I’ve never actually seen an extremely beautiful goth girl myself — most of them seem to have weight problems, which has always struck me as strangely contradictory. From the neck up, the look cultivated by goth girls seems to say, “O, we despair of this world and long for the sweet embrace of death!” From the neck down, their look seems to say, “I’ll take the bacon cheeseburger, two orders of fries, and a Diet Coke, please.”
Dan Savage, The Onion A/V Club, 2004-08-04.
September 4, 2019
QotD: Goth problems
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August 27, 2019
QotD: Salvador Dali and the “benefit of clergy”
Orwell’s press card portrait, 1943
Now, if you showed this book, with its illustrations, to Lord Elton, to Mr. Alfred Noyes, to The Times leader writers who exult over the “eclipse of the highbrow” — in fact, to any “sensible” art-hating English person — it is easy to imagine what kind of response you would get. They would flatly refuse to see any merit in Dali whatever. Such people are not only unable to admit that what is morally degraded can be aesthetically right, but their real demand of every artist is that he shall pat them on the back and tell them that thought is unnecessary. And they can be especially dangerous at a time like the present, when the Ministry of Information and the British Council put power into their hands. For their impulse is not only to crush every new talent as it appears, but to castrate the past as well. Witness the renewed highbrow-baiting that is now going on in this country and America, with its outcry not only against Joyce, Proust and Lawrence, but even against T. S. Eliot.
But if you talk to the kind of person who can see Dali’s merits, the response that you get is not as a rule very much better. If you say that Dali, though a brilliant draughtsman, is a dirty little scoundrel, you are looked upon as a savage. If you say that you don’t like rotting corpses, and that people who do like rotting corpses are mentally diseased, it is assumed that you lack the aesthetic sense. Since Mannequin rotting in a taxicab is a good composition. And between these two fallacies there is no middle position, but we seldom hear much about it. On the one side Kulturbolschevismus: on the other (though the phrase itself is out of fashion) “Art for Art’s sake.” Obscenity is a very difficult question to discuss honestly. People are too frightened either of seeming to be shocked or of seeming not to be shocked, to be able to define the relationship between art and morals.
It will be seen that what the defenders of Dali are claiming is a kind of benefit of clergy. The artist is to be exempt from the moral laws that are binding on ordinary people. Just pronounce the magic word “Art”, and everything is O.K.: kicking little girls in the head is O.K.; even a film like L’Age d’Or* is O.K. It is also O.K. that Dali should batten on France for years and then scuttle off like rat as soon as France is in danger. So long as you can paint well enough to pass the test, all shall be forgiven you.
One can see how false this is if one extends it to cover ordinary crime. In an age like our own, when the artist is an altogether exceptional person, he must be allowed a certain amount of irresponsibility, just as a pregnant woman is. Still, no one would say that a pregnant woman should be allowed to commit murder, nor would anyone make such a claim for the artist, however gifted. If Shakespeare returned to the earth to-morrow, and if it were found that his favourite recreation was raping little girls in railway carriages, we should not tell him to go ahead with it on the ground that he might write another King Lear. And, after all, the worst crimes are not always the punishable ones. By encouraging necrophilic reveries one probably does quite as much harm as by, say, picking pockets at the races. One ought to be able to hold in one’s head simultaneously the two facts that Dali is a good draughtsman and a disgusting human being. The one does not invalidate or, in a sense, affect the other. The first thing that we demand of a wall is that it shall stand up. If it stands up, it is a good wall, and the question of what purpose it serves is separable from that. And yet even the best wall in the world deserves to be pulled down if it surrounds a concentration camp. In the same way it should be possible to say, “This is a good book or a good picture, and it ought to be burned by the public hangman.” Unless one can say that, at least in imagination, one is shirking the implications of the fact that an artist is also a citizen and a human being.
* Dali mentions L’Age d’Or and adds that its first public showing was broken up by hooligans, but he does not say in detail what it was about. According to Henry Miller’s account of it, it showed among other things some fairly detailed shots of a woman defecating.
George Orwell, “Benefit of Clergy: Some Notes on Salvador Dali”, Saturday Book for 1944, 1944.
