In a polemical work anchored in history, reality, fact, and the political philosophy of classical liberalism, Mercer presents a manifesto against mass society, arguing against raw, ripe, democracy in the U.S., South Africa, and everywhere. 338 pp.
Donald J. Trump is smashing an enmeshed political spoils system to bits: the media complex, the political and party complex, the conservative poseur complex. You name it; Trump is tossing and goring it. The well-oiled elements that sustain and make the American political system cohere are suddenly in Brownian motion, oscillating like never before. An entrenched punditocracy, a self-anointed, meritless intelligentsia, oleaginous politicians, slick media, big money: These political players have built the den of iniquity that Trump is destroying. Against these forces is Trump, acting as a political Samson that threatens to bring the den of iniquity crashing down on its patrons. It is this achievement that the author of "The Trump Revolution: The Donald's Creative Destruction Deconstructed" cheers. By drastically diminishing The Machine's moving parts, the author hopes Trump might just help loosen the chains that bind the individual to central government, national and transnational. In the age of unconstitutional government-Democratic and Republican-this Trumpian process of creative destruction can only increase the freedom quotient. We inhabit what broadcaster Mark Levin has termed a post-constitutional America, explains ILANA Mercer. The libertarian ideal-where the chains that tether us to an increasingly tyrannical national government are loosened and power is devolved once again to the smaller units of society-is a long way away. In this post-constitutional jungle, the law of the jungle prevails. In this legislative jungle, the options are few: Do Americans get a benevolent authoritarian to undo the legacies of Barack Obama, George W. Bush and those who went before? Or, does the ill-defined entity called The People continue to submit to Demopublican diktats, past and present? The author of "The Trump Revolution" contends that in the age of unconstitutional government, the best liberty lovers can look to is "action and counteraction, force and counterforce in the service of liberty." Until such time when the individual is king again, and a decentralized constitution that guarantees regional and individual autonomy has been restored-the process of creative destruction begun by Mr. Trump is likely the best Americans can hope for. A close reading of "The Trump Revolution" will reveal that matters of process are being underscored. Thus the endorsement over the pages of "The Trump Revolution" is not necessarily for the policies of Trump, but for The Process of Trump, the outcome of which might see a single individual weaken the chains that bind each one of us to an oppressive, centralized authority and to the system that serves and sustains it. "The Trump Revolution: The Donald's Creative Destruction Deconstructed" takes the reader through Trump's political progression in real time, when many of the book's essays were penned. The author galvanizes concepts in American political theory-such as John C. Calhoun's idea of a concurrent majority and historian David Hackett Fischer's notion of the omnibus candidate-to bolster her case that the Trump revolution is the last heave-ho of America's historic, founding majority and those who identify with it and value its legacy.
Whether reviewing a film, critiquing art and music, or discussing the collapse of boundaries between private and public life-whether Ilana defends creative social benefactors such as Bill Gates and Martha Stewart, or off-shore tax havens, or the deregulation of commerce and trade-her goal is to goad, prod, and otherwise motivate people to think in fresh ways about the issues of the day, to look beyond the corrupting clichs that have dragged our society to the brink.
Author: Keith B. Richburg
Publisher: Basic Books
Release Date: 2009-09-22
Genre: Biography & Autobiography
In this provocative and unvarnished account of his three years on the continent of his ancestors, Richburg takes us on an extraordinary journey that sweeps from Somalia to Rwanda to Zaire and finally to South Africa, and shows how he was forced to confront the divide within himself between his African racial heritage and his American cultural identity.
The West has finally realized that ""bringing Democracy"" to the Middle East and Southwest Asia is not necessarily in the best interests of Western Civilization. Radical Islam is hijacking its plans and making a mockery of Democracy itself. In South Africa, an earlier experiment in "Bestowed Democracy" is failing under a burden of abuse. Much taken with its own role in undoing apartheid a full generation earlier, the West prefers to look away. It appears to treat the plight of Western people in that country as a form of required penance. In the process, it indulges what is in effect a corrupt One-Party State Kleptocracy run along the Party Congress lines of its original mentor, the defunct Soviet Union. "AmaBhulu" is a view of South Africa through eyes different from those employed in fifty years of media reporting, social science, and politics. The author walks the reader from the 1652 landing of the Dutch to the present by following his own family bloodlines as example through the documented history of the country, supported by copious evidence. As settlers, soldiers, slaves, and indigenes, they farm, they fight, they triumph, and they lose. They are mercilessly impaled and massacred by savage African tyrants. They are hanged and fusilladed by an imperial overlord, and herded into concentration camps. Yet, they persevere to create a key Western Christian country; the envy of all Africa and a Cold War bulwark of the West. Eventually it falls to the author to describe the loss of his country through forces beyond his control. In 1797 the British Royal Navy feared South Africa would become a "Second America" for Britain, while, in the 20th century, the country was to Africa what the United States was to the world. "AmaBhulu" describes the developing crisis in the Second America that will inevitably entangle the First America. It is a study in the death of Civilization by its own collective hand; a severe warning for the West. "AmaBhulu" should give pause to every thinking Westerner.
