RUTHFULLY YOURS

https://quadrant.org.au/magazine/2019/01-02/the-inherent-racism-of-identity-politics/

That only white people can be guilty of racism is preposterous. Most people are aware of non-white people vilifying other ethnic groups in racial terms. Why is this not racism? Why should the perpetrators not be held as accountable? Doesn’t it imply an inability to take responsibility — a racist presumption if ever there was one?

Identity politics racist? How can that be, you might ask. After all, is not the pursuit of “racial justice” part of the very essence of identity politics? Surely all those warriors for social justice who so prodigiously level charges of racism against others could not themselves be guilty of this offence? They wouldn’t embrace a racist ideology, would they?

Sad to say, yes they would, at least if we adopt what until recently was the standard, commonsense understanding of the terms race and racism. On these understandings, a person’s race referred to certain heritable, unalterable and visible features, like skin colour, that might indicate ancestry tracing back to a particular geographical region. A racist was someone who was inclined to think ill of, or to discriminate against, a person or group solely because of such characteristics.

Towards the end of the last century it became generally accepted in societies like ours that racism so defined was both morally odious and profoundly irrational. The classic expression of this was Martin Luther King’s great civil rights speech of 1963 in which he looked forward to a day when his children would be judged by “the content of their character”, not the colour of their skin.

The basic sentiment here, shared by most people across the ideological spectrum, and certainly those who considered themselves left-wing and progressive, was that race was something we should aspire to transcend. People must not be judged according to visible surface features that reflect trivial genetic variations. We should see each other as, first and foremost, members of a common humanity, free agents possessing certain inalienable rights.

So what has changed? A great deal, as it happens, with the wide embrace of the ideology of identity politics in Western societies, and its wholesale incorporation into the worldview of those who consider themselves left-wing or progressive. On this view, we are essentially defined not by our humanity but by our race, gender or other identity category, or some intersecting set of identities.

The notion of a post-racial future is now considered an ideological heresy by the academic high-priestesses and priests of the identitarian ideology. These ideologues are nowadays absolutely obsessed about race. They strive constantly to heighten racial awareness and to perpetuate rather than resolve racial grievances. The Enlightenment vision of a common humanity is now distinctly passé, as even the late Marxist historian Eric Hobsbawm lamented in a speech in 1996.

https://pjmedia.com/rogerkimball/watergate-by-any-other-name/

Our familiarity with the Obama-Trump surveillance scandal has bred indifference.

Familiarity, it is said, breeds contempt. It also breeds indifference. For almost three years now, the intelligence services and police apparatus of the deep state have worked tirelessly to undermine Donald Trump. Beginning sometime in the late winter of 2016, when Trump’s presidential campaign was showing unexpected signs of strength, John Brennan—the Communist-voting apparatchik turned media mouthpiece whom it pleased Barack Obama to appoint as director of the CIA—began ringing alarm bells about Trump’s possible relations with the Kremlin. His concern was based on two things. One was a report, spurious as it turned out, about “contacts between Russian officials and U.S. persons that raised concerns in my mind about whether or not those individuals were cooperating with the Russians.” The other was that brittle sense of entitlement, fired by paranoia, that membership in the higher echelons of the deep state’s nomenklatura breeds.

Brennan convened a “working group” at CIA headquarters that included Peter Strzok, the disgraced FBI agent who was head of counter-intelligence, and James Clapper, then director of national intelligence (now, like Brennan, another mouthpiece for the left-wing media), in order to stymie Trump’s campaign. It was Brennan, too, who first alerted James Comey, the disgraced former director of the F.B.I., to the fantasy of possible “collusion” between the Trump Campaign and “the Russians.”

Then came the infamous “Steele Dossier,” the agglomeration of malicious gossip about Trump that was surreptitiously commissioned by and paid for by the Clinton campaign and the DNC. This fantastical piece of “opposition research” was essentially the sole warrant for opening secret FISA investigations against Carter Page, a low-level Trump campaign advisor, and others.

All this provided sensational pabulum for the anti-Trump press, who spent countless hours peeling back the complex, hypertrophied onion that the CIA, the FBI, and various figures within the Obama administration had built up to destroy the candidacy of Donald Trump without quite seeming to target Trump himself.

Mirabile ditctu, it didn’t work. Still, it was impossible that Trump could actually win the election. Nancy Pelosi told us that we could “take it to the bank” that Donald Trump was not going to be president. Many other politicians and talking heads made fools of themselves emitting similar pseudo-certainties right up to the afternoon and early evening of election day.

Yesterday I went to a performance of the world premiere of an opera with music composed by Ted Rosenthal, a respected jazz pianist, author and composer, with libretto and lyrics by Ted and Leslie Rosenthal and additional lyrics by Barry Singer, E.M. Lewis and Edward Einhorn. My friend Sheila W. concurred that the work, presented by the New York City Opera at the New York Museum of Jewish Heritage is a masterpiece based on a true story.

The libretto centers on a trove of letters from a mother left behind in Germany in 1938, by a young Jew who came to America- Erich Rosenthal – the composer’s father. Erich is a cold and distant father who does not reveal anything of his past to his children, as he copes with grief and loss and guilt at his failed efforts to rescue his abandoned family. The letters from his mother stopped abruptly in 1942 when she and her neighbors and family left for the death camp Sobibor.

The music, some jazz, some operatic was performed by a wonderful and brilliant cast, interspersed with haunting and devastating flashback scenes of the horrors of the impending genocide. The broken father, nearing death, ponders about his family :”Who will remember them when I am gone?”

Thanks to this magnificent opus, they will be remembered. I came home and looked at pictures of my grandparents, aunts, uncles, cousins- all killed in Poland and recited their names to myself….rsk