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August 23, 2019
QotD: The ego of Salvador Dali
Orwell’s press card portrait, 1943
[Dali’s] aberrations are partly explicable. Perhaps they are a way of assuring himself that he is not commonplace. The two qualities that Dali unquestionably possesses are a gift for drawing and an atrocious egoism. “At seven”, he says in the first paragraph of his book, “I wanted to be Napoleon. And my ambition has been growing steadily ever since.” This is worded in a deliberately startling way, but no doubt it is substantially true. Such feelings are common enough. “I knew I was a genius”, somebody once said to me, “long before I knew what I was going to be a genius about.” And suppose that you have nothing in you except your egoism and a dexterity that goes no higher than the elbow; suppose that your real gift is for a detailed, academic, representational style of drawing, your real métier to be an illustrator of scientific textbooks. How then do you become Napoleon?
There is always one escape: into wickedness. Always do the thing that will shock and wound people. At five, throw a little boy off a bridge, strike an old doctor across the face with a whip and break his spectacles — or, at any rate, dream about doing such things. Twenty years later, gouge the eyes out of dead donkeys with a pair of scissors. Along those lines you can always feel yourself original. And after all, it pays! It is much less dangerous than crime. Making all allowance for the probable suppressions in Dali’s autobiography, it is clear that he had not had to suffer for his eccentricities as he would have done in an earlier age. He grew up into the corrupt world of the nineteen-twenties, when sophistication was immensely widespread and every European capital swarmed with aristocrats and rentiers who had given up sport and politics and taken to patronising the arts. If you threw dead donkeys at people, they threw money back. A phobia for grasshoppers — which a few decades back would merely have provoked a snigger — was now an interesting “complex” which could be profitably exploited. And when that particular world collapsed before the German Army, America was waiting. You could even top it all up with religious conversion, moving at one hop and without a shadow of repentance from the fashionable salons of Paris to Abraham’s bosom.
That, perhaps is the essential outline of Dali’s history. But why his aberrations should be the particular ones they were, and why it should be so easy to “sell” such horrors as rotting corpses to a sophisticated public — those are questions for the psychologist and the sociological critic. Marxist criticism has a short way with such phenomena as Surrealism. They are “bourgeois decadence” (much play is made with the phrases “corpse poisons” and “decaying rentiers class”), and that is that. But though this probably states a fact, it does not establish a connection. One would still like to know why Dali’s leaning was towards necrophilia (and not, say, homosexuality), and why the rentiers and the aristocrats would buy his pictures instead of hunting and making love like their grandfathers. Mere moral disapproval does not get one any further. But neither ought one to pretend, in the name of “detachment”, that such pictures as Mannequin rotting in a taxicab are morally neutral. They are diseased and disgusting, and any investigation ought to start out from that fact.
George Orwell, “Benefit of Clergy: Some Notes on Salvador Dali”, Saturday Book for 1944, 1944.
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August 21, 2019
Summer Stupidity: GLADIATOR (Media Review!)
Overly Sarcastic Productions
Published on 20 Aug 2019The first time I saw Gladiator (2000) was in Latin class, and I have maintained since that first viewing that this movie rules.
Just pretend it’s historical fiction and the emperors are named literally anything else, and you’re set.
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August 20, 2019
QotD: Autobiography
Orwell’s press card portrait, 1943
Autobiography is only to be trusted when it reveals something disgraceful. A man who gives a good account of himself is probably lying, since any life when viewed from the inside is simply a series of defeats. However, even the most flagrantly dishonest book (Frank Harris‘s autobiographical writings are an example) can without intending it give a true picture of its author. Dali’s recently published [The Secret Life of Salvador Dali] comes under this heading. Some of the incidents in it are flatly incredible, others have been rearranged and romanticised, and not merely the humiliation but the persistent ordinariness of everyday life has been cut out. Dali is even by his own diagnosis narcissistic, and his autobiography is simply a strip-tease act conducted in pink limelight. But as a record of fantasy, of the perversion of instinct that has been made possible by the machine age, it has great value.
George Orwell, “Benefit of Clergy: Some Notes on Salvador Dali”, Saturday Book for 1944, 1944.
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August 14, 2019
Summer Stupidity: Hercules 2014 (Media Review!)
Overly Sarcastic Productions
Published on 13 Aug 2019“I’ve seen The Rock act before and he’s really fun and charismatic! Surely this movie starring him will be a Good Time!” I thought, foolishly.