Author: Wendy Steiner
Publisher: Simon and Schuster
Release Date: 2001-10-24
Whereas previous eras had celebrated beauty as the central aim of art, the modernist avant-garde were deeply suspicious of beauty and its perennial symbols, woman and ornament, preferring instead the thrill and alienation of the sublime. They rejected harmony, empathy, and femininity in a denial still reverberating through art and social relations today. Exploring this casting of Venus, with all her charms, into exile, Wendy Steiner's brilliant, ambitious, and provocative analysis explores the twentieth century's troubled relationship with beauty. Tracing this strange and damaging history, starting from Kant's aesthetics and Mary Shelley's horrified response in Frankenstein, Steiner untangles the complex attitudes of modernists toward both beauty and the female subject in art. She argues that the avant-garde set out to replace the impurity of woman and ornament with form -- the new arch-symbol of artistic beauty. However, in the process of controlling desire and pleasure in this way, artists admitted the exotic fetish objects of "primitive" cultures -- someone else's power and allure that surely would not overmaster the sophisticated modernist. A century of pornography, shock, and alienation followed, and this rejection of feminine and bourgeois values -- domesticity, intimacy, charm -- kept the female subject an impossible and remote symbol. Ironically, as Steiner reveals, the feminist hostility to the "beauty myth" had a parallel result, leaving Western society alienated from desire and pleasure on all sides. In the course of this elegantly constructed and accessibly written argument, Steiner explores the cultural history of the century just ended, from Dada to Futurism, T. S. Eliot's Wasteland and Picasso's Les Demoiselles d'Avignon to Pumping Iron II: The Women and Deep Throat, Jean-Michel Basquiat and Outsider Art, Naomi Wolf and Cindy Sherman, Thomas Pynchon and Don DeLillo, ranging across art and architecture, poetry and the novel, feminist writing and pornography. Only in recent years, Steiner demonstrates, has our culture begun to see a way out of this damaging impasse, revising the reputations of neglected artists such as Pierre Bonnard, and celebrating pleasure and charm in the arts of the present. By disentangling beauty from a misogynistic view of femininity -- as passive, narcissistic, sentimental, inefficacious -- Western culture now seems ready to return to the female subject and ornament in art, and to accept male beauty as a possibility to explore and celebrate as well. Steiner finds hints of these developments in the work of figures as varied as the painter Marlene Dumas, the novelist Penelope Fitzgerald, and the choreographer Mark Morris as she leads us to a rediscovery and a reclamation of beauty in the Western world. From one of our most thoughtful and ambitious cultural critics, this important and thought-provoking work not only provides us with a searching analysis of where we have been in the last century but reveals the promise of where we might be going in the coming one.
Author: Cuan Elgin
Release Date: 2009-01-01
Genre: South Africa
Gripping novel history of South Africa from earliest times. Afrikaner, Boer, Coloured, Dutch, English, Indian, Irish, Scots, Xhosa and Zulu struggle with and against each other in the taming of a harsh, but beautiful land.
Author: R. W. Johnson
Publisher: Oxford University Press
Release Date: 2015
Genre: Africa, Southern
In 1977, RW Johnson's best-selling How Long Will South Africa Survive? provided a controversial and highly original analysis of the survival prospects of the apartheid regime. Now, after more than twenty years of ANC rule, he believes the situation has become so critical that the question must be posed again. He moves from an analysis of Jacob Zuma's rule to the increasingly dire state of the South African economy, concluding that the country is heading towards a likely International Monetary Fund bail-out which will in turn lead to a regime change of some kind. Johnson's analysis is strikin.
