by Matt Koehl
IV. Twilight of the West
As we have seen, the ultimate source of the decline of the West lies in the failure of the polar ideology, or mythos, which has formed its foundation. Once the dogmas of the dominant faith were effectively called into question and challenged—an unavoidable development, given the preposterous assertions of Christian doctrine on the one hand and the truth-seeking nature of Aryan man on the other—it was only a matter of time before the entire cultural order which rested upon it was itself called into doubt.
With the loss of belief in its guiding ideology—that is, with the dying out of Christianity—the West has lost faith in itself, and its death becomes inevitable. For the Christian worldview has stood at the very heart and soul of the West, permeating its art and culture. It was no accident, for instance, that in times past the term “Christendom” was synonymous with the West.
Cultures live and die with their gods. That the god of the West should have died was foreordained from the very beginning, and it is in this sense that Nietzsche’s celebrated pronouncement must be understood. For how could a Middle Eastern import permanently satisfy the real spiritual needs of Aryan man? Yahweh/Jehovah could murder Zeus and Jupiter, Odin and Thor. But how could he maintain forever the fiction that he was the real father of their children?
If we disregard all ephemeral revivalism, it can be clearly seen that the culture of the West has now reached the point of practical disbelief and atheism, a fact which is reflected in every field of modern cultural endeavor. Atonality and the eruption of alien rhythms in music, formlessness and insanity in painting and the plastic arts, cheapness and vulgarity in literature and on the stage, vapidity and grotesque ugliness of line in architecture—all of this bears disturbing witness to a spiritual, emptiness and sterility, to disorientation and a lack of direction, to an absence of values and standards and an ethos to inform artistic expression.
It is modern technology, however, which—by assuming a utilitarian function in a soulless, materialistic produce/consume society, rather than serving a higher cultural purpose—offers the conclusive statement that Western culture has nothing more to say. The West, as a culture, has exhausted all of its historical possibilities; it has no new direction in which it can go. This, of course, does not mean that Aryan man himself no longer possesses a creative capability. But this genius and talents must now find expression in a Western context. Western civilization itself cannot experience a rebirth. It has exploited and expended its potential and destroyed its one hope for a resurgence, and now it can only wallow in decadence and die. The Old Order is doomed.
Not only is the final collapse of the West inevitable, but for a New Order to emerge such a collapse is historically imperative. For only out of a new formation can there be the possibility of racial salvation for Aryan man. Indeed, this civilization must die, so that upon its ruins a new and greater culture may now rise. That is the meaning and message of contemporary events. That is the iron will of history.