Once Aryan Skynet Goes Live It Doesn't Matter Who Pulled The Switch
Somewhere in America, a well-meaning mother is reading her daughter a bedtime story about a Valkyrie, perhaps thinking because it deals with Northern European mythology that it will foster in her child an intellectual curiosity about the old world, its folkways, its splendors, and its epic past. Unfortunately, the bedtime story is Edda: A Little Valkyrie’s First Day of School, and its author is a cultural Marxist Jew from Brooklyn named Adam Auerbach.
Published last year by Macmillan, the picture book tells the story of Edda, “the littlest Valkyrie”, who lives with her blond and red-haired folk in the magical land of Asgard. Poor little Edda feels unfulfilled and limited by continuing to live among her own kind, so her father, who is “very wise”, enrolls her in a public school where she can mingle with other races.
Auerbach depicts Edda walking into a classroom peopled with multicolored students. Propped up on a bookshelf to Edda’s left as she enters is a book with the title Myth, with a picture of Edda’s father on the cover. The meaning of this detail is that she has now been initiated into the real world, where citizens come in all shapes and shades, and everything is relative. The thanks the “very wise” patriarch receives for sending his daughter to this state indoctrination facility is that he will be represented to her as a false ideal.
Edda, who is shown misbehaving in class, throwing a book on the floor, knocking over her chair, and defiantly perching on top of her desk, must learn to be accommodating of those who are different. She must stand in line behind students of other races to get a drink at the water fountain or go for a ride on the playground slide. Eventually a juvenile romance buds between Edda and one of her Lahteeno classmates, guaranteeing that Edda’s “very wise” father has only succeeded in flushing his bloodline down the roach-infested commode of a system of multicultural mythology1.
The author, according to the publisher’s website, “was inspired to create Edda while listening to Richard Wagner’s ‘Ring Cycle,’ a series of operas based on Norse mythology. Adam has always loved the stories of the rugged Norse gods and monsters.” His children’s book, however, merely conveys his thinly disguised hostility toward Europeans, whom he would clearly prefer to see dispersing themselves through dysgenic mating. In this way Auerbach expresses his Jewishness.
Jews have traditionally felt threatened by Germanic myths and legends and have done what they can to undermine the ethnic pride represented by these cultural forms. Leah Garrett, Loti Smorgon Research Professor of Contemporary Jewish Life and Culture at Monash University, addresses this in her essay “Sabotaging the Text: Tannhauser in the Works of Heine, Wagner, Herzl, and Peretz”, in which she writes that, “The line of cultural evolution of the Tannhauser myth is particularly interesting because […] it shows how even the work of an antisemite [sic] can become a tool for Jewish cultural cohesion.”2 Each phase of the development of the Tannhauser mythos as reiterated by Jews, she goes on,
reflects a moment in the transmission of ideas and shows how Jewish thinkers work with the products of the culture that surround them and adjust them to fit their needs. As they reintroduce the cultural product back into society, it moves to the next actor in the line of transmission. The Tannhauser text, as an expression of German folklore, is sabotaged and subverted by Heine, Herzl, and Peretz in such a way that Germanic elements are satirized, suppressed, or replaced with Judaic elements.3
Garrett notes how Heinrich Heine, a Jew, inserts toilet humor into the narrative of his 1836 poem “Der Tannhauser”:
The poem keeps intact much of the plot of the original medieval ballad while adding a humorous ending that transplants Tannhauser to contemporary Germany. Like many German romantics, the Tannhauser legend “cast a spell” on Heine, yet rather than using the myth to romanticize Germany, Heine subverted the original by having the poem shift in the latter half to a ribald and humorous account of Tannhauser’s travels through Europe:
In Dresden I saw a poor old dog
Who’d made quite a stir in his youth;
But now he can only bark and piss,
Having lost his one last tooth.4
One can almost imagine such dreck being recited for comic relief in the conferences of the Allied war planners as they hatched their plans to really reduce Dresden to such a state. Heine, however, like Auerbach and so many others after him, was only doing what Jews have done to their hosts for centuries in realizing what Dr. Kevin MacDonald has termed the Culture of Critique. Yesterday it was toothless hounds urinating on German culture; today it is Marvel’s post-op “Thor” turning mudshark and smooching with “Captain America”. What so intimidates the Jews about pagan Germanic civilization that necessitates its subversion and degradation? Let readers find this out for themselves and restore the idols to their pedestals.