Thursday, April 17, 2025

The Sea Wolf

 



Jack London's The Sea-Wolf (1904) is a gripping, psychologically intense novel that blends high-seas adventure with profound philosophical debate. The story begins when Humphrey van Weyden, a refined but sheltered literary critic, is rescued from a San Francisco ferry accident—only to be shanghaied into servitude aboard the Ghost, a sealing schooner helmed by the terrifying and enigmatic Captain Wolf Larsen.

What follows is one of literature's most compelling clashes of ideologies. Larsen is a self-made brute, a man of immense physical and intellectual power who scorns morality as a weak man's invention. A Nietzschean antihero before Nietzsche was widely known in America, he rules his ship with ruthless efficiency, dispensing violence and wisdom in equal measure. To him, life is a merciless struggle where only the strong survive, and he delights in breaking van Weyden's genteel illusions.

Yet The Sea-Wolf is more than a survival story—it's a novel of transformation. Forced into hard labor, van Weyden must shed his passive intellectualism and discover his own latent strength. The dynamic between the two men evolves into a battle of wills, with Larsen serving as both tormentor and dark mentor. Their philosophical debates—on free will, the nature of good and evil, and the meaning of existence—elevate the novel beyond a simple adventure tale into a meditation on what it means to be human.

London, drawing from his own experiences at sea, fills the book with visceral detail: the grueling work of sealing, the terror of storms, and the ever-present threat of mutiny. The maritime setting becomes a microcosm of the world, a lawless space where civilization's rules no longer apply.

The novel takes another dramatic turn with the introduction of Maud Brewster, a poet and castaway whose presence disrupts the volatile balance between Larsen and van Weyden. Her intelligence and resilience add new dimensions to the story, challenging both men's worldviews and setting the stage for a desperate struggle for survival when Larsen's body begins to betray his formidable mind.

The Sea-Wolf endures because it refuses easy answers. Wolf Larsen is one of fiction's greatest villains—charismatic, cruel, and eerily compelling. Is he a monster, or is he simply the most honest man aboard? Is van Weyden's moral growth a triumph, or has he merely learned to wield violence when necessary? London leaves these questions unresolved, forcing the reader to grapple with them long after the final page.



Monday, April 14, 2025

Excelsa Divina

 



With Excelsa Divina, Arditi conjures a towering vision  of Martial strength, Neoclassical grandeur and Dark Ambient Solemnity.

This track heralds a refined evolution in their sound - disciplined, evocative, and uncomromising.







Thursday, April 10, 2025

Robert E Howard - The Warrior Poet



By 

Renzo Parodi

Robert E. Howard wrote. A lot. And not only prose but also a lot of introspective and dark poetry. Many probably have heard of him because of his most well known characters. But that was not all. He wrote about historical fantasy, science fiction inspired by Edgar Burroughs and his Martian series, Boxing Stories as he was an amateur boxing fanatic himself, Weird Fiction focused upon the so called “Yellow Peril” so present at that time. And not to forget his “Racial Memory” stories, influenced by the late writer Jack London and his novel “Star Rover”. Also, as he belonged to H.P Lovecraft’s inner circle of writers, he wrote a lot of Horror Stories influenced by the Lovecraftian Mythos.

His writings have been very hard to find in proper volumes as they used to appear scattered around in small books and even smaller magazines. However, The Robert E. Howard Foundation has taken enormous work in classifying, collecting and releasing in proper volumes all those works almost forgotten by the major public. Anyone interested not only in Weird Fantasy, Pulp literature but also epic and obscure poetry should visit Howard’s Foundation webstore and choose your path.

https://rehpress.com



Wednesday, April 9, 2025

Sounds of Asa-Thor

 ...the destroyer of the destroyers!





Available from:

https://black-metal-vendor.com/en/


Sunday, March 30, 2025

The Holy Mountain

 



A dancer, Diotima (Leni Riefenstahl), meets an engineer and skier, Karl (Luis Trenker), at his cottage in the mountains. This dancer that loves the sea, and this skier loves the rock fall in love, and have an affair.

One of Karl's young friends, Vigo (Ernst Petersen), meets the dancer after a presentation and she gives her scarf with a smile to him, the infatuated friend mistakenly believes that she is in love with him.

Karl sees Diotima innocently caressing Vigo, and the engineer mistakenly believes that she is betraying him with his friend.

Karl decides to commit suicide and invites Vigo to climb the dreadful Santo Mountain North face during the winter thaw with him. His best friend joins Karl on the tragic journey up the nearest Alp.

Half way up a daring mountain climb, Karl and Vigo stop for a rest on a narrow ledge when a chance remark by Vigo, makes Karl realize that it was Vigo who was groping his fiancée. He is so furious that he makes a threatening gesture in close proximity towards Vigo, who instinctively steps back, over a precipice. But, Karl and Vigo are roped together! In order to save himself, Karl must rescue the dangling Vigo ... and in the process he makes a few self-discoveries.

