Forgiveness has become a travesty in contemporary times. The modern person, in his arrogance, “forgives” in a shallow manner because he cannot face confrontation with evil, in himself or in others. . . .
Forgiveness has become a travesty in contemporary times. The modern person, in his arrogance, “forgives” in a shallow manner because he cannot face confrontation with evil, in himself or in others. . . .
Another artfully written poem by Esther Cameron, with deep political and cultural implications.
The poet Esther Cameron adapts a classic poetry form for modern subject matter, with wit and insight.
I received the latest copy of Wired magazine last week, and the cover immediately caught my attention, in a big way. Wired often has some interesting articles on the technological cultural zeitgeist, but this cover was something different, and I knew we had come to a cultural turning point on the issue of environmental extremism; much like we had back in 1993 on the issue of the value of intact families when The Atlantic had a cover story declaring “Dan Quayle was Right.”
One of the surprise movie hits of the summer is Obama 2016, a documentary co-written and directed by the conservative writer Dinesh D’Souza. Despite a limited theatrical release, it is already the top-grossing documentary of the year. It was also the fourth-highest grossing film overall on last Friday, when it expanded from 169 to 1090 screens nationwide.
"Any good economist will tell you that as complementary factors of production, labor and capital are not only indispensable but hugely dependent upon each other as well."
"Such programs should include information on sexual abstinence, birth control, family planning, diversity of culture and diversity of sexual orientation and gender identification, sexually transmitted diseases, incest, sexual abuse, sexual harassment, and homophobia."
I’m one of those who believe The Wire is in the running for best TV series ever, and I have a contrarian interpretation of the show. “Unencumbered capitalism” is completely absent from the world of The Wire. The show's producer, David Simon, probably believes the drug trade is an example of capitalism at its most raw level, but if so it only shows that he does not understand the nature of the economic system (he thinks) he is critiquing. The drug trade is not capitalist,…
The Wire, HBO’s grim drama about life in a dysfunctional city of Baltimore, has become something of a cultural phenomenon. For some it’s the best TV series ever. I watched some of the first season, but it was a bit too grim for me. The series has gained intellectual respect for what it supposedly shows about life in modern America’s inner cities, so it is studied, commented upon and analogized to real life.
The eyes of the world were on Norway today. Not one but two international stories focused on that small country, something that doesn’t happen very often. It isn’t every blogger who’s up to the job of tying the sentencing of mass murderer Anders Behring Breivik together with the opening of a mysterious, 100-year-old package, but I am prepared to take on that challenge.
I'm always on the lookout for books and poetry related to Michigan, and I chanced upon 'Sheer Joy in Detroit' this past weekend. I was attracted to the tale set in my old stomping grounds where I once toiled as an ink-stained wretch for the automotive industry, worked at the Detroit Athletic Club (the setting for a crucial scene in the novel), and witnessed firsthand the devastation of the once-great city of Detroit and many of the family businesses that once thrived there. 'Sheer Joy'…
Remember this name: Brandon Raub.Raub, a twenty-six-year-old former U.S. Marine, was arrested and sent to a mental institution for writing political comments on his Facebook page. He has remained in custody since his arrest last Thursday. He has not been charged with any crime.Raub's arrest and detainment are actions of a police state, reminiscent of the Soviet Union, Nazi Germany, Communist China, and other dictatorships around the world. The Virginia authorities have made Raub's case for him. . . .
American Culture editor S. T. Karnick makes "The Case for Cinematic Violence" at PJMedia today: "It seems to me, however, that those who maintain that sex and profanity in the culture should be treated more leniently than violence actually have it exactly wrong: earlier social values, which were lenient toward depictions of violence but were fairly strict about depictions of sex and the use of profanity, had it right, and the modern, more 'enlightened' approach is in fact blinkered and wrong. The reason lies precisely…
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