BOOK: Sultan vs Dracula

Peace Be Unto Those Who Follow Right Guidance

The following work by non-white (attempted) Muslim writer, artists and poet Razwan Ul-Haq arrived in the post this morning:

Sultan vs Dracula

The book, which is 400+ pages long, can be purchased direct from the author for £7.99 (+ postage and packing) from here. The author also has a blog on Islamic sci-fi.

Here’s an advert for this interesting Islamic Counter-Racist, decolonial and ‘post-Orientalist’ re-imagining of the Dracula story as appears on youTube:

Interested readers are invited to check out the following earlier blog post in connection with the above book:

The Vampire Culture of The Psychopathic Racial Personality



The (Non-White) Girl With All The Gifts

Peace Be Unto Those Who Follow Right Guidance.

I’m very interested to watch the following film:

tgwatgAccording to the entry for the film on the IMDB , “a scientist and a teacher living in a dystopian future embark on a journey of survival with a special young girl named Melanie.” Significantly, that ‘special young girl’ is non-white / black in the film which is based on a book by white male author M.R.Carey. (It will be interesting to determine whether the ‘special young girl’ in the book was also non-white/black.)

SPOILER ALERT: A Wikipedia summary of the book’s plot is available here.

However, at this point, I am interested in interrogating the following promotional image for the film:


From a Counter-Racist perspective, I am interested in how we visually process the above image. For example,

  • Do we parse it L-to-R, R-to-L or ‘middle out’?
  • Does the white face occlude the non-white / black or do they have ‘visual parity’?
  • Which human figure, if any, is foregrounded relative to the other, and to what extent might the answer to this question dpend on one’s positioning within social structures given that visual perception is influenced by social epistemology? (On the latter point, I refer interested readers to the following study: Brubaker, R., M. Loveman, and P. Stamatov (2004) Ethnicity as Cognition. Theory and Society 33: 31-64 among other works. In addition, see “Is Race Perception Automatic?“)

And then, of course, there is the issue of the asymmetry in blood-marking on the above image to think about.

I would suggest that the casting of a non-white/black female as the ‘special young girl’ is interesting to consider in terms of a possible instance of the “Magical Negro” phenomenon in the sci-fi film genre, viz.

a supporting stock character … who is portrayed as coming to the aid of a film’s white protagonists. Magical Negro characters, who often possess special insight or mystical powers, have long been a tradition in American fiction.

Time and the actual viewing of the film will tell, insha’Allah (God-Willing).


The (White Supremacist) Purge: Anarchy

Peace Be Unto Those Who Follow Right Guidance.


Yesterday evening I watched The Purge: Anarchy (2014), sequel to The Purge (2013) which I blogged about in a previous post entitled “The White Supremacist Purge“.

Before I go any further, I should like to state for the record that I found the film made for constructive Counter-Racist viewing despite the inevitable plot holes, somewhat far-fetched premiss etc. The film has generated a host of critical and negative reviews, but I do not think that should stop the discerning Counter-Racist from engaging in viewing of this movie.

Here is the official trailer on YouTube:

For a summary of the plot, I should like to refer interested readers to the entry for the film on Wikipedia.

In terms of film reviews, consider the following from Mike McCahill, writing in The Guardian on Thursday 24 July 2014:

Last year’s hit The Purge ventured a superficially eye-catching premise – what if the US government granted its citizens an annual mischief night to get any crime out of their systems? – before retreating indoors into indifferently staged runaround. The sequel, again overseen by James DeMonaco, thinks the idea through, following those left outside as the Purge kicks in. Flickers of dread materialise – care of those one-percenters co-opting the event for entertainment – though again we’re mostly in second gear. If the first movie was a lack-lustre Assault on Precinct 13 (the remake of which DeMonaco penned), this is a modest Escape from New York, with growly lone wolf Frank Grillo steering representative survivors between Gothy bikers and lip-smacking private armies.

I’m a big fan of those two John Carpenter films and I think McCahill is pretty much on point in connecting the dots between this installment of The Purge trilogy (a prequel is planned) and those classic sci-fi / action B-Movies.