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August 7, 2019
QotD: “Great” “Art”
How do we know it’s true art? And before you start making gestures and sputtering, to finally come back with “knowledgeable people know that,” let me cut through the fog. The answer is, we don’t. No, not even experts. If everyone knew what great art was, investment in art wouldn’t be such a risky business. Great art, great literature, any form of “greatness” in creative expression is ultimately “What future generations think is great.” And, like all speculation about the future, it’s difficult, if not impossible. In visual art, what is often the acclaimed taste of an era is the laughable, ridiculous pastiche of a later era. In literature … Do me a favor, let your fingers do the walking through Gutenberg, then look up the biographies of some of those authors. Many of the people who make you say “who?” and who in fact would make anyone but an expert in the literature of their time go “who?” were literary lions in their times, acclaimed by all and pronounced “the next Shakespeare.” (Who, like “the next Heinlein,” used to rise every generation until people got tired of it.)
If the art is so great, how come no one is buying it? Besides the artist who is spending way too much time with absinthe and way too little time with quill and paper, or brushes and canvas, that is?
Oh. I see. Because the general public is too stupid to appreciate the greatness of the artist. Because the artist is “ahead” of the public.
Yeah, if you believe that you probably also think that history comes with an arrow since obviously art does. That is, art moves from “primitive” to “exquisite and advanced.” If you truly believe this, I invite you to go through any local art museum and move through it from, say, Roman times till now. And then I invite you to think. The Denver Museum of Art has an installation that consists of a bunch of twisted-together kitchen implements, something that often happens in my house due to the habit of overfilling drawers and my tendency – pre-coffee – to think there is no problem brute force can’t solve.
This is an “installation” worth 2 million and if you believe it is superior to Leonardo da Vinci’s Virgin of the Rocks, you should stop hitting the absinthe. No, wait. Have another cup. I have this installation …
Sarah Hoyt, “What Happens When the Artist Chides His Audience?”, PJ Media, 2017-07-13.
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August 5, 2019
QotD: Depictions of Heaven
Orwell’s press card portrait, 1943
Attempts at describing a definitely other-worldly happiness have been no more successful. Heaven is as great a flop as Utopia though Hell occupies a respectable place in literature, and has often been described most minutely and convincingly.
It is a commonplace that the Christian Heaven, as usually portrayed, would attract nobody. Almost all Christian writers dealing with Heaven either say frankly that it is indescribable or conjure up a vague picture of gold, precious stones, and the endless singing of hymns. This has, it is true, inspired some of the best poems in the world:
Thy walls are of chalcedony,
Thy bulwarks diamonds square,
Thy gates are of right orient pearl
Exceeding rich and rare!But what it could not do was to describe a condition in which the ordinary human being actively wanted to be. Many a revivalist minister, many a Jesuit priest (see, for instance, the terrific sermon in James Joyce’s Portrait of the Artist) has frightened his congregation almost out of their skins with his word-pictures of Hell. But as soon as it comes to Heaven, there is a prompt falling-back on words like ‘ecstasy’ and ‘bliss’, with little attempt to say what they consist in. Perhaps the most vital bit of writing on this subject is the famous passage in which Tertullian explains that one of the chief joys of Heaven is watching the tortures of the damned.
The pagan versions of Paradise are little better, if at all. One has the feeling it is always twilight in the Elysian fields. Olympus, where the gods lived, with their nectar and ambrosia, and their nymphs and Hebes, the ‘immortal tarts’ as D.H. Lawrence called them, might be a bit more homelike than the Christian Heaven, but you would not want to spend a long time there. As for the Muslim Paradise, with its 77 houris per man, all presumably clamouring for attention at the same moment, it is just a nightmare. Nor are the spiritualists, though constantly assuring us that ‘all is bright and beautiful’, able to describe any next-world activity which a thinking person would find endurable, let alone attractive.
George Orwell (writing as “John Freeman”), “Can Socialists Be Happy?”, Tribune, 1943-12-20.
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July 31, 2019
All Art Is Propaganda: Christopher Hitchens on George Orwell – George Packer Interview (2009)
The Film Archives
Published on 27 Jan 2014George Packer (born August 13, 1960) is an American journalist, novelist, and playwright.
He is perhaps best known for his writings for The New Yorker about U.S. foreign policy and for his related book The Assassins’ Gate: America in Iraq.
