Archive for October, 2009

When I read this piece over at Rob Taylor’s Red Alerts, I just kept repeating aloud, “Wow, Wow, Wow.” I have been trying to understand why the Hollywood directors and actors would so enthusiastically support Roman Polanski’s flight from justice for the anal rape of a 13 year old girl. Sure these actors and actresses are douchebags. Sure they are elitists who think they are better than everyone else and the rules should apply to them differently than to everyone else whom they consider inferior. Sure they have a bad moral compass. But until I read Rob Taylor’s post I was not able to make the connection that it is the Liberal Elite’s reverence for Old Europe’s Caste system and hatred of America and western morality that is the driving factor as to why they think that its okay for one of their own to rape a child.

From RedAlerts here with emphasis mine, and edited to unite the Dracula analogy:

The basic theme of Bram Stoker’s Dracula was the nightmare of a modern virtuous society invaded and corrupted by decadent “Old Europe” style nobility, who act in ways that defy morality and flaunt the laws of society due to their belief that they themselves are beyond the reach of man’s justice. Stoker wrote Dracula at a time when England was surpassing Europe as the cultural center of the West, and his novel was a reaction to the antinomian and often blasphemously obscene art and literature of men like Huysmans or Baudelaire. Dracula in Stoker’s work represents not only the dark antiquity of Europe, where men of low character could, by nature of their birth into noble households, literally get away with rape and murder, but the fin de siècle movement’s seeming embrace of that sort of depravity and decadence.

Dracula, the noble who defied even death (and thus God in Stoker’s universe), took what and more importantly who he wanted without regard to common decency. He murdered, raped, and stole his way through the story, acting as the ultimate metaphor for the evil of Old Europe’s degeneracy for decades. Then something peculiar happened. Post-modern society began seeing Dracula not as a metaphor for the sexual predator protected by his wealth and power, but as an anti-hero rebelling against Victorian morality. There is no Humanities or Literature department, book publishing house or film studio where this is not the prevailing interpretation of the Dracula character. Perhaps those that see themselves as the cultural “tastemakers” of our society, the university professors, leftist “artists,” and the business interests that surround the arts, have vested interests in reigniting the noble-worship of Old Europe, in creating a society that believes in the noble’s exception including their privilege to assault and otherwise molest non-nobles. But anyone having been exposed to some published poet or author (and I’ve meet far too many) knows that this reimagining of Dracula, and vampirism in general, is simply another expression of these people’s misanthropic elitism.

A common expression of this elitism is also academic Europhilia, by which I mean the adoption (primarily by the left) of what they assume are prevailing opinions in Europe and the pretense of a disdain for America. So entranced by Europe’s ability to project the air of cultural superiority, the self-appointed elites here have entered vassalage with the new “nobility” of Europe.

Which brings us to Roman Polanski, hackneyed artist, peripheral character in the Manson murders, and violent rapist of children. Roman Polanski drugged and violently raped, both vaginally and anally, a 13-year-old girl. He then skipped bail and fled to Europe where the arts community there, with the open approval of the “tastemakers” here, helped the degenerate continue to work and prosper while avoiding justice. His recent arrest exposed how the people who consider themselves part of the most sophisticated sectors of American society are little more than living caricatures of the gypsies who followed Dracula, doing his bidding and aiding him in his most heinous crimes.

This is more of an ethnographic sketch of those Americans who consider themselves culturally and intellectually superior to their fellow citizens. They are the American thralls to a mythic Old Europe, where a person’s corpus of work is more important than their penchant for sexual criminality. They believe in a social order in which there are nobles (themselves) and a peasantry (the rest of us) who are devalued for our inability (or unwillingness) to participate in their decades old masquerade. Roman Polanski is who they aspire to be, his victim a meaningless indiscretion for which a man like Polanski cannot be expected to suffer.

Maybe a man named Ronnie Pulaski who worked construction, but not Roman Polanski!

But to see that in Polanski is to look past the European trappings and artistic prestige, and to see the man as equal to all others and thus worthy to be judged. This is a step these self-appointed elites cannot take, lest they admit they too can be judged by their true equals, their fellow Americans.

For those who embrace that outlook there is no action too wicked to defend if it props up the lie and reinforces the artificial distinctions between us.

Especially if it happens to those of us they consider beneath them.

This would make that 13 year old girl a virginal sacrifice to the monster. Is that why degenerates like Whoopi Goldberg can so easily forgive child rape?

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