Observer film critic, Mark Kermode, had this to say on Sunday 27 July 2014:

This surprisingly grim follow-up to last year’s dystopian near-future fantasy escapes the home-invasion confines of the original to take to the streets of the city, where chaos once again reigns. During an annual 12-hour free-for-all in which crime – including murder – is temporarily rendered legal, a bedraggled group find themselves huddled together in downtown LA where vigilante gangs, mysterious hitmen and wealthy scumbags wreak violent havoc.

The post-Rollerball / Hunger Games premise may not stand up to much scrutiny, but writer-director James DeMonaco keeps us distracted from the underlying silliness by taking class-war potshots at the ruling elite, whose barbarity (both fiscal and personal) proves the real theatre of hate. Despite the box-office success of The Purge (which DeMonaco envisaged as “a politically subversive indie that would play in small arthouses”), this sequel still resembles a nasty little B-picture, unashamed of its exploitation roots [emphasis added].

Again, I would concur that the film is somewhat of “a nasty little B-picture, unashamed of its exploitation roots”.

However, from a Counter-Racist perspective, I should like to problematise Kermode’s (and others’) framing of the movie as being about “taking class-war potshots at the ruling elite”. Consider the following comment from a blogger called Ralph on The Truth About Guns:

All things considered, The Purge: Anarchy is probably the most anti-capitalist movie I’ve seen since Robocop. Because of the serious nature of Purge 2 it’s far more vicious. It’s also the most racially inflammatory movie I can recall [emphasis added].

I’m not sure I would go that far, but I think Ralph is onto something here in flagging up the overt “racial-polarization” in the film. As he states elsewhere in his blog post:

A lot of people of color get killed, and The Symbionese Liberation Army (or whatever they are calling themselves in 2023) doesn’t like it. On the other hand, evil white people are doing so well that they can actually indulge their pent-up taste for hacking terminally-ill black people to death with machetes without fear of repercussion, after the payment of a suitable, negotiated fee [emphases added].

Yet another reviewer picking up on the ‘racial’ theme is Roger Moore, writing in The Columbus Dispatch, July 18 2014. On his view,

Anarchy is more overtly about race and class as the mixed group of five tries to survive [emphasis added]

and Jonathan Kim, writing in the Huffington Post on 25 July 2014, concurs with this assessment pointing to the film’s critique of “racism, classism and political conservatism”. Kim goes on to state that:

[Carmelo,] the shadowy leader of an anti-Purge resistance group (Michael K. Williams) makes clear that the Purge isn’t about the ritual purification of the nation’s soul, but is instead a way to keep the disenfranchised scared, weak, and poor as the rich consolidate their power with the money that would otherwise go to creating a more equitable society. In a movie where anyone could be a murderer, it’s the rich who are painted as the film’s biggest villains as they wait in fortified mansions and fancy ballrooms for mercenaries to deliver fresh victims whose lives will be bought or auctioned off to the highest bidders.

However, Moore reads the character of Carmelo differently, viz.

Black revolutionary Carmelo is preaching against the purge, calling it a racistway for the rich to cull the minority population [emphasis added].

I am strongly inclined to agree with Moore’s “Black Revolutionary” interpretation over Kim’s somewhat milder ‘resistance’ rendering although I accept the connections between these ideas. Most poignant for me is a scene in the film which depicts the anti-Purge group and its leadership as some organisation akin to the US Black Panther Party or South African Economic Freedom Fighters engaging in Fanonian (Counter-)Violence as a means by which to “break the grip of shame” foisted on the poor = people of colour = non-white VoRs (Victims of Racism) by the system of Racism (White Supremacy).

In this regard, consider the following observation of another online commentator,USMC94 from 31 July 2014:

… White people are crazy as fuck.

1. The white rich family bought the Dad so they could kill him.

2. The white girl in the room started the gunfire and tried to kill her cheating boyfriend.

3. Hundreds of white people were hosting an auction and bidding on people to kill them.

4. All the psychos and killers were white.


1. The black gang with masks said they didn’t want to kill people. They were just capturing them and selling them to white people.

