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At the Intersection of Faith and Culture

At the Intersection of Faith and Culture

Killing John Wayne: Why the Left Wanted for the Boston Bomber to be White

The alleged culprits behind the Boston Marathon bombing have been found.  Yet all along, leftist have wanted for nothing other than for it to be revealed that white men are responsible for the attack.

Only the self-delusional and the deceptive, the ignoramus and the liar, will deny that over the course of the last five decades, our politically correct zeitgeist has demonized white men while idealizing every other group.  The left has been remarkably successful at commandeering the culture with The Script: an anti-white, anti-Christian, and anti-male narrative.

According to The Script, the universe, much like it is depicted in, say, the Star Wars mythos, is a rather simple place.  Like the fictional universe of Star Wars, the fictional universe of the leftist’s imaginings is defined by a perpetual contest between the forces of good and the forces of evil.  Unlike that of Star Wars, though, the epic battle at the heart of the leftist’s fantasy world is essentially racial in character: White Christian (heterosexual) men constitute the evil Empire from which the rebel alliance of non-whites, non-Christians, women, and homosexuals seek emancipation.

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The latest script writer is Salon.com writer David Sirota.  His article, “Let’s Hope the Boston Marathon Bomber is a White American,” is instructive for several reasons.  First, Sirota expresses as loudly and clearly as anyone the left’s wish that the culprits behind the Boston bombing are white.  Secondly, trading in such stock leftist ideas as “white privilege,” Sirota supplies us with insight into The Script.  Finally, in bringing The Script to bear upon this one episode, Sirota’s piece discloses a truth that far too many on the right still refuse to acknowledge: virtually every episode in American political life is determined by The Script.

In other words, every political issue is determined by the left’s obsession to effectively eradicate every last vestige of the culture invented by whites generally, and white men in particular.

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Far from unveiling some idiosyncratic wish on his part, Barack Obama represented his fellow travelers on the left when he pledged to “fundamentally transform” the country, for to transform anything is to destroy it.  Take, for instance, a seed.  A seed must first die before the new life, the plant or the crop, can spring from it.  Or consider a caterpillar.  A caterpillar must essentially die, must cease being a caterpillar, before it can come to life as a butterfly.  Jesus, too, references the need for “fundamental transformation” when He instructs His disciples that lest they be “born again,” they will not be able to partake of eternal life.

Transformation necessarily demands the extinction of its subject.  Hence, when Obama promised to transform America, he basically promised to perfect the old leftist program of a sort of cultural or symbolic genocide.

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More accurately, the culture upon which Obama and the left set their sights, the universe that is center stage in The Script, is what we may call John Wayne’s World. Indeed, The Script itself may as well be called, Kill the Duke.

From the leftist’s vantage point, the traditional or historical face of America is basically that of John Wayne’s—and the Duke signifies everything that is wrong in the world.  A particularly masculine white Christian man, the persona that Wayne brilliantly succeeded in crafting epitomized the rugged, but law-revering, individualism that leftists detest.  “God, Guns, and Guts made America Free,” may be the saying plastered on the memorabilia of many an American patriot, but the Duke is its incarnation.

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Whether battling the Japanese in one of his World War II films, American Indians in one of John Ford’s Western classics, or dragging Maureen O’Hara miles across Ireland before doing battle with her bully of a brother, Wayne was unapologetically, even pathologically, un-politically correct.  He resolutely defied The Script.  Moreover, he did so without dropping a sweat.

When leftists look back on America, it is John Wayne’s America—Wayne’s World—that they see.  And while they have made awesome strides in relegating this America to the dustbin of history, whenever The Script is resisted or thwarted, it is due, as far as they are concerned, to the ghost of the Duke rising again.

From immigration to “gay marriage”; abortion to capital punishment; Obamacare to allowing open homosexuals in the military and women in combat; “gun-control” to “affirmative action,” there is scarcely a conceivable issue over which they fight that the left doesn’t regard as a battle in the war to kill the Duke.  It is crucial that we grasp this.

It is also crucial that we realize that this is why the left wants to find a new white villain responsible for the Boston Marathon bombing.

 

 

  • http://www.jackkerwick.com Jack Kerwick

    Dan, what’s objectionable about my “rhetoric?” Also, for the record, and unlike left-wingers who can’t resist peddling their ideology to captive audiences, I do NOT talk about these matters in the classroom.

  • http://AddaURLtothiscomment Dan

    Mr. Kerwick,

    It troubles me to read this type of rhetoric coming from a man who shapes young minds. If this truly is what you believe, please keep it out of the classroom.

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