Article written by Imperator Alber, and cover image courtesy of theguardian.com
IS STEPHEN KING A STREET-CORNER PUSHER OF JEWISH MIND POLLUTION?
The world-famous author Stephen King is, and was, throughout his long and notable literary career an operative of the international Jewish cabal.
Credit Where It is Due
Despite his faults, King is not an entirely untalented writer; true, he did get a lot of free promotion from very rich and very connected Jews, but he does have some talent as a story teller despite his ideological shortcomings. On the Wikipedia.org website, King is officially credited with developing the storylines to more than 40 major Hollywood feature films and two made-for-television min-serieses such as It and The Stand. Although King is most well-known for writing horror stories, many of his works of literature have been adapted to non-horror films such as The Shawshank Redemption, The Green Mile, and Stand by Me. For better or for worse, the 40+ Hollywood films that were produced which were based upon Stephen King stories have captivated more than one generation at this point in time. In fact, it is hard for younger people these days to truly grasp the cultural impact that Stephen King has made on American culture in particular, and world culture in general, over the course of his long career.
The Problems with Stephen King
It is worth noting that King himself is not Jewish, but he has always been a dedicated White Leftist, which means that he is philosemitic like the rest of his idiotic tribe, and being a White leftist also means that King will predictably push the same old and tired collection of bad ideas at every turn. To be more specific in this matter, King being a dedicated White Lib-tard means that he has always championed women over men and always attacked fathers and discredited their authority, and he has additionally never failed to champion Jews over Whites. Being a White Shite-Liberal also means that King has always championed Coloreds over Whites, and he still does, so it comes as no surprise that King’s stories tend to be the most hostile to Christian White men. It seems likely that King has gotten a lot of support and free press exposure from the ruling Jewish cabal that controls almost every Western nation because he was, and still is, basically in line with them ideologically.
Many of King’s stories are quite memorable and imaginative, and quite a few of his stories are not overtly subversive, such as Stand by Me, yet there is still a lingering problem that clings to King and his sprawling body of written work. The most dangerous aspect of Stephen King’s literary work is the fact that he often dazzles his readers with spicy and imaginative tales which frequently include supernatural happenings and even contact with malevolent extra-terrestrials, yet the vast majority of his readers remained unaware that King’s stories have all too often contained a host of nasty, left-wing, pro-Jewish, and subversive propaganda. The nasty surprise contained in King’s writings is the subversive leftist propaganda which he has continually slid into his plot-lines without the masses of his readers or movie-viewers even being consciously aware that they were being manipulated and led astray.
During the years when King’s popularity was at its peak, which was the late 1970s going into the early 1990s, the Baby-Boomers were raising their children and many of them had already formed marriages and developed their careers. By the time King’s writing hit its peak popularity, the Boomer generation had ceasing be dissolute hippies and had changed into a new crop of Yuppies (Young Urban Professionals) through the enticement of glitter and gold. The years marked by the Boomer generation’s transformation into Yuppies also marked the peak of the “me” generation, which was also the time when King’s Jewish bosses were busy putting forth as much destructive media content as they could that was deliberately contrived to genocide the unsuspecting White race.
The Jewish cabal’s plans for pushing destructive ideas included some of the following:
1.) The Jewish cabal promoted items #2 and #3 with the aim of destroying the White nuclear family, which is the foundation of the White race as a whole.
2.) Reduce the White birth rate as much as possible.
3.) Encourage a purely self-serving and hedonistic ideology centered around the sacral chakra and the libidinal economy. This hedonistic Jewish ethos was based around the idea of “maximizing pleasure of any type, and minimizing pain of any type.”
Part 3. Addendum) Admittedly, who wants to suffer? However, the universe’s ironic twist is that when people seek to categorically avoid suffering, they ultimately just create more suffering over the long term, plus any attempt to categorically avoid all suffering is ultimately futile anyway. The best policy towards pleasure and suffering is to simply accept that life will deliver a dose of suffering to everyone in one form or another, and then plan to live life in this manner. As for males, one key feature that defines a true man is his willingness to voluntarily accept physical pain and emotional suffering in whatever form these items manifest when the need arises, and preferably he will accept these burdens with as little complaint as possible. In short, when men are unwilling to consciously gird the mantle of suffering, they have effectively ceased to be men. The pursuit of pleasure and hedonism creates weak men who are more like women then men. Given the corroding nature of hedonism, it comes as no surprise that Jews will always push for more hedonistic lifestyles amongst White men. ( and any other type of non-Jewish men for that matter)
Notable Jewish mass-culture projects from the same time frame of King’s highest popularity that were designed to push bad values included television shows such as “Cheers,” “All in the Family,” “The Simpsons,” “WKRP in Cincinnati,”…the list goes on. What all of these old mass-market TV shows have in common is that they were created by Jews and they encouraged White baby boomers to adopt the same louche behavior patterns as the characters seen in these old TV shows.