2. I don’t recall any killers in the movie being black. They were all white.

3. I don’t recall any black people dying in the movie.

I was surprised by all of this. I don’t know if it was purposely done or what.

Edit: Now that I think about it, in the first movie, the crazy white people wanted to purge on the innocent black guy. Lol

In response, another commentator notarealaccount states:

Black people don’t need the purge. They live through that shit erry day

However, what really intrigues me about The Purge: Anarchy is how it might function as a coded message to / for White Supremacists (Racists), viz. “the barbarians are at the gates”, and there is a “rising tide of colour against white world supremacy”, to domesticate / localise a global thesis explored by Lothrop Stoddard in his 1925 work of the same name etc. (Ronald Segal later explored a similar thesis in his 1967 work,The Race War.)

In closing, I should like to invite interested readers to check out the following promotional sites:


The World, The Flesh and The Devil [=Racist/White Supremacist]

Peace Be Unto Those Who Follow Right Guidance.


I’ve just finished watching The World, The Flesh and The Devil, a 1959 science fiction doomsday film starring non-white actor, Harry Belafonte. Here is the Wikipedia entry for the film, suitably annotated for purposes of Counter-Racist analysis:

African-American [=black/non-white] coal mine inspector Ralph Burton (Harry Belafonte) becomes trapped underground in a cave-in while inspecting a mine in Pennsylvania. He can hear rescuers digging towards him, but after a few days they slow down and then stop completely. Alarmed, he digs his own way out. Reaching the surface, he finds a deserted world. (No bodies are seen at any time in the film.) Some discarded newspapers provide an explanation: one proclaims “UN Retaliates For Use Of Atomic Poison”, another that “Millions Flee From Cities! End Of The World”. Ralph later plays tapes at a radio station that indicate that a dust of radioactive isotopes that became harmless after five days was used as a weapon.

Travelling to New York City in search of other survivors, he finds the city vacant. Ralph busies himself restoring power to a building where he takes up residence. Just as the loneliness starts to become intolerable, he encounters a second survivor: Sarah Crandall (Inger Stevens), a Caucasian-American[=white] woman in her twenties.

The two become fast friends, but Ralph grows distant when it becomes clear that Sarah is developing stronger feelings for him. Despite living in a post-apocalyptic world, he cannot overcome the inhibitions instilled in him in a racist American society [=Racism/White Supremacy]. Ralph regularly broadcasts on the radio, hoping to contact other people.

One day, he receives a signal from Europe.

Things become vastly more complicated when an ill, white Benson Thacker (Mel Ferrer) arrives by boat. Ralph and Sarah nurse him back to health, but once he recovers, Ben sets his sights on Sarah and sees Ralph as a rival. Ralph is torn by conflicting emotions. He avoids Sarah as much as possible, to give Ben every opportunity to win her affections, but cannot quite bring himself to leave the city.

Ben finally grows tired of the whole situation, realizing he stands little chance with Sarah as long as Ralph remains nearby. He warns Ralph that the next time he sees him, he will try to kill him. The two armed men hunt each other through the empty streets. Finally, Ralph passes by the United Nations headquarters, climbs the steps in Ralph Bunche Park, and reads the inscription “They shall beat their swords into plowshares. And their spears into pruning hooks. Nation shall not lift up sword against nation. Neither shall they learn war any more”, from the Book of Isaiah 2:4. He throws down his rifle and goes unarmed to confront Ben, who in turn finds himself unable to shoot his foe. Defeated, he starts walking away. Sarah appears. When Ralph starts to turn away from her, she makes him take her hand; then she calls to Ben and gives him her other hand. Together, the three walk down the street to build a new future together. The film ends not with “The End” but with “The Beginning”.

