Print this post Print this post

Why I Write

2,702 words

Since I was a small child I have felt that I had to devote my life to something tremendously important. This is it. You are looking at it.

My life now easily divides into “before Counter-Currents” and “after.” Before Counter-Currents I held most of the views I do now, but had virtually no idea what to do about them. I attended various Right-wing conferences, and made Right-wing friends, and attended meet-eat-and-retreat Right-wing dinners. We all talked about the need to “do something,” but aside from a very small number of us (men like Jared Taylor, for instance, who I first met sixteen years ago) nobody had any idea what to “do.” Meanwhile, I was very busily pursuing success in my chosen profession – one which genuinely seemed important to me at one time, but over the years has come to seem more and more like a corrupt racket. I needed to keep my real name and identity under wraps in Right-wing circles (and still do — though perhaps not for much longer).

About seven years ago I realized I had achieved my basic professional goals; what people in my line of work define as “success.” But suddenly it seemed pointless and hollow. I felt like I was waking up from a long sleep. What on earth was that “important” thing I thought I was going to accomplish? I no longer had any clear idea. Had I ever had a clear idea? And, of course, I asked myself “what now?” I was in my mid-forties. And then my mother died, reminding me of my own mortality. As she lay dying, my attention had been divided between her suffering and the politics of my profession, in which I was embroiled at the time. It was shameful. I had become the sort of person that, when I started, I thought I would never be. And I knew my time was running out.

It was during this period that Greg Johnson and Mike Polignano, who I had known for many years, founded Counter-Currents. I had a standing invitation to write for the webzine. But it took me awhile. I had reservations about what I saw as the ephemeral nature of online publication. Plus, I needed to find an authorial voice. It was in September of 2010 that I contributed my first essay to Counter-Currents — though I used a different nom de plume. I got a certain satisfaction from seeing my essay instantly “in print” — and even greater satisfaction when Greg told me the number of people who had clicked on my essay and (presumably) read it.

Finally, I felt that I was doing the elusive something.

But it was not until February of 2011 that I would really find my voice and that yours truly, Jef Costello, would be born. My earlier essays had been detached and philosophical, and had all the pep and humor of Julius Evola (which is to say, no pep and humor at all). At the beginning of 2011, however, I felt the desire to reach readers on a much more personal level, and to be freed from the constraints of “serious writing.” I began to reflect on the personal difficulties that being a heretic have caused me — specifically, my frequent depression at the state of the world, my alienation, and my recurring fears that maybe, one of these days, I’m just going to lose my goddamned mind. The result was “I Am All Right (A Cry For Help).”

I signed this essay “Jef Costello.” The name comes from a French film of the late ’60s called Le Samourai. Alain Delon plays “Jef Costello,” a hired killer depicted as living a solitary and ascetic lifestyle. Just exactly what drives him to be a hitman is unclear, but the odd thing is that he seems to approach it with the same self-denying devotion with which a monk might devote himself to prayer. Something about the loneliness and isolation of this character must have appealed to me — the way in which he voluntarily stood apart from all others. On an impulse, I picked his name. The essay and the choice of pen name were one of those fortuitous events that sometimes happen in life, when things just seem to magically come together in the right way to help us produce something of value. Later on, it felt fateful and mysterious, and I no longer have a very clear memory of writing the essay or choosing the name. I wish Jef had a better origin story, but there it is.

I followed this up with other, similarly personal essays such as “How I Found My Mission in Life,” “The View from Hippie Hill,” “Against Happiness,” and “My Real Life.” I found that these essays struck a chord with readers, especially men. I was articulating the feelings of many who think the way that we do, who face every day the enormity of our predicament: the very real possibility that our people and our culture will cease to exist, the sheer perversity of our enemies, the cowardice of so many “friends,” and the enervation produced by the culture’s constant parade of stupidity, ignorance, and vulgarity. I wrote with a bitter kind of humor and irreverence (some time later I realized that a major influence on my style was, oddly enough, D. H. Lawrence: see his essay on Walt Whitman). Often in my essays, however, the humor would fall away after a few paragraphs and the piece would end with a crescendo of passion and earnest sincerity. Sometimes I must have laid it on a bit thick, because readers would respond with comments like “hang in there, Jef!” They must have pictured me writing these things from a ledge somewhere.