These old mainstream TV shows also targeted White women with an avalanche of feminist messages such as, “Prove that you have nothing to prove,” and White women were also generally encouraged to act up and try to dominate men by obstructing mens’ natural roles as leaders in all aspects of life.
Of course, the male programming in these old TV shows was destructive as well because it encouraged men to carouse while married and to carouse while still single as opposed to settling down, getting married, and starting a family.
Carousing amongst men always weakens the nuclear family in whatever guise it takes, and whatever weakens the White nuclear family promotes deadbeat dads and promotes more divorce. The institution of deadbeat dads creates more White children who are raised without fathers in their homes, and boys that grow to adulthood without fathers disproportionately end up becoming mama’s boys who are incapable of effectively competing for dominance within the Jew World Order’s engineered rat race. It is worth noting that boys who grow up without a father in the home are not only more likely to become mama’s boys, but they are also more likely to become criminals. It is worth noting that a disproportionate number of White men who are presently sitting in prison are the products of fatherless homes.
Freudian Slips
Stephen King injected a lot of Jewish Freudian ideas into the public consciousness through his literary works with the support of his Jewish handlers. King promoted a classic trope of Jewish Freudian lunacy where White males have a pathological need to be overly close to their mothers, though perhaps not in a sexual way, but in the type of way that a chick might have with a mother hen. The other side of this classic Jewish Freudian craziness that King loves so much is marked by White males having maniacal hostility towards their fathers, which is understandably aggravated by a growing prevalence of deadbeat dads which are created by Jewish-induced hedonistic and selfish male lifestyle patterns.
Jewish Freudianism is very evident in King’s earliest works, specifically the novel “Rage,” which portrayed a White youth who was disillusioned with the world of America in the late sixties and early seventies to such an extent that becomes disgruntled enough to “act out” his dissatisfaction with the world by committing a senseless mass shooting at his school. Now, does this trope sound just a wee bit familiar to you?
Of course, King’s Rage story was clearly predictive programming that was intended to prime the well for a torrent of future Hebrew-fueled false-flag mass shooting. The endless string of Jewish-orchestrated mass shootings of later decades was pushed to create the notion that such things as mass school shootings are an inevitable byproduct that stems from defects common and unique to White males. Now, does this sound at-all familiar to you?
The abnormal psychological development of Charlie Decker in “Rage” is attributed to a suppressed sexual “Oedipal Complex,” (the “Oedipal Complex™” is actually a completely Jewish idea), where Decker has developed a relationship with his mother in youth which recapitulated itself by hampering his attempts to form any normal sexual with activity with females in his teen years. The external manifestation of Charlie Decker’s “Oedipal Complex” consists of Decker adopting the identity of a grass-smoking hippy who tries to fit in with his peers but still fundamentally remains a marginal/peripheral figure and a loner, and King of course attributes Decker’s maladjustment to his latent “Oedipal Complex.” Essentially King is just promoting the now-common and worn-out Jewish trope that all White males are fundamentally inept with women and sexually frustrated because they are inherently psychologically dysfunctional weirdos in stark contrast to all of those cool and self-assured black, brown, and Jewish men.
King’s literary works manufacture an association that links White male sexual problems with mass violence that is directed against White women, all non-Whites, and even other more “normal” White men. Thus, King ballyhoos the tired old meme of senseless White male criminality and psychopathology that are predicated on putatively unique White male sexual frustrations which no dark-skinned men or Jews could possibly ever have. After positing all of the old tropes about White male sexual disfunction, King then proceeded to plant his crop of toxic ideas into the unsuspecting mass popular consciousness. Does this sound familiar?
King would later go on to retract his book called Rage after the Columbine Mass Shooting, which was a shining example of yet another made-for-television Jewish false-flag theatrical production. Not surprisingly, the Columbine shooting only bolstered King’s earlier manufactured narrative about “Dangerous and Sexually Frustrated White Males,” which added legitimacy to his supposedly prophetic visions that were conjured from his grand and mystical mind decades in the past. It is worth noting that the Columbine shootings greatly bolstered King’s celebrity status during those years. The Columbine event was perpetrated by the Jewish cabal and both teenagers noted in this shooting were actually Jewish and very anti-White, so they were neither White nor were they “White Supremacists,” White supreme sandwiches, or White supreme pizzas, as the Jewish mainstream media has claimed.
