Thursday, March 29, 2018

HAC On Writing

[From NF Bulletin #15, April 2018]

Tell you what: this month let’s take a (probably welcome) break from my usual six-page rant telling you guys to pull your socks up and help me professionalize the Party. Let’s talk about writing.

I hear from people who have just finished their last book of the Northwest independence novel series, complaining because there is no more. Well, actually, there is, sort of. Insofar as I am remembered at all, it will probably be for those five novels, but you guys do know there are other Covington books, right?

I’ve written eleven other novels, including one under a pseudonym, and one long political and racial polemic called The March Up Country, as well as an anthology of my best articles which I call Dreaming the Iron Dream. They are all available on My fiction ranges from historicals to murder mysteries to ghost and vampire stories, but the closest to the Northwest novels for Movement people would be two books I wrote during the 1990s, called Fire and Rain and Slow Coming Dark. 

                                 Enter Matt And Heather 

These are the two Matt and Heather Redmond novels, both of them detective and/or thriller type books, but with strong White nationalist undercurrents. Both of these books were written many years ago, in 1996 and 2000 respectively, before I went totally Northwest, but you can kind of see me building up to it. I tend to hang on to my characters once I create them, and some of you may recall that Matt and Heather, their daughter Tori, and the character of Bill Clinton’s illegitimate son Bill Vitale, made a few cameo appearances and had some offstage references in the Northwest novels as well. 

Now, these two books aren’t anywhere nearly as racial as the Northwest novels, not by a long shot, but they certainly do have very strong racial and political connotations. In Fire and Rain I take my shot at the wonderful left-wing mythos of the Sixties and the anti-Vietnam War movement, and in Slow Coming Dark I take on the Clintons in their original 1990s version 1.0.  However, there is something you guys need to know about the first book, Fire and Rain. I mention this because the subject has come up on occasion, and down through the years some of our comrades have gotten kind of upset by some of the things they’ve read in there. Every time I myself send out a copy of that novel, I include with it a sheet of paper, which contains the following caveat and disclaimer:

“Racial Comrades: I am enclosing a copy of my novel Fire and Rain. I hope you find it an entertaining and enjoyable read. However, before you begin the book, I’d like a quick word. 

Fire and Rain was written with the intention of submitting it for publication through the existing publishing establishment, which consists for all practical purposes entirely of Jews, feminists, and the six or seven multi-national corporations who control the industry. The manuscript would have had to pass muster first by a literary agent who, whatever his personal political views, knows full well what the industry will publish and what it will not.

“Secondly, it would have to pass through a succession of readers, mostly leftist women and homosexuals. Then it would have to be accepted by an editor, who would submit it to a board of other editors and market analysts, who would decide not only if the book was politically correct, but whether it would make any money. As you will see when you read it, the chance of Fire and Rain passing any such process of literary kashruth is slim indeed. 

But I was determined to try, and so I included in Fire and Rain a number of elements of political correctness that you, as a racial nationalist, will find disturbing and displeasing. I also deliberately included a couple of raunchy sex scenes. 

These are known in the publishing trade as “commercial dirt.” It is now virtually impossible to publish any work of fiction without them, and I had to include something of the kind were I to have any hope at all of getting the book past the politically correct gatekeepers of contemporary fiction, such as it is.

“Unlike its sequel Slow Coming Dark, Fire and Rain was not intended primarily for Movement readers. It was frankly an attempt to slip some political incorrectness past the system, and make some money while doing so. In fact, it failed. Fire and Rain was rejected out of hand by every literary agent I submitted it to, including one who had attempted to sell several of my other novels, and who sent the manuscript back with a note which read in part, ‘Harold, you know better than this. I like your work, but I’m not going to commit professional suicide for you.’

“Comrades, the racial and political message is there in Fire and Rain. Read between the lines, recognize my politically correct interpolations as the clearly intended camouflage which they are, and understand the deeper meaning of the novel. Despite its many imperfections, I think you will find it worthy of a place on your bookshelf.”

The specific areas of political correctness I put into the book, only in passing I might add, were lesbianism and race-mixing in the form of my protagonist having been briefly married to a Mexican in his past. I thought about this long and hard at the time, on how to include the bare minimum necessary of PC crap to slip through the litmus test, and as revolting as those two specific things are, I found they were the ones I could come closest to stomaching sufficiently to include them in the book. I didn’t like doing it, and those aspects still disturb me when I re-read Fire and Rain, but I’ve explained why they are in there, and they can’t be undone.

Rather than try and address this to the few among you who down through the years found the book disturbing, let me just say what I’ve got to say about it, and then you guys can read it for yourselves if you’re interested. If you don’t like it, if you think it indicates that I am in some way spiritually corrupted because I could write such things, that’s your opinion and I won’t try to argue with you. You may well be right. Like everyone else, I have lived all of my life in a cesspool swarming with all kinds of vile and filthy things, and it would be remarkable indeed if I was not at least somewhat contaminated by it all.