I supplemented these essays with lighter commentary pieces, such as “In Defense of Royalty,” “The King’s Speech is C-C-C-Crap,” and “Aryan Cows?” Beginning with “Dystopia is Now!” I graduated to writing more substantial pieces. This one surveyed four literary dystopias — 1984, Brave New World, Fahrenheit 451, and Atlas Shrugged — and argued that we are now living in them. All that talk about “the age of anxiety” that people used to trot out in the ’50s and ’60s and even into the ’70s has fallen away, because the majority no longer have a basis for comparison: dystopia is all they’ve ever known. At the beginning of 2012 I produced probably my most ambitious essay of all: “Fight Club as Holy Writ,” an eleven-thousand-word analysis of my favorite film. Again, this touched a chord with a lot of readers — and, again, they were mainly guys.

By this point I was hooked on writing for Counter-Currents like it was a drug. If I went without writing anything for a while I would start feeling guilty, and my life would feel emptier. I would go back to that “what the hell is this all about?” feeling. When I produced a new piece and triumphantly emailed it to Greg, my soul would feel cleansed. I had done my part — again — for Western civilization: I had given moral support to somebody whose commitment was wavering, I had helped one of our comrades to understand himself and the world a bit better, I had red-pilled a normie who had stumbled upon my writing through an innocent Google search for Fight Club, etc. When I would wake up the next morning and see that my piece had been posted, I would feel intense pride and satisfaction. And I would go a little easier on myself, for a few days at least, basking in the glow of my new essay. Inevitably, my ego got involved. I would carefully watch how many Facebook shares each essay got. “It’s got 80 shares and climbing!” I would announce to Greg on the phone, as if he didn’t know this already. By contrast, if a piece I’d put a lot into got only a few shares, I would be crushed. (Author’s Message: share this and all my other pieces very, very widely or you will put me back on the ledge.)

The periods in which Jef would write nothing (and would thus feel quite guilty) had various causes. Sometimes the demands of my job made it difficult to write. But then sometimes I also went through periods of depression and lack of motivation. Then there were times when I felt motivated (at least in the sense of wanting to get the guilt of not writing behind me), but had writer’s block: I just couldn’t think of a topic. I’ve learned, however, to keep my mind open to the possibility that anything can be a topic. I’ve thus written essays on modern art, murder, narcissism, the supernatural, anthropomorphism, and even my pet peeves (I was REALLY stumped for a topic when I churned that one out, but lots of people liked it). My essay “What the Drugs Have Taught Me” was an attempt to shock right-wing purity spiralers by discussing the positive effects that drugs like marijuana and LSD have had in my life. I definitely succeeded in shocking them: it’s one of my most controversial essays. I think a few were also shocked by “The Vermont Teddy Bear is a Giant Phallus,” which remains one of my favorite essays (and, personally, I think it may be my funniest).

The two most important lessons I could impart to younger writers are the following. First, keep your mind completely open to different possibilities for topics. Try the following experiment: sit in a room that’s filled with as many varied and interesting objects as possible. Then, keeping your mind as receptive as you can, let your eyes scan the room and see how many topics pop into your head. Is there, say, an old picture of a beautifully-dressed woman? Write an essay on how standards of appearance have fallen (i.e., how people today dress like shit). Is there a cup of coffee in front of you? Write about how caffeine has helped white people to conquer the world and rocket to the moon. My only hard and fast rule is that I won’t write about a topic for Counter-Currents just because it interests me. In some way, it has to be relevant to the interests or concerns of our readers: race realism, Western culture, critiques of modernity, masculinism, Traditionalism, etc.

The second lesson I would impart is this: JUST WRITE THE DAMNED ESSAY. What I mean is that once you’ve got the topic, sit down in front of the bloody computer and start cranking it out, no matter what. Don’t listen to the voice in your head that says “this sucks.” Just keep writing. You can always go back and change the first parts later. It’s very often the case that when I start an essay it feels forced and awkward at first, but then begins to “click” as I keep going. In those instances I resolve, as I’ve just said, to later “clean up” the opening bits that seemed awkward. But more than half the time I go back to the beginning of the piece, I find that I’m actually satisfied with what I’ve written. That voice that says “this sucks” is almost always a liar. You have to try the experiment of trusting me on this, or you’re never going to produce much.

