The Camp of the Saints: The Most Racist Book of Recent History - Part One

“Now when the thousand years have expired, Satan will be released from his prison.  

And will go out to deceive the nations which are in the four corners of the earth, Gog and Magog, to gather them together to battle, whose number is as the sand of the sea. 

They went up on the breadth of the earth and surrounded the camp of the saints and the beloved city. And fire came down from God out of heaven and devoured them.” 

• Revelations 20:7-9 (New King James Version) 

“The publishers are presenting The Camp of the Saints as a major event, and it probably is, in much the same sense that Mein Kampf was a major event.” 

• Kirkus Reviews, July 1975. 

Cover art for The Camp of the Saints depicting a single white hand holding up the globe while dozens of brown hands try to reach for it

These quotes – the first, from the Bible, from which the book takes its title, and the second, from an early review of the book – contextualize The Camp of the Saints, one of the most racist books of recent history. The book’s racism is so exaggerated, that the question must be asked as to why one would even take it seriously and attempt a critical analysis of its ideologies and themes.  

The answer is simple. Almost half a century after its release, the book is a cult phenomenon amongst the far-right who see it as a prophetic warning. Today, the far-right have become a mainstream political entity, with Donald Trump’s MAGA reflecting far-right and alt-right values more than traditional centre-right values.  

Furthermore, as the past decade has shown, a major shift in political orientation towards right-wing fascism has been not-so quietly building amongst the right; this has certainly influenced the book’s position in society, making its way onto the best seller list in 2011 when it was republished. Its themes are consistent with contemporary patterns of far-right discourse; particularly ideological legitimations for racism, white supremacy, and the demonization and vilification of immigrants. As a result, we will begin by introducing the book’s popularity amongst the right before diving into the book itself.   

Bannon performing a Nazi salute at the 2025 CPAC conference

The book was directly cited by Steve Bannon, who was at the time the advisor and campaign manager for Donald Trump. 

Bannon used the book to describe Syrian refugees, “a Camp of the Saints-type invasion into Central and then Western and Northern Europe”. Bear in mind, these are refugees who were displaced as a consequence of America’s wars in the Middle East – but in a world without empathy, contextual facts like these are meaningless.   

In another instance, Bannon, architect of Trump’s Muslim-ban, would later say; “The whole thing in Europe is all about immigration. It’s a global issue today — this kind of global Camp of the Saints.”  

A few months later, in January 2016, he said: “It’s not a migration. It’s really an invasion. I call it the Camp of the Saints.”  

Later that year, in April 2016, he said, “When we first started talking about this a year ago, we called it the Camp of the Saints... I mean, this is Camp of the Saints, isn’t it?” 

Marine Le Pen, former president of France’s far-right National Party, claimed she keeps a copy of the book at her desk, and, encouraged French and European citizens to read the book after the images of dead Syrian refugees – including three-year old Aylan Kurdi – on a beach in Greece began circulating online. “I invite the French to read, or read again The Camp of the Saints, by Jean Raspail, because the images of cargo ships throwing hundreds of migrants—that’s The Camp of the Saints.” 

Recently, Elon Musk claimed that empathy was the greatest weakness of civilization; this came after he told German neo-Nazis of the AfD to not be ashamed of the Reich’s history – bear in mind Musk’s family’s wealth was built during Apartheid-era South Africa (which the book, written in the 70’s, also unsurprisingly features). This attitude is mirrored in the book’s demonization of empathy, while simultaneously reframing and reconstructing the history of colonialism as the result of interactions between an inherently superior race and inherently inferior race. 

Its rhetoric also influenced other French thinkers like Renaud Camus in developing his Great Replacement Theory – from his 2011 book, Le Grand Remplacement. Camus’ works would inspire acts of terror – particularly the Christchurch Killer, who named his manifesto The Great Replacement – however there have been numerous mass killings attributed to the work. 

The Camp of the Saints 

In the early 70’s, during a day at the beach, French travel-author Jean Raspail stared out at the ocean and wondered, what if they come – ‘they’ being the exploited and colonized ‘savages’ of the third world, who come seeking a better life in the cultured and sophisticated West. The thought provoked concern in Raspaill, leading him to write one of the most racist books in recent history.  