I have told you the reason why I wrote Fire and Rain the way I did, but let’s look beyond that a bit. In my historical novels, I try my best to write about the world the way it really was. In the Northwest independence novels, I write about the world the way it should be. In the two Matt and Heather books, I write about the world the way it is now. It’s not a pretty picture.

A writer is, or should be, primarily a storyteller. Whatever political or social commentary, or whatever point he’s trying to make, has to be secondary to the story itself and the characters, because if they’re not believable then his real point will be lost, or made so ineffectively that it won’t convince anyone who isn’t already convinced. If he does a slapdash, sloppy job he’s only preaching to the choir, and we do way too much of that as it is. He has to be able to construct his plots realistically, as events that might really happen, and he has to be able empathize with his characters enough to understand them and present them realistically, even if he doesn’t particularly like them. The complaint about my writing from a certain minority of Movement people, not Goat Dancers but people who have a genuine problem with some of it, is that I seem to empathize a bit too much with some characters and situations.

In all honesty, at this point I should admit that there are other areas of my fiction wherein I have been accused of writing about certain subjects with a little too much gusto and empathy. There is a smart-ass nigger sidekick in my Civil War murder mystery Bonnie Blue Murder, who is there for the very same reason; I had to have something to try and slide a Confederate detective hero past the PC filters. (That one didn’t work either, but I still stick one of those disclaimer sheets in the book every time I send one out.) I have been accused of being pro-Jewish, of all things, because of Whisper Her Name On The Wind. I’m damned if I can see how anybody could possibly draw that conclusion, but one risk of being a writer and publishing what you write is that other people are going to see things in your work that you didn’t put there and never intended.

Most readers, especially men, seem really to enjoy The Black Flame, my medieval murder mystery, but I’ve had a few accuse me of being some kind of secret sadist because of all the hangings and torture and cruelty in it. It’s kind of hard accurately to depict the fifteenth century without these things, but I can get their point, sort of.  Some people objected to the language used by my gangster characters in the second Matt and Heather novel, Slow Coming Dark. I researched that one by reading transcripts of the John Gotti wiretaps and bugged conversations in the Ravenite social club in Bensonhurst. What can I tell you? That’s the way wiseguys really talk. If I had my mobsters using expressions like “Oh, fudge!” it would have been a joke.

All I can say, again, is that these objectionable parts of my novels are there for a reason. They are the sweet candy coating on the outside that I hoped would fool Establishment literary agents and editors into swallowing the bitter pill of racial and political truth inside. Like I said, it never worked. Editors and literary agents aren’t fools, especially the multifarious Jews along every step of the way of that editorial and publication process I talked about just now. They obviously picked up on what I was doing. Then back around the year 2000, print-per-order publishing came along, and all of a sudden I recognized that I could actually write what I wanted and not have to worry about passing any political or racial litmus tests. From that moment on, I have never included one single item of PC in any of my fiction.

Beyond all this, I don’t know what to tell you. Whenever a writer publishes his work, there are going to be readers who don’t like it. All I can ask of you guys is to read the works in question, and if you think there is something in there that is just so horrible that it negates and cancels out my five Northwest books and the millions of words of non-fiction racial and political material I have written during the past fifty years, best of luck to you. I hope you find the standard of moral purity you’re looking for out there somewhere. I’m not too sanguine about your chances, though.­­­‪­‪­‪­­‪­­­‪­­­‪‪­‪‪­­‪‪‪­‪‪­­‪­‪­­­­­‪‪­­‪­­­


Blogger Luek said...

Hello Harold,
In your current article you stated "both of these books were written many years ago, in 1996 and 2000."
1996 and 2000 are not "many years ago."
Say for instance if President Donald Trump touched some prostitute's bare arm in 1996 he could be sued for sexual assault as if it happened just this week. Time is only a number in some cases in modern Amurrica.

1:44 PM  
Anonymous Lt. Greyman, NVA said...

Hi Harold,

I agree, I don't see any reason that anyone would find Whisper Her Name on the Wind as anything but a nice tail of Monarchists and slimy, deceiving Jews getting their just deserts. I loved the line where the prince has convinced himself that, by God, he would not be a man if he didn't have the right to carry off a wench on his saddle horn once in a While! Also, you set it up nicely where the reader is practically begging him to return and avenge...well I don't want to give it away. I found Revelation 9 terrifying.

I gave my 17 year old Son, "The Black Flame" and now he is seriously into HEMA, using a long-sword as weapon of choice. He loved the book and I gave it an excellent rating on Amazon as well.

I would encourage all to leave a 5 star review on Harold's books on Amazon. Believe me, the Veltfiend is doing so trying to tear down Harold's work.

6:54 PM  
Blogger Technomad said...

Part of what I think is wrong with The Movement is that too much baggage has accreted to it from non-WN sources, like fundamentalist Christianity. This turns people off who might otherwise be interested.

It's hard enough to create a Northwest Republic without trying to bring back the mores of an earlier time. Like it or not, some bells cannot easily be unrung.

11:39 PM  

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