Packer was born in Santa Clara, California. Packer’s parents, Nancy (née Huddleston) and Herbert Packer, were both academics at Stanford University; his maternal grandfather was George Huddleston, a congressman from Alabama. His sister, Ann Packer, is also a writer. His father was Jewish and his mother was from a Christian background. Packer graduated from Yale College, where he lived in Calhoun College, in 1982, and served in the Peace Corps in Togo. His essays and articles have appeared in Boston Review, The Nation, World Affairs, Harper’s, The New York Times, and The New Yorker, among other publications. Packer was a columnist for Mother Jones and has been a staff writer for The New Yorker since May 2003.
Packer was a Holtzbrinck Fellow Class of Fall 2009 at the American Academy in Berlin.
His book The Assassins’ Gate: America in Iraq analyzes the events that led to the 2003 invasion of Iraq and reports on subsequent developments in that country, largely based on interviews with ordinary Iraqis. He was a supporter of the Iraq war. He was a finalist for the 2004 Michael Kelly Award.
He is married to Laura Secor and was previously married to Michele Millon.
Books
The Village of Waiting (1988). New York: Farrar, Straus and Giroux (1st Farrar edition, 2001). Pb. ISBN 0-374-52780-6
The Half Man (1991). Random House ISBN 0-394-58192-X
Central Square (1998). Graywolf Press ISBN 1-55597-277-2
Blood of the Liberals (2000). Farrar, Straus and Giroux ISBN 0-374-25142-8
The Fight is for Democracy: Winning the War of Ideas in America and the World (2003, as editor). Harper Perennial. Pb. ISBN 0-06-053249-1
The Assassins’ Gate: America in Iraq (2005) Farrar, Straus and Giroux 2005 ISBN 0-374-29963-3
Betrayed: A Play (2008) Faber & Faber
Interesting Times: Writings from a Turbulent Decade (2009). ISBN 978-0-374-17572-6
The Unwinding: An Inner History of the New America (2013). ISBN 978-0-374-10241-8Articles
Packer, George (28 September 2009). “A Reporter at Large: The Last Mission”. The New Yorker 85 (30): 38-55. [Richard Holbrooke’s plan to avoid the mistakes of Vietnam in Afghanistan].
Packer, George (15 March 2010). “A Reporter at Large: Obama’s Lost Year”. The New Yorker 86 (4): 40-51.
Packer, George (12 September 2011). “A Reporter at Large: Coming Apart”. The New Yorker. [An assessment of the post 9/11 decade]
Packer, George (27 May 2013). “A Reporter at Large: Change the World”. The New Yorker.
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July 27, 2019
“[T]he more educated a Democrat is … the less he or she understands the Republican worldview”
Last week in the Guardian, Arlie Hochschild explained some of the mutual incomprehension of US Democrats and Republicans based on a recent study:
In a surprising new national survey, members of each major American political party were asked what they imagined to be the beliefs held by members of the other. The survey asked Democrats: “How many Republicans believe that racism is still a problem in America today?” Democrats guessed 50%. It’s actually 79%. The survey asked Republicans how many Democrats believe “most police are bad people”. Republicans estimated half; it’s really 15%.
The survey, published by the thinktank More in Common as part of its Hidden Tribes of America project, was based on a sample of more than 2,000 people. One of the study’s findings: the wilder a person’s guess as to what the other party is thinking, the more likely they are to also personally disparage members of the opposite party as mean, selfish or bad. Not only do the two parties diverge on a great many issues, they also disagree on what they disagree on.
This much we might guess. But what’s startling is the further finding that higher education does not improve a person’s perceptions – and sometimes even hurts it. In their survey answers, highly educated Republicans were no more accurate in their ideas about Democratic opinion than poorly educated Republicans. For Democrats, the education effect was even worse: the more educated a Democrat is, according to the study, the less he or she understands the Republican worldview.
“This effect,” the report says, “is so strong that Democrats without a high school diploma are three times more accurate than those with a postgraduate degree.” And the more politically engaged a person is, the greater the distortion.
What could be going on? Bubble-ism, the report suggests. Even more than their Republican counterparts, highly educated Democrats tend to live in exclusively Democratic enclaves. The more they report “almost all my friends hold the same political views”, the worse their guesses on what Republicans think.
So do they believe in sticking with their own? No. When asked in a Pew survey whether it’s important to live in a place “where most people share my political views”, half of conservatives and only a third of liberals agreed. Although in principle more tolerant of political diversity, highly educated – and mostly urban – Democrats live, ironically, with less of it.
Take the quiz or see more of the results here.