In my search for topics I have sometimes gone in the obvious direction and produced book reviews. These include Tito Perdue’s Lee, Jack Donovan’s A Sky Without Eagles, the Art of Manliness book, F. Roger Devlin’s Sexual Utopia in Power, and Jim Goad’s The New Church Ladies. I’m also a great lover of cinema (including, like James O’Meara, bad cinema) and I also have what friends have called an encyclopedic knowledge of old television shows (it’s not true, actually, I just know a fair amount, mostly about ’60s TV). Counter-Currents has allowed me to write about my passion for James Bond, the Bondian spy-spoofs of the ’60s, The Man From U.N.C.L.E., Dark Shadows, and Breaking Bad.

In 2015, like so many of us, I became passionately interested in Donald Trump. I was visiting a friend in August of that year, and had not been paying too much attention to any of the hubbub leading up to the 2016 campaign season. My friend (a faithful reader of my essays) convinced me there was something to Trump, who I had previously dismissed as a kind of nouveau riche vulgarian. In 2016 I bought a ticket on the Trump train and started writing about him — mostly, of course, in support. Unlike many of you, I have not yet given up on Trump. The man is facing incredible, unprecedented opposition. I believe it is still possible that he can make good on his promises. (Which would certainly not fix our predicament, but might slow our dissolution a bit.) I therefore stand by what I wrote in essays like “What Would Trump Do?,” “The Happening,” and “After Trump.”

In 2016, Counter-Currents also published my first novel, Heidegger in Chicago. It’s a picaresque tale of what happens when Martin Heidegger goes on a lecture tour in America (which he never did). The genre is, I suppose, a kind of “magical realism,” with some large dollops of Terry Southern. I originally conceived this as a “complete speech of the whole,” since it manages to reference, in one way or another, everything I have ever been interested in and, directly or indirectly, everything else. In short, it’s pretty weird. And not for all tastes.

This year I have returned to the more personal content of my earlier work. My first essay of 2017 was “Reflections on Turning Fifty.” This piece was originally entitled “The Warrior’s Way: Reflections on Turning Fifty.” But some ding-a-ling contacted Greg and claimed that he had copyrighted the term “warrior’s way” (!). Rather than waste precious time and energy arguing with him and his attorney, we just shortened the title. I’m particularly proud of this year’s essays “The Myths We Live By” (a thorough demolition of the myth of World War II and how it supports the myth of human equality), “Unintended Consequences: How the Left Keeps Helping Us,” and “How to Live as a Dissident” (which, in truth, is a major, recurring theme of my work). In addition, I’ve produced some frivolities like “Trump Will Complete the System of German Idealism!” and “Relax! Liberal Witches are Powerless to Harm Trump.”

This essay is the 22nd piece I have written for Counter-Currents in 2017. In earlier years, as mentioned already, I have gone through slumps. In 2015 I wrote (as Jef) only six pieces; in 2014 a grand total of three. But now it seems I’ve got my mojo back, and nothing is going to stop me. I need my Counter-Currents publication “fix,” and I need to feel that I am, again, “doing something.” No matter how “funny” and frivolous some of my essays might appear, they always have a serious point. As I have already said, I am always trying to give moral support to those who think as I do, and to enlighten others. This is why I write.

I write—exclusively—for Counter-Currents partly out of loyalty to my friend Greg and the community we have built here, and partly because I think that Counter-Currents is the most substantial and intellectually sophisticated New Right webzine in the world today. Sure, some people hate Counter-Currents, but they are intellectually and morally inferior. I’d like to invite you to get addicted to the drug of writing for Counter-Currents. Consider making this the “something” you do. It has put a great deal of meaning and purpose into my life, and it could do so for you as well. (But I know Greg would want me to advise you to consult him before you go to the trouble of writing and submitting something.)

By my count I have now written (again, as Jef) 81 essays for Counter-Currents since 2011. And this year, Counter-Currents brought out an anthology of my writings on popular culture: The Importance of James Bond, and Other Essays. Eighty-one essays is a lot, but it’s never going to be time to retire. I doubt seriously that this struggle is going to end in my lifetime. What are you doing for the struggle? What will you write for Counter-Currents?

Related

This entry was posted in North American New Right and tagged , , , , , , , . Both comments and trackbacks are currently closed.

15 Comments

  1. John Moffat
    Posted November 28, 2017 at 5:40 pm | Permalink

    Thanks for the inspiring and encouraging essay. I began my awakening over thirty years ago. I’d swallowed a kind of slow release red pill. The more I learned, the more I was shunted to the (new) right.