After examining King’s book Rage, and then examining the Columbine Shooting’s aftermath, it becomes clear that King is/was an operator of the Jewish cabal and his works have stigmatized White males for being unstable and dangerous people who should rightly be regarded as objects of suspicion by “the good people of the world,” i.e. females, non-Whites of all types and stripes, plus Jews.
More Lurid Tales of Crazy and Dangerous Old White Men
Roadwork
King wrote his novel “Roadwork” under the pseudonym Richard Bachman, (Oy Vey!) which is not accidentally a Jewish name. Roadwork chronicles the story of an older White man that is hard-working, semi-responsible, and quite conservative whose family life is torn apart when his son is killed in an accident which was is attributed to the father’s negligence.
Accordingly, the father in this story is wracked with guilt which leads to a loss of his job, a subsequent divorce from his wife, and eventually this guilt leads to a position of complete impotency in all areas of life. The wife’s exit is based largely on economic factors, which in turn gives the reader a sense that the male lead in this story is somewhat of a victim who is alone in the world because of economic forces that he cannot control (OPEC and the oil crisis that occurred at this time).
The deeper idea behind Road Work’s plot twist of unemployment is the idea that White man are basically unable to function in a new and changing world, so they must now collectively strike out in revenge against the world through force. Does this sound like a familiar narrative?
This tired old plot line seems like a carbon copy of the 1993 movie starring Michael Douglas called Falling Down, and this trope seems to run on the same operating system as the old Jewish-manufactured 1984 McDonald’s shooting that was pinned James Huberty and took place in San Ysidro, CA.
In King’s novel Roadwork, the municipality which wishes to bulldoze the main character’s house represents the ideas of change and progress butting heads with people (White men) who are unable to adapt to the modern world. In Roadwork, the municipality generously offers to compensate the main character for his soon-to-be-destroyed home, but for the protagonist having his home bulldozed to make a new road would mean having memories of his personal life bulldozed in the name of “Progress.” In the novel Road Work, White tradition itself, is being subjugated and down through the main character’s own impotence, which is symbolic of all White tradition getting bulldozed by the juggernaut dubbed “progress.”
The take-home message from Road Work is of course the notion that the world has gone mad; therefore, any lone man has no recourse but to go mad and violently take poetic justice into his own hands, which in turn inculcates in the minds of the White male readers a sense of vindication while inculcating a sense of the danger by association with readers who are not White males. It is worth noting that the novel Roadwork was printed and released around the same time that the Jonestown Kool Aid incident took place in Gianna, which only lent more credence to the notion of dangerous and crazy White man.
The Shining
“The Shining,” was written and made into a motion picture around the time of King’s zenith popularity, and this story served to further undermine the perceived mental soundness of White males in the minds of the audience. The Shining does its dirty undermining work by portraying White men as all unstable and potentially violent against women, children, and non-Whites. The Shining’s plot line also implied that White men are essentially unable to maintain any stability in a nuclear family on account of having too many dark and hidden corners of their minds (like that old bottled up Oedipal Complex™ nonsense), so according to King, White men represent a perpetual problem that all of the good and decent forces of society (meaning anyone who is not a White man) must unify against and keep in check.
The Long Walk
King wrote an early story under the pseudonym “Bachman,” (Oy Vey!) which is called “The Long Walk.” This story may seem innocent enough, but it is really just another tool to psychopathologize all White men. The Long Walk is set in a futuristic dystopian world that is almost totally militarized and dominated by White males who are putatively evil racists, sexists, and every other type of “ist” recorded in the tome-like Jewish and liberal lexicon. In this dystopian non-woke world imagined by King, a contest is held regularly which is a rite of passage for these misguided young White male protagonists, and this decidedly not liberal recreational activity is called “The Long Walk.” In this sadomasochistic parade, a cadre of young White male youths volunteer to walk for as long as they can and only one victor survives each of these contests. In these Long Walks, any poor souls who fall behind wind up being gunned down by a military detail who accompanies each hiking club made up of these privileged White youth.
