“James Bond lives in a nightmarish world where laws are written at the point of a gun, where coercion and rape are considered valor and murder is a funny trick…Bond’s job is to guard the interests of the property class, and he is no better than the youths Hitler boasted he would bring up like wild beasts to be able to kill without thinking.”
--Yuri Zhukov, Pravda, September 30, 1965
Is James Bond Hitler incarnate? No, that’s completely foolish and only an imbecile or lunatic would suggest Ian Fleming’s literary hero is literally Hitler. But, that didn’t stop communists and now their heirs, the SJWs, from comparing Agent 007 to Hitler and fascism. It shouldn’t be shocking, since the Marxist SJWs compare everything they disdain to the Third Reich. However, Bond in the early films and, specifically, in Fleming’s books, was very much an inspiring Alt-Right figure, both as an ardent anti-communist and Anglo-Saxon traditionalist – which to the Marxist SJW makes someone or something, either fact or fiction, “literally Hitler” (and to use a common cuck phrase: “not that there is anything wrong with that”). In addition, the literary Bond covers a wide range of Alt-Right themes--from gender differences and sexual degeneracy to race realism and the JQ.
Interestingly, per the UK’s The Telegraph, Fleming sensibly reasoned in 1938 that if Hitler's territorial ambitions were limited to the aims he outlined in 1920, then Britain should refrain from war. Three of those aims were: uniting a greater Germany of German peoples; repealing the Versailles treaty; and obtaining further territory to allow Germany's "surplus" population to emigrate. Fleming wrote: "There will be no peace, no return of prosperity, and no happiness in Europe until England and France agree to the fulfilment of Herr Hitler's stated programme in exchange for a binding disarmament pact." Fleming would eventually change his mind, once war broke out, but initially he wanted peace between the two countries.
Make no mistake, Fleming’s Bond is a fictional version of himself. Fleming came from a wealthy family and was the son of a Conservative MP, and he was educated at Eton and Sandhurst before pursuing careers as a journalist and then a naval intelligence officer in the Second World War. A fascinating anecdote, in 1942 Fleming formed a unit of commandos, composed of specialist intelligence troops. The unit was based on a German group led by legendary commando Otto Skorzeny (rumored to have been partially the basis for Bond’s archrival, Ernst Stavro Blofeld). Fleming thought Skorzeny’s unit was "one of the most outstanding innovations in German intelligence.” Fleming was a chain-smoking aristocrat that traveled extensively and drank heavily, and his vices likely led to his death in 1964 at the age of 56. Fleming also gifted Bond with many of his own traits, including sharing the same golf handicap, the taste for scrambled eggs and using the same brand of toiletries. Bond's tastes are also often taken from Fleming's own as was his behavior, with Bond's love of golf and gambling mirroring Fleming's own.
Both Bond’s name and his physical description fit the mold of an Alt-Right shitlord. Fleming wrote, “It struck me that this brief, unromantic, Anglo-Saxon and yet very masculine name...” In Fleming’s 1955 novel Moonraker, Bond is described as, “That black hair falling down over the right eyebrow. Much the same bones. But there was something a bit cruel in the mouth, and the eyes were cold.” In 1962, The Times described Bond as “ruthlessly, fashionably efficient in both love and war.”
In Italian literary critic Umberto Eco’s 1979 The Role of the Reader, Eco pointed to a number of themes that defined the Bond novels. Positive values were: the Free World, Great Britain, Western civilization, sacrifice, duty, willingness to undergo pain, loyalty and physical attractiveness--and these were associated with Bond. Negative features were: the Soviet Union, foreignness, physical deformity, luxury, excess, perversion, disloyalty--and these themes are devoted to the enemy. Eco commented: “Bond represents beauty and virility as opposed to the villain, who often appears monstrous and sexually impotent.”
To the TRS reader, the above themes resonate deeply, both the positives and the disdain for the negatives. Conversely, the immensely overrated and apparently jealous John Le Carré, former MI5 and later MI6 agent, and author of The Spy Who Came in from the Cold and Tinker Tailor Solider Spy, disliked Bond and nonsensically attributed him to a nihilistic international gangster. In addition, per Le Carré in a 1966 interview, “But at the root of Bond there was something neo-fascistic and totally materialist.”
For the 1950s and 1960s, Fleming’s novels were considered fairly suggestive with hints of sexual action (no wonder the Bond books were President John F. Kennedy’s favorites). A number of the female characters are lesbians or sexually maladjusted and have to be returned to “normalcy” by Bond--the strong dominating masculine force for good. Bond is almost always the carnal conqueror in the novels. In the underrated 1962 The Spy Who Loved Me, after Bond saves the female narrator, she honestly admits, “All women love semi-rape. They love to be taken. It was his sweet brutality against my bruised body that made his act of love so piercingly wonderful. That and the coinciding of nerves so completely relaxed after the removal of tension and danger, the warmth of gratitude, and a woman’s natural feeling.” Needless to say, this illustrative cold hard honesty is immensely triggering for the modern SJW (and normies and SWPLs for that matter).
