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Пишет Misha Verbitsky (![[info]](http://lj.rossia.org/img/userinfo.gif){kind=small} tiphareth)@ 2026-07-23 13:33:00 |
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| Настроение: |  sad |
| Музыка: | Jannerwein - ABENDLAUTEN |
| Entry tags: | goad, obit |
"the greatest writer of our generation"
Джим Гоуд все (суицид):
https://counter-currents.com/2026/07/od
Печаль.
Еще
https://lj.rossia.org/users/hyperion/10
https://counter-currents.com/2026/07/re
https://thecritic.co.uk/the-goading-lif
https://elliotpaisley.substack.com/p/a
https://www.reddit.com/r/TrueAnon/comme
https://www.pilleater.com/p/why-i-d
https://safetypropaganda.substack.c
https://x.com/mattforney/status/2079261
https://www.reddit.com/r/TrueAnon/comme
https://bernardchapin.substack.com/p/ji
...For 200-odd pages, Jim took to sacred cows like oxen in
Apocalypse Now. It was like hearing Napalm Death for the
first time, or watching Irreversible; the fury was
hypnotising. Run-on sentences of unfettered, unallowed
abuse. I'd never read anything like it. I still
haven't. His please-no-one attitude, in a time of tiresome
please-everyone writing, was a geysey of replenishing
sulphur. His cruelty, made crueller by his wit, renagade
mastery of language, and unbelievable talent for
turn-of-phrase, were a bolt of black lightning through my
sleeping heart. For American writers, I set him next to
Melville, Hemingway, and Twain. His ability to invert was
second-to-none. He'd make you hate what you loved and love
what you loathed. With just English, he could make a hot
stack of syrupy pancakes sound as foul as medical run-off,
and make the drunk skank busy getting her chunder all over
the dive-bar dancefloor smell like your beloved bride on
your wedding night.
I didn't know you could write like that. I didn't know you
could be that mean.
* * *
Вот тоже хорошее, про борьбу за свободу слова в 1990-е и
за цензуру в 2000-е, в исполнении тех же самых людей
притом.
...Much of Gen X art flirted with the symbols and aesthetics
of the extreme right, but always from the safe vantage
point of ironic distance. It was easy to admire that
generation's commitment to freedom of expression. Now,
however, one suspects that such commitment was possible
only because the prosperity of the 1990s provided a buffer
between politics and art, one that has long since been
vaporized. This is precisely why, as I've written before,
so many Gen X edgelords rushed to clarify that their
right-wing flirtations had been nothing more than
aesthetic gestures once the cultural values of the 1990s
melted away and were replaced by those of the 2010s.
The late Steve Albini devolved from one of underground
American art's wittiest provocateurs into an absolutely
pathetic worm of a libtard, spending much of his final
years on the app formerly known as Twitter melting down
over the supposed rise of the far right while publicly
flagellating himself for his post-ironic racism, or
whatever the infraction happened to be that week.
Goad, however, never lost his edge precisely because he
never wrote from a place of pure irony. His worldview was
unmistakably right-wing, and he never apologized for
it. That was why his writing shocked me so deeply. It was
his truth, presented without protective packaging, and it
compelled and changed me even as I resisted it through the
liberal assumptions of my youth.
I will always admire Goad precisely because he never
wrote merely to provoke or shock, as Albini so often
did. He wrote the truth of the world as he saw it. As far
back as 1997, in his iconic book The Redneck Manifesto,
Goad was already describing American liberalism as a
system of profound cultural repression and hypocrisy. He
argued that the liberal establishment used identity
politics and cultural elitism to obscure its economic
exploitation of ordinary working-class white
Americans. For Goad, the "redneck" was the designated
scapegoat of an elite that denounced poor white people's
values as backward and toxic while ostentatiously
professing its devotion to minorities, all to camouflage
its extraction of wealth from the dirty hillbillies it
despised. It is difficult to overstate how influential
this critique would become. Nor is it surprising that Goad
reemerged as an important political figure in 2016, amid
the rise of the alt-right.
* * *
В принципе, стратегия "насрать, размазывать пальцем
говно и смеяться" не интересная. "Делайте хорошо, плохо
оно само получится". Гоуд не про это. Он тоже враг
общества, конечно, но он по-другому. Гоуд скорее как
библейские пророки, проклинает тупое быдло с высоты
своего величия, и попирает ногами все ценности тупого
быдла, потому что он всех ненавидит.
Походу, сие было заметно еще в 1990-е, и что Альбини
тупой говноед тоже было заметно, ну и все более-менее
тогдашние американские знаменосцы "альтеративы" вместе
с ним такие же уебища.
Gavin McInnes:
...Considered by most to be the greatest writer of our
generation, Jim Goad first attained fame in the 1990s as a
hate-mongering asshole who was at war with the world. His
zine Answer Me! predated Vice Magazine and was the impetus
for VICE MEDIA's early fearless attitude. Jim has spent
time in prison, fought gangs of skinheads, appeared on
countless television shows, and scared the living shit out
of anyone who would dare debate him. He has been an
outcast everywhere he goes and after years of living in
the ghetto, recently moved to a horse ranch in the middle
of nowhere.
Привет
