors like Heinlein, Herbert, Lewis, Tolkien, Jünger, Boye, Howard, Lovecraft, Borges, Pournelle, Dick, Bradbury et cetera. In addition, there are chapters about the development of the genre and a look at comics, films and specific themes such as nihilism, history and war.

Some product details:

Paperback: 378 pages
Publisher: Manticore Books (March 24, 2016)
Language: English
ISBN-10: 0994252595
ISBN-13: 978-0994252593
Product Dimensions: 6 x 0.8 x 9 inches

Some quotes from the book could come in handy. For instance, this I say about Clarke's "2001":
This is more than literature, this is an initiation, a raising of man to a higher level -- the next level, the space-faring, alien-encountering level. -- What made Childhood's End fail is here rectified; 2001 intimates that man has to be on a higher mental level, on par with the space-faring aliens, to be able to meet them, encounter them and meaningfully communicate with them. [p 124]
And this I say about Ray Bradbury:
We all know that Ray Bradbury (1920-2012) was a man longing for years gone by, for the American 1920s with T-Fords, striped cotton suits and icecream sundaes. But this kind of sentimentality can’t be tolerated in a study like this. Tradition isn’t about being sentimental, it’s about acknowledging Eternal Values, values that still can lift us, inspire us and guide us, offering an alternative to the current materialism and nihilism. For in essence, sentimentality is a form of nihilism. Therefore it takes some time to sort out the Bradbury stories having to say something to us even today, stories about Faith, Musicality, Awareness and Courage. [p 299]
The following is another take on the subject of nihilism in science fiction:
[N]ovels like Gene Wolfe’s The Book of the New Sun (1980-1983), Sam J. Lundwall’s No Time for Heroes (1971) and Harry Harrison’s Bill, the Galactic Hero (1965) are all rather enjoyable, the first for its accomplished style, the latter two for their drive and wit. -- That said, to have an executioner as main character (Wolfe) overall leads out into nothingness, as does the banterings of the other two, I figure. A hero is led by Will, Truth and Compassion; an antihero is a symbol of the opposite, of decadence, whose core concept is nihilism. If you accept that, then these books can be estimated at their true value. Just don’t come and say that they’re some kind of alltime, essential classics pointing the way ahead. For this some embracing of ideals is needed, some spiritual elevation. [p 332]
The following I say about J. G. Ballard:
The strategy he [= Ballard] used is called "Death of Affect as an approach to character". Because, in the usual prose story the reader is manipulated to sympathise with the protagonist. Syrup is smeared over the dish. Ballard, in contrast, is disconnecting such sentimentality. He portrays his characters with some emotional distance but thus manages, paradoxically, to have them come closer. He doesn't manipulate, he portrays. [p 144]
A portal figure of the book is Robert A. Heinlein. In chapter one I for instance say this regarding his topical fiction:
The ideals of olden times are still viable. Self-restraint, self-reliance, responsibility and nobility of character must be remembered and imparted, again and again. And in his 1950s novels Heinlein did just that. [p 16]
In other words, this is what you get in "Science Fiction Seen From the Right" -- a venturing out into the vistas of wonder and glory, traditional style.




Related
A Presentation of the Book on the Publisher's Site
The Book Reviewed by Counter-Currents
Sample Chapter: European Dystopias (Huxley, Orwell, Samyatin etc)
Buy the Book on Amazon
Buy the Book on Adlibris

onsdag 6 april 2016

Borderline Reviewed


All praise to "Borderline -- A Traditionalist Outlook for Modern Man".




On the Manticore Press site there was recently a review of my book "Borderline". In it, N.M. Phoenix praises the book’s synthesis of holism, anti-reductionism and mysticism. The survey of perennially minded, traditionally inclined authors treated in the book is also appreciated:
The ending chapters cover Nietzsche and a few profound poets whom portray Tradition and holistic thought. It is difficult for me to reiterate his chapter on Nietzsche, which also discusses Evola in depth, but it is certainly one of the best chapters. It ties in much of what was recently mentioned and its relevance to the teachings of both Evola and Nietzsche. Following this chapter is a discussion on Södergran, T.S. Eliot, Freidrich, Swedenborg, and Jünger respectively. These were no less enjoyable chapters, and I have personally fell in love with Södergran whom I was unaware of until this work.
As a coda of the review Phoenix has this:
"Borderline" by Svensson is worth reading, contemplating, and applying in practice. Even weeks later I recall parts and allows me to shift how one thinks about things. It is an excellent survey of Perennialism, and is filled aplenty with writers and philosophers to further study. Think of it as a college course, or lecture, and contemplate the content. It is well worth the time and effort.
The whole review can be read here.




Related
N. M. Phoenix Reviews "Borderline"
More Info About the Book
My Bibliography

söndag 3 april 2016

April Post


It's been a while since I posted something new on this blog. Therefore this post of diverse content.




1.

My recent reads. First it's "Saint Bridget's Pilgrimage" by Heidenstam, a novel written on poetic prose which works rather well. However, it's a bit contrived in places which is always the risk with "poetic prose". Overall, I liked reading a full-length novel about a spiritual person even though her self-deprecating manners are a bit alien to me.

Then it's "Rommel" by Desmond Young. The parts about Rommel's WWI career, France 1940 and the desert war are OK, an informed author (Young was an army colonel) telling about Rommel's wars as succinct as can be, with the right amount of telling detail.

Lastly, it's "God Talks With Arjuna," Paramahamsa Yogananda's Bhagavadgita translation and commentary. The author can convey Perennialism in a highly readable manner. This is syncretism at its best.




2.

They talk about "ending the Fed". Having the US Federal Reserve, the scheme of issuing dollars as a sort of debentures and not "valueable money," to end -- that would be a victory for the forces of Freedom and Light, taking back power from a private cartel of bankers and putting it with the constitutional government.

And indeed, now it seems that this has happened -- discreetly -- by way of having the Federal Reserve put under governmental control. This is shown by its web address now ending .gov instead of (as from its beginning until now) .org.

Check it up yourselves if you don't believe me.




3.

Spring is here, most of the snow is gone. Some parts of the sounds surrounding the town are iced, some have open water.




4.

My philosophy of life, an ethic anchored in Being, is the following: a man should test his strength, push his limits concerning hardships and hunger and face death, ingraining memento mori in his mind; all these actions make him sober up and in the long run, raise him mentally. To this, the active man has to learn how to meditate, how to sit correctly in zazen position and breathe calmly and gently. Both ”to meditate” and ”to live in the world” are actions; both the vita contemplativa and the vita activa require willpower.

Will is the basic element of the universe along with Thought and Compassion. In the Beginning were Will and Thought; they united and then chose to merge with the Light. Man is a mirror of God; God created man’s soul by taking of his own Eternal Light. Man, like God, is a composite of Will, Thought and Compassion. By saying, ”I AM”, man affirms his divine nature.

A man of action has to know about the limited lifespan of his physical body (= ”death”), he has to live in the here-and-now and he has to see wholes, not being led by details. The way to live anchored in Being can be characterized as ”seek rest in action – operate with ease and skill – meditate while acting – I am, therefore I act – we all have to act – live anchored in True Reality, acknowledge your Inner Light – live holistically in the here-and-now”.




Related
New Book
The Poetry and Purple Prose of Clark Ashton Smith
Ascended Masters: Some Info
Caza: The Ark
Henri Rosseau, "The Repast of the Lion"