Cancel Culture Comes South
These violent times in which we live are in some ways unparalleled. For Southerners we have seen monuments memorializing and honoring our past heroes and history—monuments and symbols which have stood for a century—torn down and smashed by frenzied mobs, unrestrained in too many cases by a compliant or spineless government.
Various writers and commentators have attempted to describe the reasons and motivations behind this uprising in the streets and near madness in the media and among our political class. In many cases, these authors reach back into history for analogies or comparisons. But ongoing history never offers the same event repeated exactly.
Of course, the riots of 1968, ostensibly over the Vietnam War, figure in these historical comparisons. On a literary level, we recall the works of George Orwell on the growth and results of totalitarian Communism and collectivism (Nineteen-Eighty-Four and Animal Farm) or the late Jean Raspail on the very real peril of mass immigration which would overwhelm our civilization (The Camp of the Saints, 1975 and 1995). And there are other examples which come to mind, especially on the infiltration and perversion of academia and of our entertainment industry.
But none of these literary classics or historical analogies can measure or describe fully what we are witnessing today. It is unique.
A film that I own came to mind recently, and in so many ways I think it encapsulates as no other art
Article from LewRockwell