/lit/ - Literature

>A consequence of rejecting [the view that man was ever “purely natural”] is the overcoming of the antithesis between city and nature in the behaviour that should be “natural” for the human type who concerns us. It is the attitude of him who feels in place as little in nature as in the city, for whom it is normal and honest in a higher sense to keep his distance with respect to both…
>The human type that concerns us must consider nature as part of a larger and more objective whole: nature for him includes countrysides, mountains, forests, and seacoasts, but also dams, turbines, and foundries, the tentacular system of ladders and cranes of a great modern port or a complex of functional skyscrapers. This is the place for a higher freedom. He remains free and self-aware before both types of nature - being no less secure in the middle of a steppe or on an alpine peak than amid Western city nightlife.
One of his greatest insights without a doubt. It's easy to focus on Evola's incisive criticisms and ignore his interesting proposals for living in the real world.

>A consequence of rejecting [the view that man was ever “purely natural”] is the overcoming of the antithesis between city and nature in the behaviour that should be “natural” for the human type who concerns us. It is the attitude of him who feels in place as little in nature as in the city, for whom it is normal and honest in a higher sense to keep his distance with respect to both…
The human type that concerns us must consider nature as part of a larger and more objective whole: nature for him includes countrysides, mountains, forests, and seacoasts, but also dams, turbines, and foundries, the tentacular system of ladders and cranes of a great modern port or a complex of functional skyscrapers. This is the place for a higher freedom. He remains free and self-aware before both types of nature - being no less secure in the middle of a steppe or on an alpine peak than amid Western city nightlife.
One of his greatest insights without a doubt. It's easy to focus on Evola's incisive criticisms and ignore his interesting proposals for living in the real world.

>In the majority of literary works, in short stories, dramas, and novels, the regime of residues persists, with its typical forms of subjective dissociation. Their constant background, rightly called the “fetishism of human relationships,” consists of the insignificant, sentimental, sexual, or social problems of insignificant individuals, reaching the extreme of dullness and banality in a certain epidemic type of American novel.
>When speaking of modern art, the first thing to mention is its “intimate” quality, typical of a feminine spirituality that wants nothing to do with great historic and political forces; out of morbid sensitivity (sometimes brought about by a trauma), it retreats into the world of the artist’s private subjectivity, valuing only the psychologically and aesthetically “interesting.” The works of Joyce, Proust, and Gide mark the extreme in this tendency in literature.