The notion that King wishes to convey with this story is the idea that anyone who would volunteer to enter this twisted contest, or even support its very existence, is an evil sadomasochist who must obviously be mentally ill as well as sadistic. On the surface King seems to be simply condemning the Long Walks, but his real motives lie deeper: In this case, King’s true ambition is to vitiate traditional European respect for heroic acts of self-sacrifice and to impugn the idea that the qualities or courage and valor should be considered virtues at all as opposed to mental illnesses. Thus, The Long Walk could be understood as yet another Jewish philippic against White males and their traditional Aristotelian values.
John Coffey, George Floyd, and the Black Jesus Industrial Complex
King has written many stories that have been adapted into Hollywood movies, and one of his most notable movie adaptations is The Green Mile which was made into a 1999 Hollywood movie. The Green Mile was originally a 1986 novel penned by King. Credit where it is due, The Green Mile is a rather well-made film with excellent cinematography, great acting, and a compelling story line, except this film contains a hefty dose of rat poison wrapped in honey.
In the story line of the Green Mile, a very large and mentally torpid black man named John Coffey who is played by Michel Clarke Duncan is arrested and sentenced to die on Louisiana’s death row for a crime he did not commit. The idea behind John Coffey’s wrongful arrest is the concept that he could not get a fair trial because he was Black and a racist White establishment would never give him an honest day in court. To add a bit of spice to the story, it turns out that John Coffey is not only an innocent man who has been wrongfully convicted and sentenced to death by a putatively evil and inveterately racist White establishment, but Coffee also happens to be a bona fide saint who performs miracles. There have been legitimate Black saints within the Catholic tradition such as Saint Martin Depores of Lima, Peru, so it is well within the realm of possibility for a holy man and saint be to be born as a Black man.
Although there have been legitimate Black saints, the problem with the John Coffey story is that this yarn tends to foster a misleading idea about Black men as a group. Yes, Black saints have existed; however, the simple existence of a few Black saints scattered across the tapestry of history does not change the fact that Blacks are the most violence-prone set of hominids on the planet, bar none. The poison in the John Coffey story comes by way of hornswoggling naïve but well-meaning Whites into believing that Black men are not actually dangerous as a group and this same trope also bamboozles turnup-truck Whites into believing that disproportionate worldwide Black incarceration rates are simply caused by blunt White racism instead of an inherently violent Black disposition which percolates up from the chromosomal level.
King’s tale of John Coffey is a really a pellet of rat poison coated in candy because it pushes the concept that America’s prisons are stocked with innocent Black saints who are locked up solely because of White moral failings. The John Coffey tale has commonalities with Harriet Beacher Stowe’s old antebellum abolitionist propaganda novel called Uncle Tom’s Cabin because both stories portray Blacks as hard-working salt-of-the-Earth people who are endlessly put upon and oppressed by evil conniving Whites. (We all know about that famoud Black work ethic.)
Cover image of Uncle Toms Cabin furnished courteys of abebooks.com
America’s George Floyd debacle of 2020 led to political persecutions and show trails for genuinely innocent White police officers who were wrongfully fingered for Floyd’s death on top of sparking billions of dollars in property damage from 2020’s summer riots which are also credited with killing more than 30 people. 2020’s Summer of Love rioting and craziness partially owes its origins to Stephen King and Stowe’s false stories that extoll the nonexistent virtues of Blacks.
King’s promotion of a “Black Jesus Complex” that is exemplified by John Coffey, Uncle Tom, and shamefully also exemplified by the official story behind the drug-overdose death of a Black hoodlum named George Floyd. King and others have pushed a very destructive thought virus that can be called the Black Jesus Complex which carries deadly real-world consequences. The Floyd debacle was named as a Jewish pogrom against White America by Counter Currents Publishing because the international Jewish media complex shamelessly leveraged the drug overdose death of George Floyd that took place soon after his arrest to essentially push a mass-scale campaign of anti-White blood libel that was driven by the daft meme of White law enforcement personnel hunting and killing Blacks for no reason other than simply being Black. One notable real-world fallout from the Black Jesus Complex is that this mind virus instills a sense of guild in Whites which encourages them to make bad personal and institutional decisions pertaining to Blacks.
King and The Female Question
White females are not entirely exempt from negative judgment in King’s works, although they are typically portrayed being either self-serving villains or hapless victims of e-ville White male abuse or some rotten stew of both liberal tropes. A continual theme that runs through King’s body of work is the idea that White women are victims of White male oppression, so White women are morally mandated by the heavens to join forces with everyone who is not a White male, then collude to topple whatever power or influence White men might have. Now, does this trope sound familiar?
