Heather Mac Donald on a certain newspaper of record:
The day after the New York Times informed its readers about the “professional” world of astrology, it ran a front-page story about ICE agents’ alleged reign of terror in Atlanta, Ga., under the Trump administration. This reign of terror consists in targeted enforcement raids against individuals like an illegal Mexican who has been deported twice, served time in prison, convicted of two domestic-violence incidents, and charged with rape which he plea-bargained down to a lesser crime. The number of illegal alien law-breakers in Atlanta is so high that one is booked into a county jail every few hours, reports the Times. The Times notes with dismay that illegal aliens are being arrested for driving without insurance and without a licence. Apparently Times reporters would not mind if their car were totalled by an uninsured driver. A reporter for the Spanish-language newspaper Mundo Hispanico sends out Facebook alerts of sightings of ICE agents so that illegal aliens can evade the law. Yet we are supposed to believe that it is the Trump administration that poses a threat to the rule of law.
Apparently, readers of the New York Times are expected to concern themselves with the violation of their borders by illegal aliens only insofar as illegal alien status is to be construed as excusing other criminal activity.
Peter Wood on perverse art and its admirers:
Take the elevator to the sixth-floor offices of the college president, however, and… you will find… a celebratory exhibit of art created by the friends and allies of the 9-11 terrorists… The paintings and the models in the show are unremarkable as art. They display no special skill or aesthetic sensibility. That has not stopped Erin Thompson and her two fellow curators from attempting to squeeze whatever portentous meaning they can from the paintings. For example, in reference to a painting of a glass vase, a bottle, and two cups, by Ahmed Rabbani (a member of Al Qaida who trained as a terrorist in Afghanistan), the curators observe in the exhibition notes, that the “empty vessels also serve as an oblique reference both to Rabbani’s absent family and to his acts of self-denial and resistance.” What you won’t find in these paintings is any trace of repentance. These artworks are by terrorists and their accomplices who seem untouched by the monstrousness of their actions. They can wax sentimental about their own families and can draft images of hearts and flowers, but pity for the victims of their jihad is beyond their imagination — at least their visual imagination.
Curiously, or perhaps not curiously at all, the reasons for detention are downplayed or entirely absent. Nor is there any mention of released detainees’ recidivism rates. And despite the claims of artistic and sociological heft, there is, as Peter Wood notes, a baser motive in play – the wearying, juvenile need to be seen as transgressing bourgeois proprieties: “What better way to rile people than to celebrate terrorist art at a college that educates students for careers in law enforcement?” In New York City, no less.
As usual, feel free to share your own links and snippets, on any subject, in the comments.