Here is the trailer on YouTube:

The title of the film comes from a phrase in the (Anglican) Book of Common Prayer: “From all the deceits of the world, the flesh, and the devil, spare us, good Lord.” From a Counter-Racist perspective, reference to ‘deceit’ is particularly interesting in connection with the film, which explores power-relations involving a black male, white male and white female, since according to seminal Counter-Racist analyst Neely Fuller, Jr., deceit is one of the primary means by which Racist (White Supremacists) practice violence against non-white people. (Incidentally, The World, The Flesh and The Devil: An Enquiry into the Future of the Three Enemies of the Rational Soul(1929) is the title of a book by the white British scientist and Marxist, J D Bernal, exploring radical changes to human bodies and intelligence, and the impact of these on society.)

Before proceeding to make a few observations on the film from a Counter-Racist perspective, it is interesting to note the following review of the film appearing on the Internet Movie Database (IMDB):

26 January 2001 | by Geoffrey Charles (Baltimore, MD)

This movie will grab your interest and exercise your moral fiber. Race, prejudice and pride are but minor subplots in this excellent film. A fair minded humanitarian man discovers the true nature of life and friendship. Asheltered woman finds the friendship of a man that is everything she loves in a person, but nothing at all like her indoctrination would suggest. Suddenly her psychological paradise is shattered, when a third person comes along that threatens to bring back all the old ways of thinking that separated people and cultures throughout generations. Black and white has never been so colorful [emphases added].

Contrary to Geoffrey Charles – is he a white person? – I consider race, prejudice and pride to be fundamental to this film.

Here are some Counter-Racist observations on the film which is possibly the FIRST science fiction doomsday film with a non-white [=black] person as principal protagonist*:

1. During the film, the white female (WF) asks the non-white male (N-WM) about whether she can share an apartment with him. He refuses an she asks why. He responds by saying that “people will talk” which is a CODIFIED version of the statement “white people – especially those practicing Racism (White Supremacy) – will NOT accept such an arrangement, i.e. a non-white male co-habiting with a white female.” (Clearly, this refers to a situation in which more CRUDE / OVERT Racism (White Supremacy), rather than more LIBERAL / REFINED WS/R, is in operation.) Here we have one of the first indications that the N-WM has INTERNALISED the power-relations asymmetry that is fundamental to the SYSTEMIC PRACTICE of White Supremacy (Racism).

2. The WF responds with increasingly frustrated behaviour and eventually the N-WM asks her why. She replies by saying the following: “I’m free, white and 21, and I’m going to do what I please!” This is interesting since in her exchanges with the N-WM up to this point, she APPEARS to be oblivious to the RACIAL DIFFERENCE between them. Even when asserting her “whiteness”, she APPEARS to be oblivious to its IMPLICATIONS in terms of power-relations. Or is the WF practicing “deceit”, i.e. is she FEIGNING ignorance / obliviousness? Under conditions of Racism (White Supremacy), every white person must be treated as a Racial Suspect, that is, as a white person who may be practicing WS/R insofar as they are capable of doing so.

3. The N-WM has been spending his time in CONSTRUCTIVE ACTION – fixing the electrical generator in order to provide both himself and the WF with electricity and lighting, rigging up a telephone system, establishing a radio station to broadcast an announcement of their presence, and collecting books from a nearby library that is threatened with becoming waterlogged.

4. The WF, by contrast, has, as she states, been getting ‘rusty’, indicating her need for ‘romantic’ [=SEXUAL] relations, presumably with the N-WM. Do we have a potential BELLY WARMING scenario here? Interestingly, the N-WM tells the WF that he will find her someone – a WHITE person – to marry. He then goes on to state that he is a COLOURED person, a NEGRO, a NIGGER. The WF responds that she can only see a MAN. Is the WF practicing DECEIT? Does Racism (White Supremacy) continue to FUNCTION in this doomsday scenario or is it merely a ‘residual effect’ lingering on in the (FALSIFIED) CONSCIOUSNESS of the N-WM? (The N-WM points out to the WF that she would not even (AC)KNOW(LEDGE) him in the ‘old world’.)

5. The N-WM is CONFUSED as to his feelings / relationship with the WF, whereas the white male (WM) is not; the latter wishes to engage in sexual relations with her and make this clear to both the N-WM and WF.

