In his 1958 book “Stride Toward Freedom,” the pastor wrote: “To meet hate with retaliatory hate would do nothing but intensify the existence of evil in the universe. So would many liberals, who pay lip service to his faith in love as a transformative social force but cultivate a vitriol for opponents mirroring the MAGA faction’s. They’d benefit from revisiting his body of work. King is an often-cited figure among Republicans who like to twist his words to characterize affirmative action and reparations as racist. Birmingham leaders repeatedly made that choice by refusing to engage in good-faith negotiation with Black activists. It was some individuals’ decision to break with those who were different from them, rather than bridge divides. But he refused an us-versus-them conception. It was a necessary byproduct of the struggle for equality. King elucidates the absurdity of that claim, while acknowledging that his protests promote “constructive nonviolent tension.” He writes: “I must confess that I am not afraid of the word ‘tension.’ ”įor King, polarization wasn’t a problem.
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Some of them can do water magic, others can fly like the wind, and still others can speak to animals. Follow that sound and you’ll find Pixie Hollow, the secret heart of Never Land.Ī great old maple tree grows in Pixie Hollow, and in it live hundreds of fairies and sparrow men. When you arrive, you might hear something like the tinkling of little bells. IF YOU HEAD toward the second star on your right and fly straight on till morning, you’ll come to Never Land, a magical island where mermaids play and children never grow up. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without written permission from the publisher.įor information address Disney Press, 114 Fifth Avenue, New York, New York 10011-5690. Published by Disney Press, an imprint of Disney Book Group. Copyright © 2009 Disney Enterprises, Inc.Īll rights reserved. In 1969, various Black Panthers were arrested and accused of trying to blow up a number of buildings in New York City, including that bastion of racism and oppression, the Bronx Botanical Gardens. It was considered hip and groovy to support very radical political causes. Wolfe was struck by the incongruity of the Bernsteins hosting a fundraiser for radical black socialist/communist militants in their two-story, thirteen-room penthouse duplex, and it’s this irony, this inherent satire, that gives “Radical Chic” it’s bite.Īt the time the Bernsteins hosted the party, on January 14, 1970, what Wolfe calls “radical chic” was definitely a part of some elements of the liberal culture. Halberstam wasn’t in, so Wolfe pocketed the invitation and RSVP’d to the party. Wolfe wasn’t actually invited to the party, but he saw the invitation on David Halberstam’s desk at Harper’s magazine. “Radical Chic” describes a fundraiser that Leonard Bernstein and his wife Felicia held at their Park Avenue apartment for the Black Panther Party. Tom Wolfe entered the political fray with the two essays in his 1970 book Radical Chic & Mau-Mauing the Flak Catchers. Because what is seen is necessarily seen at a specific point in time, this also renders Western art time-based.īy contrast, Islamic art - or rather, since Islam forbids figurative art, Islamic manuscript illustration, which ushers figurative art in through the back door - opts for stylisation rather than the 'realism' of seeing, and thus seems to strive to express an unchanging truth that lies beyond the shifting perspectives that unfold in and as time. The history of Western art from the Renaissance to the rise of cubism, however, amounts to one long love affair with seeing, with point of view and perspective. |