[From “Mudblood Jesus”]

Today I was about to read a few more pages of Simms’ book on Hitler. But on my way to the greengrocer to buy fruit this morning, on the corner of my house I was surprised by a Jehovah’s Witness lady with her young children to invite me to an event tomorrow commemorating the death of Jesus, and she gave me the slip of paper you see me holding in the image above. The other image is a well-known Annunciation from the Prado Museum in Madrid that my father had planned to frame before his death

If we compare the two images, we see that a few centuries ago there was at least an attempt to nordicize biblical characters. When on my last trip to England the historian Arthur Kemp, author of a well-known history of the white race, gave me a tour inside Chester Cathedral, he told me that in the mosaics, which depicted various scenes from the Old Testament, there was an attempt to pictorially nordicize the Semitic characters[…]
Times have changed! Now Jesus is represented as a vulgar mudblood, as we see in the little piece of paper I was given this morning and which I am holding in my left hand above, next to the copy of Fra Angelico’s Annunciation, done in gold and tempera on panel, and painted around 1425-1426: the main scene, with the theme of the Annunciation of a hyper-Nordic angel to a blonde Virgin Mary

For the typical Christian mentality, this metamorphosis from Nordic characters to mudbloods causes no stress, since, they argue, ‘we are all equal in the eyes of God’ (the notorious god of the Jews). But for us priests of the fourteen words this change can only mean that we are already in Kali Yuga. Most seriously, it is no longer possible to reverse the art as the white man has only recently realised that the biblical characters were indeed Semitic, not Aryan as the Renaissance artists imagined them