Last year, the giant gaming company Electronic Arts released the latest version of an extremely popular military game, Battlefield V. Each release in the series takes place in a different time period; this one recreates World War II. Such games are very popular; successful titles can take in considerably more than $1 billion for their makers, and the budget for creating Battlefield V was around $250 million. So this is big business: as big as, or bigger than, Hollywood. But all mega-corporations today kowtow first of all to their real masters, the social justice warriors of the Left, not to their owners, and that, in the context of computer gaming, is what we are here to explore today.
Creating a social movement is hard. Creating a social movement of conservatives is even harder, since for the most part progressives derive much of life’s meaning from social action, while conservatives just want to live their lives. For three years now, Rod Dreher has rung the alarm bell of his Benedict Option, warning that the hour is late, and Moloch is within the gates. Many are listening and receptive, even eager. But the Benedict Option faces challenges, of which the first is inertia, since conservatives find it hard to act to change their lives when not directly impelled. In response, Leah Libresco here outlines an excellent plan to overcome that inertia. When I first started writing this review, I thought I would discuss as well as second challenge—the enemies of the Benedict Option. But after thought, it is not quite correct that enemies are a challenge that will rise to meet the Benedict Option. It is more accurate to say that virtue and goodness have enemies and the Benedict Option will be one of their …
It has long been an article of faith on the Right, including for me, that the Left has undemocratically imposed its views on the country for decades by using the Supreme Court as a super-legislature. I had a discussion with a friend of mine this past weekend, an actual centrist (bizarre, I know), who suggested this view is wrong, or rather exaggerated. He challenged me to demonstrate my position, stipulating that it is obviously true with respect to abortion. For the most part, I failed his challenge, but today we will explore to what degree and why it matters.
Militant Normals is an enjoyable read, a rollicking journey with the acid tongue of Kurt Schlichter as our tour leader. It is full of facts that are impossible to dispute, because they are facts. It draws difficult-to-argue conclusions, including that our near future is likely grim. That said, I think Schlichter’s elite/normal framework misses important nuances and is a bit too glib. But even so, the well-deserved spanking Schlichter gives the Left is worth the price of admission.
This is the story of a man—Robert de La Rouchefoucauld, scion of one of the oldest noble families in France, who lived from 1923 to 2012. He led a life in full; the focus of this book is his three years fighting against the Germans in France, as a résistant. It is a tale of bravery and derring-do, and it is gripping. But even more, it is terribly sad, because reading about this past makes us realize how masculinity and duty as exemplified by La Rouchefoucauld are no longer celebrated, but rather denigrated, to the detriment of all of us.
This may be the worst well-written book I have ever read. That is, most awful books are bad in their writing, bad in their organization, bad in their reasoning, and bad in their typesetting. No such badness is evident here—How Democracies Die hits all the points it intends to, and reads crisply and smoothly. But it is ruined by a meta-problem: its utter cluelessness and total lack of self-reference. The authors, Steven Levitsky and Daniel Ziblatt, are very much like the Ken Doll in the Toy Story movies—vain, preening, and, most of all, utterly unable to realize, not that the joke is on them, but that they themselves are the joke.
A disability afflicts nearly all conservative arguments today. Rather than being a robust picture of vigor and health, as they should given their firm ground in reality and the fantasies that underlie their opponents’ cancerous and bankrupt ideologies, conservative arguments present themselves at the door like starving beggars clad in rags. This is bad, but even worse is the source of this weakness, for it is not imposed from the outside, but voluntarily, by conservatives choosing to cut themselves off at the knees. How? By crippling their arguments through larding them with preemptive apologies.
Of late, I have repeatedly claimed that the Left’s core goal is to achieve a utopia where all people have complete equality combined with wholly unfettered liberty. This has occasioned numerous queries (especially when one book review was linked on Reddit), asking, in effect, whether this is not internally contradictory. That is, if liberty is unlimited, is it not the case that inequality, rather than equality, is the inevitable result, so that it is false that the Left simultaneously pursues both goals?
Among the many gaping holes in American historical knowledge is any grasp of the French Revolution (and that includes my own knowledge). As an abstract matter, this is unfortunate, but nothing notable, given that the historical knowledge of modern Americans is essentially one large gap. As a concrete matter, though, it is a real problem, because in our own troubled times, the French Revolution offers critical, universal lessons, which we forget to our peril. Nowhere is this more true than with respect to the Terror, the rule of the twelve-man Committee of Public Safety, from 1793-94, the subject of this classic 1941 work.
Billed as a continuation, this book is really the chiral image of Michael Walsh’s earlier book, The Devil’s Pleasure Palace. That book was an attempt, with limited success, to outline and discuss the poisonous Frankfurt School of political philosophy, Critical Theory, through the prism of art. This book, on the other hand, aims to discuss art, with Critical Theory as the subtext. It is a largely successful attempt to outline and discuss the unparalleled genius of Western art, in its historical context and with its historical implications, and thereby to “restore Western culture to its proper place.” That restoration is necessary for our culture to cauterize the venomous bite of the Frankfurt School, whose view of art as politics, and of Western culture as worthless and evil, must be rejected if the West is to regain its path.