6. In the final scene, the three protagonists, N-WM, WF and WM walk into the distance, hand-in-hand, with the WF “bridging the gap” between the N-WM and WM. This is interesting since according to Charles Mills, in the hierarchy of power-relations, white females / women occupy the ‘space’ between white males /men and non-white males / ‘men’. (On this point, see the previous blog post: C.W.Mills on Racial (White-Supremacist) Patriarchy).

In closing, I strongly recommend Counter-Racists to watch this film.

* I am Legend (2007) starring non-white actor Will Smith in the lead role came almost 50 years later and is a remake of The Omega Man (1971) featuring Charlton Heston.


COMMENT: Prometheus 2.0

Peace Be Unto Those Who Follow Right Guidance.

Check out the following TED 2023 viral clip used to promote the forthcoming sci-fi film Prometheus directed by Ridley Scott:

From a Counter-Racist perspective, the statement “We are the gods now” is interesting since it raises a number of questions including the following:

1. WHO are the ‘WE’ being referred to in the clip, and WHO is making the statement?

2. To the extent that the White Supremacists (Racists) dominate in all major areas of activity including Economics, Education, Entertainment, Labour, Language, Law, Politics, Religion, Sex and War, is it not the case that Racist Man and Racist Woman are already “the gods” (i.e. the power-FULL people), albeit NOT (The) God/Allah? (In this connection, I refer interested readers to the following earlier blog post: The Lords of Human Kind and All The World (sic)) Continue reading

VIDEO: Plato’s Allegory of The Cave

Peace Be Unto Those Who Follow Right Guidance.

Check out the following animated presentation of Plato’s famous allegory of the cave on YouTube:

Interested viewers are also invited to check out the documentary Roots of The Matrix. This is the description of the documentary provided on the site:

This video separates The Matrix trilogy and explains all the beliefs structures, religious beliefs, philosophies, etc that are woven into The Matrix movies. It uses the writers’ and directors’ own movie to show their alternate agenda. One example of how closely the movie is really based on religious beliefs is that the license plates on the cars during the highway chase sceen are actually Bible books and verses that parallel what is happening in the movie. And this video clearly shows it would take much longer to fully explain the depth of which the writers wove the stories, than it did for them to write it.

From a Counter-Racist perspective, it is interesting to note that every scientist and philosopher featured in the documentary is a white person.


White People To The Rescue (Yet Again)

Peace Be Unto Those Who Follow Right Guidance.

John Carter

John Carter, a film adaptation of the science-fiction novel A Princess of Mars by Edgar Rice Burroughs, creator of the Racist (White Supremacist) character, Tarzan*, is soon to be released. This time, instead of Racist Man in the role of “Lord of The Jungle”, we have Racist Man in the role of “saviour”, that is, the “Great White Hope” carrying the “White Man’s Burden” to Mars.

However, not everyone shares this view. At least some white people [=suspect racists (White Supremacists)] and perhaps also some CON-fused non-white people [=VoRs] see/read John Carter as a non-Racist work. In this regard, I refer interested readers to the February 10 2012 TOR article “What to Expect When You’re Expecting Martians: John Carter and the Zeitgeist” by white male, Ryan Britt, and to the various commentaries on this article that follow, some of which I reproduce (and comment on) below:

1. mordicai
Friday February 10, 2012 10:56am EST

I’ve never fully agreed with the easy charge of racism, especially in light of the length & breadth of the series — or even just the first “trilogy.” The division between the Green & Red aliens certainly does hearken to the racist perceptions of white people in America towards Native Americans at the time, that is definitely true. I just think — well, the culmination of John Carter’s story involves brokering peace between the Green Martians, the Red Martians, the White Martians, the Black Martians & the Yellow Martians. Peace & unity! Edgar Rice Burroughs couldn’t have been ignorant of the fact that saying red, white, black & yellow in reference to Martian skin colours…would have pretty clear bearing on Earthling races.