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July 20, 2019
“Boris Johnson is the only man alive who could convincingly turn The Emperor’s New Clothes into a one-man play”
In Spiked, Alaa al-Ameri says that Boris Johnson actually does have a valid point in his criticism of Islam:
Boris Johnson, Secretary of State for Foreign and Commonwealth Affairs at an informal meeting of the Foreign Affairs Council on 15 February 2018.
Photo by Velislav Nikolov via Wikimedia Commons.
Boris Johnson is the only man alive who could convincingly turn The Emperor’s New Clothes into a one-man play. He’s perfect for every role – the pompous, bumbling, vain emperor; the barefaced conmen trafficking in audacious whoppers; and, most importantly, the little boy, unable to keep from blurting out the obvious, especially when everyone around him is busy parroting the convenient lie of the day.
Not for the first time, Johnson has offended polite society by suggesting that there might be something less than perfectly laudable about some aspects of Islam. Perish the thought. In particular, offence-miners at the Guardian have discovered that Johnson once wrote that Islam has held Muslim countries back by “centuries”.
A cursory look around the world is enough to conclude that there may be something to Johnson’s argument. A deeper look at Arab and Muslim history – both ancient and recent – might at least confirm the possibility that such a statement is something other than flat-out bigotry. Or so you might have thought, if you had recently awoken from a 30-year coma. In 2019, however, such thoughts are unthinkable.
We can moralise all day long about the evils of European colonialism. But it was a historical blink of an eye in comparison to the centuries of Arab and Muslim colonialism that produced the cultures to which Johnson was referring. We can wring our hands over the influence of literalist Christianity on American politics. But this is a drop in the ocean compared to the cultural and political leverage of Islam across the globe. We can lament the potential harm to Indian democracy posed by militant Hindu nationalism. But there is nothing questionable about entertaining the notion that centuries of Muslim global imperialism – which ended less than 100 years ago – might have left behind a less than a gleaming legacy.
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July 15, 2019
Galaxy Quest – still the best Star Trek movie ever made
At Mark Steyn’s site, guest movie reviewer Kathy Shaidle lovingly reviews the cult classic — and one of my all-time favourite movies — Galaxy Quest:
In a just world, O.J. Simpson would currently be serving the 24th year of a double life sentence; Ronald Reagan would have been president during America’s bicentennial instead of Jimmy Carter — and Galaxy Quest would’ve earned half-a-billion bucks at the box office when it came out in 1999.
But inept and indifferent studio marketing (plus competition from another “sci-fi” comedy, Ghostbusters) relegated Galaxy Quest to semi-cult status. Which is ironically appropriate, given its plot:
At a science fiction convention, fans await an appearance by the cast of Galaxy Quest, a hokey interstellar TV adventure series unceremoniously cancelled in the early 1980s. The show’s fatally typecast has-been “stars” (played by Tim Allen, Alan Rickman, Sigourney Weaver, Tony Shalhoub and Daryl Mitchell) are reduced to reluctantly signing autographs at tacky gatherings like this one, when they’re not cutting ribbons (in full costume) at supermarket openings.
That is, until genuine aliens — who, in cargo cult fashion, have based their civilization on Galaxy Quest re-runs transmitted through space — touch down and beg “the crew of the NSEA-Protector” to help them defeat the villain bent on destroying their planet. The adorable Thermians innocently believe the program’s “crew” are fearless, intrepid space warriors and technological geniuses, not just washed-up actors in laughable uniforms. Their language has no word for “pretend”…
Lazily calling this movie “a Star Trek spoof” unfairly slots it alongside broad, coarse parodies like Blazing Saddles or the soulless Mars Attacks! In truth, Galaxy Quest is a tender, big hearted valentine — more My Favorite Year than Airplane.
That the film’s jokes and, more incredibly, its special effects, hold up so well twenty years later is a testament to the loving care with which Galaxy Quest was crafted. Obeying the first (yet often ignored) commandment of movie comedy, all the actors “play it straight”
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July 8, 2019
QotD: Orwell on capitalism versus socialism
Orwell’s press card portrait, 1943
No one can question the dirtiness of international politics from 1870 onwards: it does not follow that it would have been a good thing to allow the German army to rule Europe. It is just possible that some rather sordid transactions are going on behind the scenes now, and that current propaganda “against Nazism” (cf. “against Prussian militarism”) will look pretty thin in 1970, but Europe will certainly be a better place if Hitler and his followers are removed from it. Between them these two books sum up our present predicament. Capitalism leads to dole queues, the scramble for markets, and war. Collectivism leads to concentration camps, leader worship, and war. There is no way out of this unless a planned economy can somehow be combined with the freedom of the intellect, which can only happen if the concept of right and wrong is restored to politics.
