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Peter Kreeft examines the true nature of the "culture war" today, identifies the real enemies facing the church and maps out a strategy for battle.
CHOICE Outstanding Academic Title, 2022 A cultural history of how white men exploited the image of the Vietnam veteran to roll back civil rights and restake their claim on the nation “If war among the whites brought peace and liberty to the blacks,” Frederick Douglass asked in 1875, peering into the nation’s future, “what will peace among the whites bring?” The answer then and now, after civil war and civil rights: a white reunion disguised as a veterans’ reunion. How White Men Won the Culture Wars shows how a broad contingent of white men––conservative and liberal, hawk and dove, vet and nonvet––transformed the Vietnam War into a staging ground for a post–civil rights white racial reconciliation. Conservatives could celebrate white vets as raceless embodiments of the nation. Liberals could treat them as minoritized heroes whose voices must be heard. Erasing Americans of color, Southeast Asians, and women from the war, white men with stories of vets on their mind could agree, after civil rights and feminism, that they had suffered and deserved more. From the POW/MIA and veterans’ mental health movements to Rambo and “Born in the U.S.A.,” they remade their racial identities for an age of color blindness and multiculturalism in the image of the Vietnam vet. No one wins in a culture war—except, Joseph Darda argues, white men dressed in army green.
In the wake of a bitter presidential campaign and in the face of numerous divisive policy questions, many Americans wonder if their country has split in two. Is America divided so clearly? Two of America's leading authorities on political culture lead a provocative and thoughtful investigation of this question and its ramifications.
With three straight #1 bestsellers and more than 4 million copies of his books in print, the most powerful traditional force in the American media now takes off his gloves in the ongoing struggle for America’s heart and soul. Bill O’Reilly is the very embodiment of the idea of a Culture Warrior—and in this book he lives up to the title brilliantly, with all the brashness and forthrightness at his command. He sees that America is in the midst of a fierce culture war between those who embrace traditional values and those who want to change America into a “secular-progressive” country. This is a conflict that differs in many ways from the usual liberal/conservative divide, but it is no less heated, and the stakes are even higher. In Culture Warrior, Bill O’Reilly defines this war and analyzes the competing philosophies of the traditionalist and secular-progressive camps. He examines why the nation’s motto “E Pluribus Unum” (“From Many, One”) might change to “What About Me?”; dissects the forces driving the secular-progressive agenda in the media and behind the scenes, including George Soros, George Lakoff, and the ACLU; and dives into matters of race, education, and the war on terror. He also shows how the culture war has played out in such high-profile instances as The Passion of the Christ, Fahrenheit 9/11, the abuse epidemic (child and otherwise), and the embattled place of religion in public life—with special emphasis on the war against Christmas. Whatever controversies are roiling the nation, he fearlessly confronts them—and no one will be in the dark about which side he’s on. Culture Warrior showcases Bill O’Reilly at his most eloquent and impassioned. He is an unrelenting fighter for the soul of America, and in this book he fights the good fight for the traditional values that have served this country so well for so long.
To put it plainly then: the vast majority of people tasked with creating our media simply lack the sensibilities that have always driven artistic innovation. The 2010s have been a double-edged decade. Socioeconomic factors have led to the widespread and increased disenfranchisement of poorer people from the mainstream media and the institutions shaping it. This has coincided with a growing number of people from low income backgrounds also receiving better educations than ever before, and having the means at their disposal to both name and resent it. Steal as much as you can is the story of how this bright generation came to be, and what effective means are still at their disposal to challenge the establishment and ultimately win. By rejecting the established routines of achieving prosperity, and by stealing what you can from them on the way, this book offers hope to anyone who feels increasingly frustrated by our increasingly unequal society.
The “unrivaled” history of America’s divided politics, now in a fully updated edition that examines the rise of Trump—and what comes next (New Republic). When it was published in 2015, Andrew Hartman’s history of the culture wars was widely praised for its compelling and even-handed account of how they came to define American politics at the close of the twentieth century. But it also garnered attention for Hartman’s declaration that the culture wars were over—and that the left had won. In the wake of Trump’s rise, driven by an aggressive fanning of those culture war flames, Hartman has brought A War for the Soul of America fully up to date, detailing the ways in which Trump’s success, while undeniable, represents the last gasp of culture war politics—and how the reaction he has elicited can show us early signs of the very different politics to come. “As a guide to the late twentieth-century culture wars, Hartman is unrivalled . . . . Incisive portraits of individual players in the culture wars dramas . . . . Reading Hartman sometimes feels like debriefing with friends after a raucous night out, an experience punctuated by laughter, head-scratching, and moments of regret for the excesses involved.” —New Republic
Explains how abortion politics influenced a fundamental shift in conservative Christian politics, teaching conservatives to embrace rights arguments.