The Camp of the Saints tells the story of a coming ‘invasion’ of Europe by migrant refugees from previously colonized territories who go on to destroy Western civilization. The book would become Raspail’s most prominent and influential work, and along with The Turner Diaries by William Pierce, it would become central to the ideologies of white supremacists and neo-Nazis.  

The actual events of the book can be summarized rather shortly, as most of the book’s focus is on ideological discussions and debates – which shall be the core of this analysis. The book reads like an apocalyptic text, prophesizing a Gog and Magog-like invasion and the end of the world.  

Before diving in, I would like to further mention that there are other, lighter, reviews of this book on YouTube and on the internet - which I would suggest for the sensitive reader. However, many of the few who choose to review the book feel restricted in their coverage owing to demonetization or bans, thus failing to drive home the point of how disgusting and wretched this book is. I am held back by no such considerations and attempt to make clear how appalling this book is, and why it is so extremely worrying that this book is so popular amongst the political right, while simultaneously being read as a religious text by Christian nationalists who see it as a prophetic warning - even featuring positive reviews and recommendations for the book on the websites of several churches.

image credit: AP & Infomigrants

The narrative begins on the French coast, where one of the heroes of the story, a French professor of literature named Calgues, observes a fleet of migrant ships stranded in the waters of the coast. The fleet, named the “Last Chance Armada” by the media, is an Indian migrant fleet from Calcutta, who head for Europe in an attempt to flee India’s famine and poverty. Calghues, who sees through the facade of sympathy the migrants evoke, details their stench and savagery in a revolting passage, while committing himself towards violence to defend his homeland against them.  

The book then dives into the past, explaining how this situation came to be – this takes up the bulk of the novel, charting the fleet’s origins and journey, till they arrive in France.  

Beginning with an act of charity and compassion, Catholic priests working in Calcutta devise a migration scheme to Belgium for young Indian children suffering under famine, disease and poverty. However, soon realizing how rapidly the Indian population within Belgium was growing, the Belgians decided to stall the migration plan. Yet the Indians – led by a man known as “the turd eater”, who literally eats his own feces, decide to continue their journey, this time heading for France, and the waters of the French Rivera, over eight hundred thousand in number.  

News media helicopters track the fleet, documenting their journey around the African continent, to a mix of joy and fear from the European audience who are divided in their responses. The majority show support for the migrants, both from a sense of empathy and compassion, and from a sense of guilt and responsibility owing to the past history of colonialism. However, Raspaill’s novel describes these sentiments as the results of delusions of empathy and compassion, propagated by the liberal media and consumed by the public; brainwashing them into a state of passivity at best, and at worst, turning them against their own people and their own culture.   

White supremacists cast as the heroes of this tale

There is though, a minority who challenge this view, who fear being overrun by the migrants, who believe in the inherent superiority of European culture over the rest of the world. These are the real heroes of the story, those who see through the myths that the media is trying to force upon the public; those who recognize their inherent superiority and are willing to fight to save Europe and Christendom. 

At the same time, other previously colonized populations are also monitoring the outcome of the Indian migrant fleet, looking for a signal for collective revolution. 

The journey of the fleet takes up a large portion of the book, giving Raspaill the chance to explore and critique or support the varying ideologies clashing over the media coverage, while simultaneously critiquing the media themselves as liberal sympathizers responsible for the brainwashing of the West. As the fleet continue their journey, the political situation in France begins to heaten up, as the varying ideologies and perspectives begin to clash in increasingly hostile ways. Once again, the media are complicit, as journalists begin to stir up controversy amongst existing Arab and African immigrants living in France.  

Frenchcover art portraying the migrant fleet emerging from their ships

As the fleet draws closer, the French President, initially in support of the migrants, soon succumbs to the pressure from the anxious and frightened. He eventually orders the military to follow their conscience and do whatever they feel is right – whether to stay and support the migrants (as some leftists and anarchists choose to do), or stay and fight, or to flee with the civilians.  

A small group, including the heroes of the story, flee to a small village along the French coast – known as The Village. Here, they attempt to survive the invasion, by gathering supplies, ordering patrols, and going on regular hunts in which they kill migrants as well as leftist supporters.   

Other Western powers convene to discuss the threat posed, not only by the Indian fleet, but by the collective Third World, gathering to exact their revenge. America, the Soviet Union, Australia, Britain, and South Africa; all collectively realize that if France falls, their countries will be next.   

Within days, this doom is realized as the migrant hordes sweep onto the shores and invade, destroying France – including murdering and raping those on the left who chose to support and sympathize with them.  