Indeed. But WHO is it that DOES the peace brokering? WHO brings the “peace & unity”? WHO is able to do this? The White Man.

12. ArtfulMagpie
Friday February 10, 2012 03:30pm EST

People have accused the John Carter books of being another example of the “What These People Need is a Honky” trope, and there is some validity there, I suppose. A Confederate soldier/Southern gentleman saves the civilization of a group of native peoples, etc etc. But I reread the books about a year ago (after having repeatedly read the series start to finish as a less socially-aware pre-teen, ha!) and I was actually struck by how NOT racist they are. John Carter’s true love is a Red Martian. His best friend is a Green Martian. The White Martians are a bunch of human-sacrifice-practicing creeps. John Carter doesn’t see any inherent superiority or inferiority to any of the races he encounters. As an outsider, he’s able to use his acquired status and fame to unite the many peoples of Mars, but I don’t remember it being implied that this accomplishment had anything to do with him being an inherently superior race. I thought the series was kind of ahead of its time in many ways…none of that delightful imperialistic paternalism you so often see in older literature…

Racism (White Supremacy) operates in both crude and REFINED forms. The fact that the “White Martians” are “a bunch of human-sacrifice-practicing creeps” is a CON-fusing distraction since as geographer Alastair Bonnett and others have shown, ‘whiteness’ can take on different meanings in different places and times. Furthermore, there is what might be described as “intra-white stratification” which means, to paraphrase George Orwell, that “all whites are equal, but some whites are more equal than others.” (In this connection, I refer interested readers to the essay “How the British Working Class Became White: The Symbolic (Re)formation of Racialized Capitalism” by Alastair Bonnett which appeared in the Journal of Historical Sociology, Volume 11, Issue 3, September 1998, Pages: 316–340.)

Incidentally, are the “White Martians” actually classified as ‘white’ by other inhabitants of Mars? Does ‘white’ have the SAME meaning on Mars that it has on Earth, i.e. does it FUNCTION as a ‘clubcard’ into a globally (if not universally) operating system of White Supremacy (Racism)?

16. willshetterly
Saturday February 11, 2012 02:57pm EST

People who say the John Carter books are racist are missing something that would’ve been obvious when they were written: Carter is avoiding “redskins” when he is transported to a planet of “redskins” and falls in love with one.

John Carter was avoiding “redskin” MALES (Apaches) on Earth since he was OUTNUMBERED by them at the time he was transported to Mars. He falls in love with a “redkin” FEMALE which reminds me of that old favourite of the Racists (White Supremacists), Pocahontas, which was subjected to a devastating critique by non-white critic, Ziauddin Sardar in his essay “Walt Disney and The Double Victimisation of Pocahontas“.)

26. Novashannon
Thursday February 16, 2012 04:48pm EST

I read all the JC books in my youth (a long, long time ago in a galaxy far, far away) and I believe JC was the opposite of racist. His best frend was a green Martian, he married a red Martian, and he treated everyone fairly. If they needed and @ss-whupping, he provided one, regardless of race. religion, or planet-of-origin. He was rather sexist, though.

Indeed. Racist Man (and/or Racist Woman) are quite willing – and, more importantly, quite able – to provide an “@ss-whupping” (using daisy cutter bombs, unmanned drone aircraft and/or nuclear weapons) as and when required, i.e. as and when it serves the FUNCTIONAL purpose of maintaining, expanding and/or refining the globally operating system of Racism (White Supremacy).

21. Daniel Land
Sunday February 12, 2012 11:22am EST

Burroughs argues, and Carter fights, for equality among all races, while acknowledging the differences that make a diverse world.

And this is supposed to prove that John Carter is not a Racist (White Supremacist) in the “saviour” role, i.e. “white people to the rescue (of everyone else)”?

* I grew up watching the black and white Tarzan movies starring Johnny Weissmuller during the school holidays, and the colour TV series starring Ron Ely on Sunday mornings with my father. It was only years later that I began to see Tarzan as Racism (White Supremacy) functioning in the major area of activity known as ENTERTAINMENT.