This book examines the questions that divide conservatives today and reveals the variety of answers put forward by classical conservatives, libertarians, and neoconservatives. The contributors—drawn from varied professional backgrounds—each bring a distinctive voice to bear, reinforcing the book's basic notion that conservatism in America represents a family of opinions and ideas rather than a rigid doctrine or set creed.
"Today's England is a moral-social basket case, full of violent crime, outrageous state-enforcement of political correctness, and protected Muslim extremists" Published in 2007, and hailed by conservatives, libertarians, nationalists and anarchists, Cultural Revolution, Culture War is the book that introduced the concepts of Cultural Marxism and Frankfurt School subversion to the English Right. Single-handedly and within a few weeks, it transformed the language of analysis and action on the British political right. Gabb's central thesis is that the British ruling class has, since 1997, turned itself into a totalitarian conspiracy, at war both with liberty and with tradition. It fights this war through the traditional means of state power and state propaganda, but also through its achievement of cultural hegemony. Controlling a single plot line of Eastenders is more important than a thousand editorials in The Guardian. The only response for non-leftists is to seize control of the State and to shut most of it down. The present ruling class all sucks from the nipple of the State. Stop the flow of milk, and the ruling class will collapse. Once this is done, Gabb sets out a challenging agenda of libertarian minimal statism - for all the usual libertarian reasons, but also because that is the only option at present for conservatives and the various kinds of nationalist. Now seen as a classic, this book is key to any understanding of rightist discourse in modern England. It is a must-read for activists of all persuasions, for political scientists, and for anyone who wants to understand the world in order to change it. From the Reviews: "Sean Gabb's case is that England has been taken over by a new ruling class, one that it totalitarian in its ambitions, in that it seeks to direct our thinking in every aspect of our culture. Not content with political power - indeed, its influence is more powerful and pervasive than that of government, it wants to mould our behaviour and even our thought to its own norms." (Madsen Pirie) "What comes to mind, as I read Sean's jeremiad is how silly American movement conservatives are when they glorify the "Anglosphere" and celebrate "our two countries" as paradigmatic "capitalist democracies." Today's England is a moral-social basket case, full of violent crime, outrageous state-enforcement of political correctness, and protected Muslim extremists." (Paul Gottfried) "But the remarkable fact is not our disagreement on cultural matters, but that I concur with so much of his analysis of the effect of "political correctness" and multiculturalism as ruling class ideologies. Like Gabb, I see official multiculturalism in the hands of the New Class and its state agencies as an instrument of division and control, serving a ruling class that prefers a population without the cohesion to resist." (Kevin Carson) "His new book is not the run-of-the-mill attack on political correctness that many writers indulge in; he does not merely recycle tabloid headlines, but goes deep into the heart of the political revolution known as "political correctness" that is destroying our country. He then outlines his manifesto for counter-revolution, the cornerstone of which is unilateral withdrawal from the European Union. The ground is covered in 105 pages with not a word wasted and in a style that is extremely readable as well as enlightening, a rare quality in an academic. His words hit the target as effectively as an English bowman on St Crispin's Day. Be warned, Dr Gabb pulls no punches and to many his medicine will seem extreme." (A Brief Encounter)
One of the country's leading activist curators explores how corporations and governments have used art and culture to mystify and manipulate us. The production of culture was once the domain of artists, but beginning in the early 1900s, the emerging fields of public relations, advertising and marketing transformed the way the powerful communicate with the rest of us. A century later, the tools are more sophisticated than ever, the onslaught more relentless. In Culture as Weapon, acclaimed curator and critic Nato Thompson reveals how institutions use art and culture to ensure profits and constrain dissent--and shows us that there are alternatives. An eye-opening account of the way advertising, media, and politics work today, Culture as Weapon offers a radically new way of looking at our world.