At the end a caption reads that loyalty was the highest virtue of a person. The motto of the German SS was, "meine ehre heist treue" or My Honor is Loyalty. A virtue taken to an extreme degree.

A 1926 German melodramatic mountain film (German: Der heilige Berg) directed by Arnold Fanck, produced by Harry R. Sokal, written by Arnold Fanck and Hans Schneeberger, cinematography by Arnold Fanck, Hans Schneeberger, Sepp Allgeier and Helmar Lerski, starring Leni Riefenstahl, Luis Trenker, Frida Richard, Ernst Petersen, Friedrich Schneider, and Hannes Schneider. Screen debut appearances of Leontine Sagan, and future filmmaker Leni Riefenstahl.

German filmmaker Arnold Fanck single-handedly invented the Mountain Film movie genre.

Leni Riefenstahl  became a director in her own right. Evidently Hitler was impressed by her work and asked her to make Nazi propaganda films for him and she did, later made famous or infamous as the documenter of Nazi Germany in 'Triumph of the Will' (the 1934 Nuremburg rally) and 'Olympiad' (the 1936 Olympics).

Leni Riefenstahl directed the flower-filled springtime scenes in Interlaken as well as the scenes of the nighttime rescue party searching with their flares, when director Fanck was unavailable for both.

The name of Riefenstahl's dancer character, Diotima, had an association with classical Greek philosophy.She was a priestess who was supposed to have taught Socrates, and Plato makes her a character in his dialogue The Symposium in which she expounds on the nature of true love.

Shot at the Atelier Staaken studio in Berlin, Germany, and on locations in the mountains of the Alps in Switzerland over the course of one and half years. Filming was done in Upper Engadin, in Sils-Maria, a small Swiss village about 6 miles west of St. Moritz. Clearly recognizable are Mount Margna, and the village of Sils-Maria is visible with the Hotel Alpenrose and the Chesa Zuan, and there is also a beautiful view of the Silsersee with Maloja visible in the distance.

The film began production in January 1925, but then was delayed due to weather and hospitalization of three actors.

The shooting of the film itself was plagued by weather problems, ice kept melting, snow turned to slush and the whole project was nearly thrown out by UFA. 

The Ice Palace was 16 meters high and it took 4 weeks to build. Because the shootings were delayed and the temperature increased, it started melting and it had to be rebuilt again when the weather was cold enough to maintain it.

Popular in Berlin, where sold-out performances extended its premiere run for five weeks, it was also screened in Britain, France and US: the first international success of its director.

Some critics were not impressed with the film, one of the most expensive efforts released by the German studio Universum-Film Aktiengesellschaft (UFA) in a year which was otherwise marked by a policy of retrenchment and the departure of respected studio head Erich Pommer. The film was compared unfavourably with the much less costly "Madame Wants No Children" (1926) directed by Alexander Korda.

The excellent cinematography and the camera work are stunning considering the size, weight and technical resources of the equipment in this period. There is no trick photography in use here: that man really is peering over the edge of a sheer cliff with the front of his skis in mid-air, and the cameraman really is hurtling down the ski-slopes with his subjects as he captures how it feels to take part in a rugged ski race. The plot is naive for today's audience, but society in the silent days of 1926 German cinema had other moral concepts. The exciting photography and action sequences make this unique melodrama worth a view, and fascinating from a historical perspective.

Donald P. Borchers






Tuesday, March 25, 2025

The Eternal Fighting Spirit of 1821

 The Army Camp of Karaiskakis

by

 Theodoros Vryzakis 


This painting depicts the army camp of General Karaiskakis at Phaliron during Greek preparations to capture the Acropolis, besieged by the Turks, in April 1827. 


Greeks and philhellenes are arranged along a section in the foreground, while in the mid-ground on the right, the eye is guided towards the hill from which the leading officers of the army survey the battle field. In the background on the left can be seen the Acropolis. 


Almost in the centre, a Greek is leaning against an ancient marble in an allusion to the heritage of classical Greece. On the right, a priest is blessing the fighters. 




The officer in the blue uniform on the left is Bavarian philhellene Krazeisen, to whom the Greeks are grateful. He captured for posterity the figures of the 1821 freedom fighters as we know them today. It is from these drawings that Vryzakis sourced the portraits of the fighters on the hill: Karaiskakis, Makrygiannis, Tzavelas, Notaras, the Scot named Gordon, Englishman Hastings and Karl von Heideck, looking towards the Acropolis through a telescope. 


Heideck, who had first-hand experience of these events, painted the same subject, and Vryzakis quoted his painting much later, in 1855.

Source: National Gallery of Athens 

Friday, March 14, 2025

The Basic Needs of a Revolutionary

 


Or what you need to start a revolution:

1. A Regular wooden office 

2. A revolver & grenades

3. An Arditi Flag


THE PIC:

The office of Benito Mussolini in San Sepolcro, Milan in the early fascist period.