The migrants reject French culture yet want the benefits of First World living. Soon, they coalesce along with other immigrant populations and form new structures of power and governance – beginning with the “Paris Multiracial Committee” which replaces the French Government, to new governments and power structures across the world.  

This is how Raspaill portrays this scene: 

As the decks sprang to life with their myriad bodies—men, women, children, steeping in dung and debris since Calcutta—as the hatchways puked out into the sunlight the sweating, starving mass, stewing in urine and noxious gases deep in the bowels of the ships, the stench became so thick you could practically see it.  

Yes, the Third World had started to overflow its banks, and the West was its sewer. 

Soon after the Indian fleet begins its assault on the coast (and the senses apparently), the collective invasion begins. The Chinese invade Russia; London is overrun by Bengalis, Pakistanis, Jamaicans and more. The Queen of England is forced to marry her son, the Prince, to a Pakistani girl. Along the Limpopo River, black Africans have gathered in large number and begin their invasion of Apartheid South Africa in an episode which is given some length in the novel – including twisting Alon Paton’s Cry the Beloved Country into “Now cry no more my beloved country”.  

Emperor Constantine Dragases Palaiologos, the final Byzantime Emperor

The Village, the last holdout of resistance, is soon bombed by the new French government. The racism is so explicit, that the deaths of the book’s heroes are celebrated as coming at the hands of their fellow white Europeans, rather than at the hands of the invading filthy migrants. At the very ending, General Constantine Dragases, presented similarly (and derivatively) to his heroic namesake - the last of the Byzantine Emperors - who faced off against the Muslims at the Fall of Constantinople, says to his compatriot, “Stay right where we are. We only have a few minutes to wait. I’d rather be killed by our own. It’s much cleaner that way. There’s something more final. No regrets, and all that …” 

The narrator, who continues writing through the final fall, claims to have moved to Switzerland, the famed neutral country who maintained its position till the very end. Yet, lobbying and pressure from other liberal groups eventually erode the Swiss government’s position, and they open their borders to the migrants – resulting in the doom of all Europe. This is where the narrator stops writing, where the book comes to its final, bleak, and consistently racist ending.  

The most I can expect is that, some day, my grandchildren may read my words without too much disgust that my blood runs through their veins. Besides, how much will they even understand?  

Will the word racism have any meaning for them at all? Even in my day the meaning has changed. What I always understood to be a simple expression of the races’ inability to get along together has become for my contemporaries—or most of them, I daresay—a war cry, a call to arms, a crime against humanity and the dignity of man.  

Too bad. Let them understand the word as best they can. 

Themes & Ideologies 

Rather than the plot, the ideological content of the book is given greater focus and depth; the characters and events are almost stand-ins for ideological positions and critiques, rather than actual people. One can question taking these positions so seriously; as a work of fiction, is this simply not provocative fiction? This is answered in the book’s foreword, where Raspaill himself claims that the words coming out of the character’s mouths are placed there deliberately, to express certain truths about the world.  

I should at least point out, though, that many of the texts I have put into my characters’ mouths or pens—editorials, speeches, pastoral letters, laws, news stories, statements of every description—are, in fact, authentic. Perhaps the reader will spot them as they go by. In terms of the fictional situation I have presented, they become all the more revealing.  

J. R. 

Empathy as the Great Weakness of the West 

Centrally, the invasion of the Last Chance Armada is facilitated by attitudes of empathy and charity from left-leaning Europeans. Raspail sees this as Western Civilizations greatest weakness and vulnerability; as well as one that causes a divisive split within the West, between the right and the left. The title of the book (a reference to the Book of Revelations) also serves as a symbolic assessment of European society, divided into various ‘camps’ each with its own perspective on how to handle the migrant crisis – from left-wing liberals who have  develop ‘mistaken’ attitudes of empathy (owing to the past history of colonization), to conservatives seeking to protect their land and culture.  

These constructions and rejections of empathy is so pervasive through contemporary white nationalist culture that it will be analysed through several subthemes: 

One of Raspaill’s characters, the Belgian Consul posted in Calcutta, reflects this anti-empathetic attitude when he rails against the pity of the West as being a critical failure allowing Europe to be overrun.  