    However, I know intimately the kind of frustration that Jeff writes about. I’ve travelled around the block a few times and witnessed first hand the infighting and self-destruction of right wing groups – enough to cause more than a few lapses into Thoreau’s “quiet desperation”, in which I’d throw my hand up and exclaim, “what’s the use?’.

    Recovering, I ran as a candidate on an anti-immigration ticket in several state elections. At least that confirmed by belief that the so-called political process is designed exclusively for insiders. If on the outside – well we have a saying here in Australia for the kind of futility sure to be met by an outsider trying to crash the party – something along the lines of urinating into a stiff breeze.

    But like Jeff, and even perhaps saving me, I knew I had as talent for writing. Why not put this talent to good use? I did, and now it’s the most gratifying thing in my life. I now feel I’m actually “doing something”.
    whiteaustralia.blogspot.com.au

  2. Justin
    Posted November 27, 2017 at 12:38 am | Permalink

    I’m late to the party (42) and I only just found Counter Currents this year, but have been consistently impressed with the work all of you do.
    I am going to pass this piece along to my wife, who is struggling to get started on her own writing.
    Please keep writing for as long as you feel you need to, we are listening.

  3. Leon
    Posted November 21, 2017 at 10:55 pm | Permalink

    When I see the name “Jeff Costello” under an article at CC, I know I’m in for a good read.

    From a young White male. Keep up the great work!

  4. Thomas
    Posted November 21, 2017 at 8:56 pm | Permalink

    I do not really qualify as a white nationalist despite being fully white, because I have reservations on points of the doctrine and most important of all on the real-life movement and its perspectives. If anyone is interested in why I am such a “heretic”, ask and I will try to answer you as best as I can, unless there is censorship in these matters.

    On the other hand, I deeply appreciate the existence of Counter-Currents and writers like Jeff Costello. They provide viewpoints and a standard of intellectual honesty that make for an enormous contrast with contemporary lowbrow/highbrow culture. Quite simply, without sanctuaries of thought like this, I would have believed myself to be the only rational person on the planet – – which of course might have soon morphed into the idea that I was actually insane.

    Though I eventually did not stay a white nationalist, Counter-Currents provided me with very valuable thoughts and information that shaped who I am now.

    Thank you for your work.

  5. Andreas
    Posted November 20, 2017 at 10:18 pm | Permalink

    Quite embarrassing for me. I have to admit that I recently found you out. It was with your release of The importance of James Bond, and other essays. I bought it when it came in stock for the swedish label Logik Förlag. I myself love James Bond since I was a kid, and after I read your essay of it, I love the films even more. I am at the moment just 30 pages from finishing the book. A Very good book. I fler straight away from the beginning that I would out you namn under my ”watchlist”. And see, here I am reading on Counter Currents. Hope to read more from you in the future.

    Best wishes from Sweden. Keep up the good work.

  6. Petronius
    Posted November 20, 2017 at 7:33 pm | Permalink

    Jef Costello is one of my favourite writers on the internet, not just at CC. I think what intrigues many of his fans most is his disarming honesty. He has a unique, infectious “sound”, a surprisingly wide range of topics and opinions, a great talent to express what many of us feel, experience and think, is never boring or predictable, and generally makes being right-wing a really exciting thing.

  7. Matthias
    Posted November 20, 2017 at 12:51 pm | Permalink

    Very good, Jef. I like your authentic, unpretentious style.

  8. Pietas
    Posted November 20, 2017 at 8:46 am | Permalink

    Oh, never caught the reference to le samurai. Great flick though! There is a neat little cinematic arc from susuki’s Branded to Kill, melvilles le samurai, and Jarmusch’s Ghostdog: way of the Samurai, which contains allusions to the earlier two. My enjoyment of Melville is blunted by his insistence on portraying Allan delon as a psychopathic killer. What’s the fixation there, do you think?

    • Pietas
      Posted November 20, 2017 at 9:32 am | Permalink

      Melvilles best is bob le flambeur, imho

  9. Elenka
    Posted November 20, 2017 at 6:42 am | Permalink

    This old white lady is delighted and entertained by everything you write.

    • Jef Costello
      Posted November 20, 2017 at 11:04 am | Permalink

      Thank you!!