Both of these writers are aware of this, more or less; but since they can show no practicable way of bringing it about the combined effect of their books is a depressing one.
George Orwell, “The Road to Serfdom by F.A. Hayek / The Mirror of the Past by K. Zilliacus”, Observer, 1944-04-09.
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July 7, 2019
Does this sound like your gym?
Instapundit linked to this older Sean Kelly article about the “Planet Fitness” chain of health clubs. According to him, it’s even less pretty than you might have thought:
“Planet Fitness”by JeepersMedia is licensed under CC BY 2.0
Here’s what you need to know…
- Planet Fitness: The gym for people who don’t really want to get in shape, owned by people who really can’t afford for the members to be there.
- A survey of over 20 different Planet Fitness locations in 12 different states revealed that they provide no nutritional guidance. They do however supply candy and pizza.
- Planet Fitness seems to promise that health and fitness will ultimately be comfortable and not involve any real effort.
- Planet Fitness is a big, purple-colored adult daycare marketed to people afraid to go to an actual gym.
- Many Planet Fitness members do want to make progress of course, but the gym’s own rules and operating guidelines seem to dissuade this.
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June 15, 2019
The real explanation for our lack of moonbases/Concorde 2’s/great walls/pyramids
Homoitalicus Blog responds to a new book [At Our Wit’s End by Edward Dutton and Michael Woodley of Menie] that concludes that we (western civilization) are headed toward a similar fate as the western Roman Empire:
The reason that these staggering feats of engineering haven’t been repeated is more to do with economics and politics than with any perceived lack of engineering Genius in the population. The authors fail to reflect that emerging from the massively centralised wartime economy of the West there was an enormous technological infrastructure of scientists and capable administrators just sat there with no more Nazis to fight, communist megalomaniacs to support, Atom bombs to build and test, or greatest seabourne invasions in history to plan and implement.
This was probably the greatest concentration of intellect ever harnessed to a single cause and hopefully we’ll never need to see its like again
With the war done and dusted some new purpose needed to be found for all this talent, the way of government being what it is, returning all these geniuses to normal boring peacetime activity was never an option.
Newly nationalised aircraft industries took the wartime inventions of jet engine and the rest and evolved them with massive amounts of financial input from the government into Concorde, truly a magnificent aircraft but one which could uncharitably be described as using taxpayers’ money to ferry plutocrats from one side of the Atlantic to the other. Whether it ever really paid for itself is a moot point and the unseemly haste with which it was dumped after the crash tends to imply that its 50-year-old airframes were becoming a burden, and the economic case for making a new generation of supersonic planes is weak – luckily the will in the west for another taxpayer-funded effort doesn’t seem to be there. That is progress.
Likewise the man on the moon, possible only because of the Cold War space race.
The authors might as well explain the fact that we haven’t build another pyramid of Giza or Great Wall of China.
Their assertion that a general decline in the amount of creativity (which is correlated strongly with g) is justified by the observable decline in the quality of the output of the BBC. However other possible reasons for this are the infestation of Cultural Marxism and its baleful handmaid, Political Correctness, which really mitigate against creative thought. It is impossible to imagine making The Life of Brian, or The Sweeney or countless other shows which we enjoyed in our youth nowadays largely for reasons of PC and the fact that the BBC’s mission is now brainwashing rather than entertainment. State broadcasters the world over will suffer from the same problem, as does (worryingly) the world of academe in which speakers of truth or opinion which lie outwith accepted and very tightly bounded acceptability, are routinely no-platformed or summarily sacked. The teaching of history and the humanities generally has been debased, and only the STEM subjects seem to have resisted (excluding the question of Climate Change which has taken on the trappings of a religion rather than serious science).
As a consequence it is impossible to separate the effects of CM from the mooted results of a generalised decline in intelligence, and the authors are wrong not to point this out.
They don’t consider either the likely effect of the 20th century’s great blood letting in the fields of Flanders. A substantial proportion of the best and brightest of a generation were ground into the mud there before being able to procreate. I would be surprised if that had no effect on the quality of the gene pool.
H/T to the Continental Telegraph for the link.
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