“You and your pity!” the Consul shouted. “Your damned, obnoxious, detestable pity! Call it what you please: world brotherhood, charity, conscience … I take one look at you, each and every one of you, and all I see is contempt for yourselves and all you stand for. Do you know what it means? Can’t you see where it’s leading? You’ve got to be crazy. Crazy or desperate. You’ve got to be out of your minds just to sit back and let it all happen, little by little. All because of your pity. Your insipid, insufferable pity!” 

The images that shocked the world; Alan Kurdi was two years old when he drowned. His body washed ashore on a beach in Greece. Image credit Klein & Amis, 2015.

Most recently, Elon Musk has proclaimed empathy to be the greatest weakness of Western civilization, while encouraging Germany’s far-right AFD Party to not be ashamed of the history of Nazism.

Marine Le Pen’s recommendation for the book characterised it as explaining the Syrian migrant situation; this was after images surfaced of dead Syrian children washed up on a beach in Greece, provoking a wave of sympathetic reactions from the public and challenges to the meddling of Western powers in the Middle East. Le Pen’s uses the book as a basis to dismiss the empathy evoked by these images. Steve Bannon, as mentioned earlier, also recalled The Camp of the Saints as a metaphor for Syrian migration - and migration in general.

Bear in mind, the book depicts the migrant fleet throwing their dead overboard in massive numbers, resulting in dead bodies washing ashore. On the one hand, this is done to avoid wasting firewood on cremation pyres, but in the bigger picture, is to represent the savagery and animal nature of this population, who do not care for their dead, or for how their barbarity results in more death.

This portrayal is in keeping with the rest of the imagery and metaphors Raspaill uses throughout (migrants as being hypersexual, migrants as being dirty).  

What is often left out of these characterizations, by the likes of Le Pen and Bannon, is the history of Western imperialism and neo-colonialist policies in the Middle East - of which the Syrian migrant crisis is a direct consequence. Foreign involvement in Syria spiked with the Arab Spring, and US led projects like Operation Timber Sycamore which armed and trained militants opposing the Assad regime. At the same time, ISIS, wielding US weaponry, became targets of US-led coalition attacks which devastated civilian infrastructure and has resulted in the deaths of over 200 000 Syrian civilians since the Arab Spring. At the same time, Syria turned into a battleground of proxies as foreign interests clashed across the country - from the US and Russia, to Iran, Turkey and other Gulf states. The violence and destruction brought down on the Syrian people was not to release them from Assad's regime, but to serve the interests and strategic ambitions of foreign powers; just like the war in Iraq, propagandized as a means of liberating Iraqis, in reality, caused the deaths of millions of civilians.

Once again, what we have here is a mythology; an appropriation of history to build a narrative. A narrative designed to serve strategic interests of the powerful, while placating the populations of the US and other imperialist countries by giving them a fantasy of bringing democracy, just as the colonial empires sold their people a fantasy of bringing religion and civilization, when what they really brought was murder and subjugation.

mural of Alan in Frankfurt, credit wikipedia

Inherent Superiority & Biological Racism 

Furthermore, another construction of empathy popular amongst the contemporary far-right that is echoed in the book is the ideology of inherent superiority. The white race – particularly white Christians – is inherently superior to other races; whether through cultural superiority, or the biological results of evolution, both versions circulate within the book and within white supremacist discourse.  

Dr Jordan B Peterson who routinely uses evolutionary psychology and other claims reflective of biological racism to justify non-white & Muslim populations as incompatible with Western civilization

Thus, the book’s philosophy reflects a growing tradition of far-right attitudes towards migration and the past history of colonization – one in which empathy (for previously colonized peoples) is demonized as colonialism was the result of a superior race asserting dominance over their lessers, while providing them with the bounties of civilization.  

Not only was this used to demonize non-white races, but also to demonize particular white populations - like the Irish - who were characterized in the same subhuman ways that non-whites were. This legitimated British imperialism over the Irish, while dismissing concerns over starvation and famine by claiming the Irish were lazy and drunk and unable to cultivate successful crops. A million Irish died as a result of this, and millions more fled, resulting in a massive population loss.

The book further criticizes those displaying empathy as fools, going against their own nature. In the book, not only is the white race is inherently biologically and culturally superior to other races, but the white race is racist at an inherently psychological level as well, whether they deny it and fight against it or not. The book claims that whites who are not racist still believe in their inherent superiority over other races. Thus, the books cast of left-wing characters who sympathize with the migrants and refugees, are still presented as racist. For example, a left-wing radio host sympathetic with the migrants, considers relations with other races as a friendly mutual relationship between a man and a loyal dog – rather than a relationship with another human being. 

