The Texas killer, whose name I omit, was a proselytizing atheist, which puts him in the same circle as Lenin, Stalin, the Austrian demon Schickelgruber, Mao, Pol-Pot, and Che Guevara, to name but a few, and not merely for his atheism. As Richard Cocks pointed out to me in an email exchange earlier today, main-stream media have let the homicide’s religious convictions go unmentioned, but even the alternate sources of information seem not to know how to deal with it. I am struck by a couple of additional details.
The wall is a limen or boundary. On the hither side of the wall is Nature, free and luxuriant. On the hither side of the wall is the cultivated ornamental tree. The fruit seems to produce itself on the thither side of the wall. The ornament is beautiful, but Nature, the fecund lady who feeds men and women and their children, is bountiful. She responds to the farmer’s bargain: Let me understand your cycles and placate your demands and I will increase your fecundity. Agriculture is the productive compromise between Nature and Culture, to the benefit of both. The two-thousand-year-old wall-painting from a middle-class house in Pompeii speaks magnificently of the Western idea of Nature, with whom humanity partners, for the sake of her survival, and its — that is to say, our — survival. Christ does not disrupt this discipline.
The hither side of the wall might be brought into the thither side, to form a garden or grove. In Augustine’s Confessions, Original Sin finds its analogue in the autobiographer’s penitential divulgence that when an adolescent he joined with a gang of miscreants to trespass a neighbor’s orchard-garden and steal his apples, or peaches, or plums, or whatever the edible fruit might have been. Instead of consuming their booty, the trespassers petulantly discarded it, as though it was offal. Augustine begs forgiveness.
Augustine’s story is the germ of the Twenty-First Century’s ecological sensitivity, although the Twenty-First Century ‘s ecological sensitivity has no notion of Augustine or of confession or of the historical archive, witting knowledge of which tells us who we are.
To the west of Oswego, my adoptive civitas, the apple-orchards have benefited from three thousand years of Western horticultural science. These orchards nowadays resemble olive- or grape-orchards. The apple-trees are close to the ground, rounded, compact, and the fields of them look like vineyards or oleo plantations. The work of the harvest is much eased. The cultivated changes in apple-tree morphology entail a dramatic decrease in the price of harvesting apples. Respect for Nature is a boon. It is a Western boon.
During a solar eclipse, light from the sun is not only diminished by the occulting transit of the moon, but that same light is also temporarily polarized. The polarization shows things fleetingly in a new and revelatory way, as long as one is looking. (It helps to be looking, as it were, out of the corner of one’s eye.) Rather than photographing the eclipse itself, as it passed over my city, and as many people were doing, I photographed the city. The shots in this post document what I saw.
Political correctness is an instrument of oppression and scapegoating most prominently used by academic and political elites and enforced by mainstream news outlets. It is tyrannical, conformist and puritanical. Most egregiously, it is anti-thought. In On Liberty John Stuart Mill writes “Truth gains more even by the errors of one who, with due study and preparation, thinks for himself, than by the true opinions of those who only hold them because they do not suffer themselves to think…”
An analogy can be made with other forms of despotism. Marshall Tito of Yugoslavia, once he had executed 250,000 people at the beginning of his tyranny, proceeded to be a fairly benevolent dictator. This is no argument in favor of this form of government however because the fact of his benevolence was merely happenstance. There was no mechanism by which he might be removed should his actions become intolerable.
Likewise, counterfactually supposing political correctness had some beneficial effects, there is no mechanism of correction. Political correctness countenances lies and censorship if they be in what is considered a good cause. As many have noted, when it comes to political correctness, the truth is no defense. This means errors cannot be challenged, even in principle, by appeals to facts. Instead, insisting on pointing out inconvenient truths is an excellent way to find oneself being morally condemned.
A son of the South (I am a fils of les gens de couleurs libres, who fought first for the independence of Louisiana and then for the abolition of slavery), I naturally experience some emotional ambiguity concerning General Sherman’s “March to the Sea.” Nevertheless, in light of Kristor’s “Jubilee” theory of polity, I recommend New-Yorker Henry Clay Work’s “hit song” of 1864, “Marching through Georgia.” Here are the lyrics. —
Yes, her name is “really” Reality Winner. (That’s what I would name my daughter.) When this, or she, or it, is the First Reality, it automatically produces the Second Reality; the process is akin to that of a college-student on Spring Break taking a “selfie,” or rather innumerable “selfies.” The Second Reality is always in the character of a “selfie.” This is an open thread. Like, totally, way open! Comments are invited. (“On what topic are comments invited?” — “Whatever, Dude.”)
Witness another version of the Second Reality below —
This reprehensible theft of cultural property by non-originators of the stolen item should be reported to the United Nations, or perhaps to the University Professors’ Union, or maybe even to Huma Abedin, who could tell That Woman about it. Punishment must be meted out. The very existence of this enormity threatens the foundations of Social Justice! (And don’t be misled by the word “Cover” in the upper left-hand corner of the window. “Cover” is a cover-word for a whistle-blowing conspiracy, or maybe it’s a whistle-blowing word for a conspiratorial cover-up. Whatever it is, I smell a rat. No offense meant to That Woman. Or to any rats.)
Artie Lennon, vocalist and guitarist, is a featured attraction on Sunday afternoons at the Old City Hall tavern and restaurant in Oswego, where Richard Cocks, Dick Fader, and I, and a few other known malingerers regularly assemble for the weekly Symposium of the dissentient and disaffected. Today Artie played a number of Leonard Cohen “covers,” with his usual uncanny aplomb. (And, if I may say so, rather dissentiently and disaffectedly.)
After two, or perhaps three, pints the known malingerers concluded, in a moderately inebriated palaver, which was nevertheless culturally informed, that if any 1960s Bohemian singer should have received the Nobel Prize in 2016, it ought to have been Cohen, not Dylan.
The moderately inebriated Doctors Cocks and Bertonneau, the Honorary Doctor Fader, and the known malingerers invite moderately inebriated comments from The Orthosphere, or from the Jovian moon Europa, or from the Trans-Neptunian object Sedna, or from wherever the anti-That Woman vote is in the majority these days. (Is Texas a planet?)
Especially from KRISTOR, who knows how to sing, and whom we hope someday will join the known malingerers for a palaver at Old City Hall on a Sunday afternoon!
George Inness (May 1, 1825 – August 3, 1894) belonged to the second generation of the so-called Hudson River or Hudson River Valley School, the first distinctively American school of painting. In his early work, Inness advances the “luminist” tendency of his precursors (Thomas Cole, Asher Durand, Frederic Church, Albert Bierstadt, and others); and like them, he is almost exclusively a landscape painter, interested in the effects of light on mountain, valley, plain, lake, ocean, and sky. In his later work, Inness innovates in the direction of Impressionism. The Hudson River painters were American Romantics, steeped in the nature-philosophy of Ralph Waldo Emerson and his followers, but also conversant with the late-medieval tradition of reading nature as the outward sign of the supernatural (think Jakob Boehme), a tendency that culminates in the strange but influential writings of Emanuel Swedenborg. Inness occasionally identified himself as a Swedenborgian.
From The Edict of Milan (February 313 AD): “Perceiving long ago that religious liberty ought not to be denied, but that it ought to be granted to the judgment and desire of each individual to perform his religious duties according to his own choice, we had given orders that every man, Christians as well as others, should preserve the faith of his own sect and religion.