King’s love for classic Jewish feminist tropes pushes the notion of tense relations between White women and the “Other,” which inevitably means nobody else but White men. What King is doing in such instances is seeking to fan the flames of each White female reader’s self-seeking egotism while simultaneously bolstering whatever victim complex she might have. Kings stories often frame their story lines in ways which are engineered to convince White women that are all victims of White men, which in turn King hopes will encourage White women to rebel against the “Other” (white male patriarchy), even if such a rebellion from White women is ultimately doomed to fail and additionally runs contrary to each White woman’s’ individual and racial best interest. In short, King is trying to convincing convince White women that their true interests rest with themselves as individuals, and also with other members their gender, along with whatever non-Whites might be lingering around, but White womens’ collective best interests never ever align with those of White men and their racial collective interests.
In line with Road Work and the Shining, King did also portray female blowups; except, King’s depictions of female blowups take place within the auspices of abusive relationships where the abusers are (who else?) White men. An example of such a female explosion can be found in the novel called “Rose Madder.” In the case of “Rose Madder,” the oppressed and abused White wife “righteously” murders her White husband.
In the book “Needful Things,” a character named Leland Gaunt, who seems to have a subtly Jewish nature, is created to be a charming gentleman who entices White females with the objects of their desires e.g. Elvis glasses that grant sexual excitement through magic whenver they are worn in one instance, and a cure for arthritis in another instance. However, the Jew’s prizes always come at a price, which implies that although these women are victims, they are nonetheless complicit and blameworthy in their ultimate fates because they have made the fatal mistake of bowing to their own selfish desires before taking consideration for others.
King is No Friend of Christianity
Further stigmatization of the Traditionalist European worldview and the White male patriarchy is put forth in such stories as “Children of the Corn” and “The Dead Zone“. Children of the Corn forwards and reinforces the old stereotype of the backwoods White simpleton, who also just happens to be an excessively right-wing Christian. In Children of the Corn, a rural White youth group is bound to a fanatical Christian creed with a “letter of the law” version of Christianity where this religion is seen in its most fundamentalist nature. Of course, in this story Christianity is perverted by the ignorance and illiteracy of the White youth protagonists to the point where this creed has reverted to a sort of backwoods primitivism marked by violent psychopathology, murder, and propitiation of idols such as “the watcher between the rows.”
Indeed, King almost always portrays White women is innocent victims, but in the story Misery, a White female character named Dolores Claiborne is portrayed as an evil arch villain because she has fallen under the spell of fundamentalist Christianity. You bet, falling under the evil spell of fundamentalist Christianity will surely make a crazed murderer out of anyone who walks this path! Joking aside, King’s novel Misery does a good job of stigmatizing and psychopathologizing Christianity in a typically Jewish and Luciferian manner.
“The Dead Zone” similarly portrays a backwoods populist politician in America’s Midwest who is attempting to castigate liberal values. In this story, King spares no expense in his quest to portray this White Midwestern politician as a violent-minded and bigoted simpleton, and King goes about this quest to vilify this character in the most stereotypical manner. In this story, the White male grassroots politician is strong and powerful, yet is only strong in the most bluntly brute physical sense, and having this strength without intelligence or a moral compass makes this backwoods politician a dangerous threat to any enlightened and progressive society, which of course stands in stark contrast to the inhearantly progressive ways of Jews, colored men of all types, and apologetic White liberal men.
Conclusion
Throughout King’s works hackneyed Freudian tropes are presented as cardinal hallmarks of all White men, such tropes include, the old Oedipal Complexes where every White man wants to have sex with his own mother, incurable and invererate inner tensions such as incurable racism, and latent psychological defects of all types and stripes. King’s endless attacks against Whites are leveraged as literary weapons that are deployed to create as much negative regard for the White family, and the White race as possible. No white is spared in King’s psychopathologizing starting with White children (Charlie Decker), then working forward to White men (the figure of “the Major” in “The Long Walk”; the backwoods politician; and the disgruntled husband), and finally concluding with White women (the gold digger; the floozy; the spoiled materialist and the anal-retentive and conniving fundamentalist Christian).
In Kings writing, all White people are given the axe just as Jack gives the axe to his poor White family in “The Shining.” Just like the endless train of victims the latter the pages on King’s stories, the Jew has torture and murder in mind for the entire White race, and Stephen King’s morbid psychodrama thrillers serve as Jewish weapons of mass White demoralization.