This characterization is given form through the character of Hamadura – an Indian who rejects the migrant's cause and joins The Village. He confirms the biases of the racist heroes, claiming that the migrants are indeed savage, and will indeed overrun Europe without respecting their culture. Hamadura had called into the leftist radio show and challenged the leftist view of the migrants – after which he was cut off by the same radio host who explained that Hamadura’s condition is like that of a man and a loyal dog.  

When Hamadura arrives at The Village, he says: 

‘You don’t know my people,’ I told those buffoons, ‘the squalor, the superstitions, the fatalistic sloth they’ve wallowed in for generations. You don’t know what you’re in for if that fleet of brutes ever lands in your lap! Everything will change in this country of yours. My country now, too. They’ll swallow you up …’ Then they cut me off. And I wasn’t even through.”  

“What I wanted to tell them,” Hamadura continued, “was that, to my way of thinking, being white isn’t really a question of color. It’s a whole mental outlook. Every white supremacist cause—no matter where or when—has had blacks on its side. And they didn’t mind fighting for the enemy, either.  

Today, with so many whites turning black, why can’t a few ‘darkies’ decide to be white? 

These last few words are chilling - “whites turning black” is both a signal to mixing gene pools, as well as whites becoming ‘cuckolded’ by black culture and non-white populations. It goes further to suggest that these left-wing white citizens who try to build relationships with non-white races are still setting themselves up for failure as rational discourse could not be achieved between the races because rationality is unique to the white race. In order to communicate and understand other races, white people project their sense of rationality onto other races, in what Raspail regards as an inherently flawed practise.  

For Raspail, and the many others that agree with this type of racialized discourse, this inherent superiority justifies the history of colonialism, of slavery, of exploitation; while simultaneously providing the basis for a lack of empathy for the histories of colonialism, slavery, and exploitation. 

The Cuckold 

Lastly, another construction of left-wing empathy used in the book, is that of the cuckold – a husband who allows other men to come into his home and sleep with his wife.  

Raspaill routinely uses this characterization: from characterizing Third World populations as cuckolds that allowed the white man to dominate them and take what was theirs; to describing Western liberals as being cuckolded by other races.  

In the beginning of the book, Raspaill uses the metaphor to describe the Third World; 

“Why stop setting them out, simply because the Brazilian backwood was dying of thirst, or because India was gulping down typhus with every swallow of muck from its dried-up wells? Let the cuckold come pound at the door with their threats of revenge. There’s no sharing in love. The rest of the world can go hang. They don’t even exist. So what if those thousands were all on the march, cuckolded out of the pleasures of life? All the better!” 

Secondly, Raspaill claims that the difficulties facing the migrant populations in their homeland are not a good enough reason for the white liberal to become cuckolded in their homeland (Europe and the West). Now the roles are reversed; wielding empathy and sympathy, these impoverished migrants cuckold the white liberal, allowing them to gain access to the treasures of the First World, the property of the white man alone.  

As a metaphor, the cuckold does two things: (i) first, it directly invokes the status of cuckold through imagery of migrant men raping European women, contributing to the crisis of replacement by producing biracial offspring. Secondly (ii) the cuckold metaphor represents the superior white man, who was able to take from and dominate the Third World.    

Criticism of the Liberal Mass Media 

Raspaill criticizes the media as being liberal and indulgent, while simultaneously criticizing the audience who consume this media content. He sees the Western audience as ultimately uncaring about the plight of the migrants, but who are able to squeeze out a bit of sympathy and sentiment when they are confronted by these images and visuals on their screens and in their newspapers.  

Real-world drama, served in the comfort of home by that whore called Mass Media, only stirs up the void where Western opinion has long been submerged. Someone drools at a current event, and mistakes his drivel for meaningful thought. Still, let’s not be too quick to spit our scorn its way. Empty drivel indeed, but it shows nonetheless how reading the papers or watching the news can provoke at least the appearance of thinking. Like Pavlov’s dog, whose slobber revealed the mechanics of instinct. Opinion shakes up its sloth, nothing more. Does anyone really believe that the average Western man, coming home from his ofiice or factory job, and faced with the world’s great upheavals, can eke out much more than a moment’s pause in the monumental boredom of his daily routine? 