Author: Colin Flaherty
Release Date: 2015-02-23
Genre: Political Science
The biggest lie of our generation is how black people are relentless victims of relentless white violence. Often at the end of a badge. This book uses more than 1000 examples to document the wide spread black crime and violence, often directed at white people. And it shows how the media ignore, condone, and deny it. And how politicians, including the President, are willing partners in this deception.
Author: Leonard Monteath Thompson
Publisher: Yale University Press
Release Date: 2001
Presents a comprehensive history of the country, from its earliest human settlements, to events prior to European colonisation, to the Dutch occupation and the years of apartheid, to its success in becoming an independent nation.
The New York Times says the Knockout Game is a lie. USA Today says it is a myth, a product of white fear. This book settles that once and for all. This is the most complete collection of Knockout Game links and videos and stories ever assembled. "Knockout Game a Lie?" uses hundreds of links to videos and stories that provide the compelling answer: "Aww, hell no!" It also contains a link to a video with hundreds of examples. Created by the author of White Girl Bleed a Lot, Colin Flaherty has written more about the Knockout Game than anyone. So says American Thinker, Bretibart and Daily Caller. "Knockout Game a Lie?" documents the denials: How the Knockout Game is a myth because black mob violence and black on white crime that is wildly out of proportion is also a myth, say the deniers. But the Knockout Game attacks just kept happening by the hundreds. By the time the Knockout Game became a national buzz word in November of 2013, I had been writing about it for two years. First in White Girl Bleed a Lot. Then dozens of times afterward in WND.com, FrontPage.com, Breitbart, AmericanThinker.com and lots of other places. Critics liked it: Thomas Sowell, Allen West, Breitbart, Joseph Farah, Thomas Lifson, the Daily Caller, WND, American Thinker, David Horowitz, Jamie Glazov and others said I was ahead of the curve. Way ahead. Others like the Los Angeles Times and Village Voice and Salon said I was making the whole thing up. National talk radio host Thom Hartmann said White Girl Bleed a Lot caused the Knockout Game. Just the way MSNBC said White Girl Bleed a Lot caused the Boston Marathon bombing. There is a lot of craziness surrounding the denials of the Knockout Game. These denials cannot survive the truth, so let’s present that here without racism. Without rancor. Without apologies. After you read Knockout Game a Lie?, you might try to explain it, but you can no longer deny it. When you get there, let me know.
Author: Paul S. Landau
Publisher: Univ of California Press
Release Date: 2002-10-28
This volume considers the meaning and power of images in African history and culture. It assembles a wide-ranging collection of essays dealing with specific visual forms, including monuments cinema, cartoons, domestic and professional photography, body art, world fairs, and museum exhibits.
Author: Rian Malan
Publisher: Grove/Atlantic, Inc.
Release Date: 2012-03-11
“Here is truth-telling at its most exemplary and courageous. The remorseless exercise of a reporter’s anguished conscience gives us a South Africa we thought we knew all about: but we knew nothing.” —John le Carré My Traitor’s Heart is an astonishing work of reportage, at once beautiful, horrifying, and profound—a book unlike any other about South Africa. Rian Malan is an Afrikaner, scion of a centuries-old clan deeply involved in the creation of apartheid. As a young crime reporter, Malan covered the atrocities of an undeclared race war and ultimately fled the country, unhinged by what he had seen. Eight years later, he returns to confront his own demons, and those that are tearing his country apart. Written in the final years of apartheid’s bloody collapse, My Traitor’s Heart still resonates, offering a chilling—but ultimately redemptive—vision of the darkest recesses of the black and white South African psyches.
Author: Frantz Fanon
Publisher: Grove/Atlantic, Inc.
Release Date: 2007-12-01
Genre: Political Science
Frantz Fanon was one of the twentieth century’s most important theorists of revolution, colonialism, and racial difference, and this, his masterwork, is a classic alongside Orientalism and The Autobiography of Malcolm X. The Wretched of the Earth is a brilliant analysis of the psychology of the colonized and their path to liberation. Bearing singular insight into the rage of colonized peoples and the role of violence in historical change, the book also incisively attacks postindependence disenfranchisement of the masses by the elite on one hand, and intertribal and interfaith animosities on the other. A veritable handbook of social reorganization for leaders of emerging nations, The Wretched of the Earth has had a major impact on civil rights, anticolonialism, and black-consciousness movements around the world. This new translation updates its language for a new generation of readers and its lessons are more vital now than ever.