  10. Richard Smith
    Posted November 20, 2017 at 6:06 am | Permalink

    Jef, thanks for coming back from the ledge! I’ve found that ledge to be pretty crowded at times. My determination to get back in the game occurred when I read about the existence of Counter-Currents Publishing in the Editor’s Forward in Tomislav Sunic’s book, “Against Democracy and Equality: The European New Right”. I immediately wondered, “Where’s the American version?” Once I visited http://www.counter-currents.com, I found the void I had been trying to fill. I purchased “Heidegger in Chicago” to start the ball rolling (my first Counter-Currents purchase by the way). I’ve been on a buying binge ever since (or at least what my credit card will allow). Likewise, I signed up to be a regular monthly contributor to Counter-Currents. I found that a daily dose of Counter-Currents feeds my jones for the cause. Thanks again.

  11. Jez Turner
    Posted November 20, 2017 at 2:44 am | Permalink

    Alain Delon is a good friend of Jean Marie-Le Pen, so Jef Costello the character he plays in Le Samourai, was a good choice for a nom de plume in many ways. Delon’s intelligent and a good actor – has that facility that Greta Garbo had of saying so much with just a glance. Would enjoy seeing not just film reviews on Counter Currents, but summary reviews of some of our race’s best actors, (in the same way philosophers/novelists etc are reviewed). Acting is something that only white people seem to excel at and articles covering the life and works of our best actors would attract a lot of normies to the site, and so to The Cause. Its a sobering thought but the golden age of English theatre and all its creativity – Shakespeare, Marlowe, Jonson, Webster etc – only lasted 90 years. Not sure how Spengler would view the similarity, but the first movie was made circa 1927 so here we are 90 years later in 2017, and in all probability we may we may be reaching the end of the golden age of film. Theatre, like film, – despite the nefarious influences – is a white thing. I can’t say that I like all Alain Delon’s films, but I always find them highly interesting, and I shall also pass that very same compliment on to the writer of the articles written on this site under the name of Jef Costello bravo!

  12. Posted November 20, 2017 at 2:29 am | Permalink

    I am a big fan of your writing, and you have inspired me to write (mostly in Swedish). I especially appreciated your essay on Fightclub and on turning fifty. I also plan to order your books and hope that you will continue to produce masterful writing for our cause!

    • Jef Costello
      Posted November 20, 2017 at 4:40 am | Permalink

      Thank you! You are too kind. I’m very glad that my work has inspired you to write.

    Kindle Subscription
  • Our Titles

    The White Nationalist Manifesto

    Dark Right: Batman Viewed From the Right

    The Philatelist

    Novel Folklore

    Confessions of an Anti-Feminist

    East and West

    Though We Be Dead, Yet Our Day Will Come

    White Like You

    The Homo and the Negro, Second Edition

    Numinous Machines

    The World in Flames

    Venus and Her Thugs

    Cynosura

    North American New Right, vol. 2

    You Asked For It

    More Artists of the Right

    Extremists: Studies in Metapolitics

    Rising

    The Importance of James Bond

    In Defense of Prejudice

    Confessions of a Reluctant Hater (2nd ed.)

    The Hypocrisies of Heaven

    Waking Up from the American Dream

    Green Nazis in Space!

    Truth, Justice, and a Nice White Country

    Heidegger in Chicago

    The End of an Era

    Sexual Utopia in Power

    What is a Rune? & Other Essays

    Son of Trevor Lynch's White Nationalist Guide to the Movies

    The Lightning & the Sun

    The Eldritch Evola

    Western Civilization Bites Back

    New Right vs. Old Right

    Lost Violent Souls

    Journey Late at Night: Poems and Translations

    The Non-Hindu Indians & Indian Unity

    Baader Meinhof ceramic pistol, Charles Kraaft 2013

    Jonathan Bowden as Dirty Harry

    The Lost Philosopher, Second Expanded Edition

    Trevor Lynch's A White Nationalist Guide to the Movies

    And Time Rolls On

    The Homo & the Negro

    Artists of the Right

    North American New Right, Vol. 1

    Forever and Ever

    Some Thoughts on Hitler

    Tikkun Olam and Other Poems

    Under the Nihil

    Summoning the Gods

    Hold Back This Day

    The Columbine Pilgrim

    Confessions of a Reluctant Hater

    Taking Our Own Side

    Toward the White Republic

    Distributed Titles

    Reuben

    The Node

    A Sky Without Eagles

    The Way of Men

    The New Austerities

    Morning Crafts

    The Passing of a Profit & Other Forgotten Stories

    Asatru: A Native European Spirituality

    The Lost Philosopher

    Impeachment of Man

    Gold in the Furnace

    Defiance