Raspaill explains that the initial news about the migrant fleet was met with no alarm or concern – till the propagandists stepped in; “clever folk” who were spreading “verbal cream...  spurting thick and unctuous from the udders of their minds.” “The obliging bovines of contemporary Western thought, tails all aquiver, acquiesced with delight to the daily milking, especially since, for the moment, there was no cause to think that a serious problem was actually at hand.”  

Raspaill criticizes the media consuming masses as ignorant, simply looking for some form of entertainment, one which indulges their feelings of charity and sympathy.  

And so, when the first news helicopter flew low over the fleet, off Ceylon, and got a worldwide scoop with a series of staggering pictures, what do you suppose our Western joker thought? That his life was in danger? That time had just started his countdown to death? Not a bit. All he thought was that now, as the fleet limped along on its hopeless course, strewing corpses in its wake, he would finally be able to watch a first-rate serial, week after week. 

Raspaill’s writings routinely use the dichotomy of fantasy versus reality; he sees not only the white liberal as living in a fantasy, but even the white moderate, the ones who seek to watch the news coverage as some form of entertainment while not being alert to the imminent threat. For Raspaill, only the hard-liners, the far-right, the ones who recognize this as the moment of the race-war finally being realized – only these figures live in reality. The irony is that Raspaill’s writings are themselves the product of his own self-indulgent racist fantasy rather than objective reality, a fantasy built on reconstructing history and entertaining pseudosciences. 

But now let’s imagine a rude awakening, a plunge into reality, with everyone caught in the soup, like nothing since World War II. The serial suddenly breaks through the screen, smashing it to pieces into the steak and fries. And all at once the hordes of characters stream into the living room, looking the way they did in the fishbowl, doing their tricks a few moments before, only now they’re not acting, and the glass wall is shattered, and they’re armed with their woes, their wounds, their groans, their grievance, their hate. Their machine guns too. Now they rip through the apartment, jar it out of its orderly calm, stun the families caught short in mid-digestion, spread through the town, the country, the world, pictures come to life, living, breathing problems on the march, newsfilm actors turning on their director in unbridled frenzy, suddenly telling him “shit!” to his face. … Now our poor little friend sees only too well that he should have paid closer attention. He read it all wrong, he heard it all wrong. The story, this time, wasn’t published and aired for his leisurely, private delight. In fact, what he’s going to hear now is this: “A million refugees from the banks of the Ganges set to invade France in the morning. Five more fleets on the way, from Africa, India and Asia.” 

Another instance of this media criticism that I have selected to highlight occurs a bit later in the book, when the fleet pass around South Africa’s Cape of Good Hope, which at the time was in the hands of South Africa’s Apartheid government.  

In an act of goodwill, the South African government sends out support boats carrying aid to assist the fleet’s journey. However, the fleet reject these aid convoys. The liberal media celebrate this rejection, claiming that the fleet are refusing to accept aid from the Apartheid state. This event is a stand-in for an ideological perspective criticizing the liberal media, which the book describes as leftist, who celebrate this rejection as a moral stand against Apartheid South Africa and believe that the fleet would accept aid if provided by a more “virtuous nation”.  

image credit: Grand Goldman

Yet, even from these nations of virtue, the fleet reject aid again, demonstrating that the previous rejection had nothing to do with a moral stance against Apartheid South Africa, but was actually because of the backward nature of the people who were willing to reject aid and upliftment and continue living in squalor and filth. This perspective serves to justify a lack of empathy as these are people who do not want help. The fleet even murder one of the people sent to deliver aid – which the liberal media cover up - demonstrating their culpability and failure to inform the people.

Raspaill's attitude towards the media firmly reflects the current criticism of mainstream and legacy media in favour of "independent" content creators - yet, from the Rubin Report to Ben Shapiro, these are not instances of independent media, but instead the products of investment from political action groups, lobbyist groups, and many other institutions with strategic interests in swaying public opinion.   

End of Part One

In Part Two, we continue or analysis of this horrible book's themes as they relate to contemporary supremacism and Neo-Nazism; particularly focusing on the rewriting of history, the championing of violence against non-white populations and cultures, and the Biblical apocalyptic parallels it leverages to provoke the religious audience.

Thank you for reading and accompanying my criticism of this disgusting book.