A common theme throughout the Bond novels is that the villains are manifested as degenerates. Bisexuals and homosexuals are commonly the villains in the novels, from the bisexual Francisco Scaramanga in The Man with the Golden Gun to the homosexual sadists, Wint and Kidd, in Diamonds are Forever. In The Man with the Golden Gun, Scaramanga is described as, “The subject, Scaramanga, is, in my opinion, a paranoiac in subconscious revolt against the father figure (i.e., the figure of authority) and a sexual fetishist with possible homosexual tendencies." In perhaps one of the most apt descriptions of our modern degeneracy, Fleming (through Bond’s observations) writes of lesbians and effeminate men in Goldfinger, “As a result of 50 years of emancipation, feminine qualities were dying out or being transferred to the males. Pansies of both sexes were everywhere, not yet completely homosexual, but confused not knowing what they were. The result was a herd of unhappy sexual misfits... the women wanting to dominate and the men to be nannied.” Bond could be describing any safe space on today’s college campuses.
Bond (and Fleming) were also race realists, which was commonplace (and common sense) for the time period. The most glaring example would be in the 1954 novel Live and Let Die--where Bond must infiltrate and eliminate head dindu and Soviet-backed Mr. Big and his crew of incompetent and loutish niggers (“nigger” is used frequently in the novel). In fact, Chapter 5 of the novel is titled “Nigger Heaven.” Below is an excerpt from the chapter--even in 1954, the dindu voice hasn’t changed a bit--this is Fleming’s attempt to apply their vulgar language to written prose:
“Yuh done look okay yoself, honeychile . . . an' dat's da troof. But Ah mus' spressify dat yuh stays close up tuh me an keeps yo eyes offn dat low-down trash'n his hot pants. ‘N Ah may say . . . dat ef Ah ketches yuh makin’ up tah dat dope Ah'll jist nacherlly whup do hide off'n yo sweet ass.”
Later, Bond reflects how Mr. Big was able to ascend to the criminal Harlem hierarchy, “…it was no wonder that the Big Man found Voodooism such a powerful weapon on minds that still recoiled at a white chicken's feather or crossed sticks in the road--right in the middle of the shining capital city of the Western world.”
Bond and Fleming don’t only scorn dindus, and honest criticism is directed at other non-Whites; in Goldfinger it’s directed at Orientals. Odd-Job, one of the more famous Bond villain henchmen, is described as “…putting Odd-Job or any other Korean firmly in place, which in Bond’s estimation was lower than apes in the mammalian hierarchy.” In what could only be comparable to describing Rotherham, England, Goldfinger’s henchman (Koreans and “Asians”) are styled as, “They are the cruelest, most ruthless people in the world… When they want women, street women are brought down from London… The women are not much to look at, but they are white and that is all the Koreans ask--to submit the white race to the grossest indignities.”
Bond villains, in addition to being sexual deviants, are also often connected to the JQ or are some racial hybrid. In the first Bond novel, Casino Royale, the villain is Le Chiffre, a major Soviet operative and sexual pervert. Like all Bond villains, he is a racial crossbreed, “a mixture of Mediterranean with Prussian or Polish strains,” and has “large lobes, indicating some Jewish blood.” In The Spy Who Loved Me, the villain is mobster Sol “Horror” Horowitz. Goldfinger, possibly Bond’s most well-known antagonist, was based off Fleming’s neighbor (((Ernö Goldfinger))), a Hungarian-born Modernist architect and leftist Jew. The fictional Goldfinger has a fierce obsession with gold and smears prostitutes in gold before he rapes them. Naturally, Ernő Goldfinger consulted his lawyers when the book was published, prompting Fleming to suggest renaming the character "Goldprick,” but Goldfinger ultimately settled out of court.
As is typical of Jews, they do not create--they only replicate (and degrade). Which leads us to the newest Bond writer, who also shares his last name with a Bond villain--(((Anthony Horowitz))). Horowitz’s 2015 Bond novel, the terribly named Trigger Mortis, sets to destroy all of the Alt-Right connections in Fleming’s novels. In Trigger Mortis Bond has a homosexual friend and a live-in girlfriend--and is set in 1957. Anyone with a brain cell would understand that this is not Bond or representative of the time period.
Fleming’s novels and the literary Bond are fun, honest and quick reads. I recommend them to any TRS reader, as Fleming’s Bond was an original (fictional) shitlord.