AN ABORTIONIST'S WASTEBASKET
"Happiness is a sad song."
Charles Schulz said that. You know the cartoonist? A recent biography describes Schulz as sad. The Schulz family denies the allegation.
Does it really much matter, one way or the other? Charles Schulz was a great artist of comedy. Isn't that what matters?
Puccini wrote great, but very sad operas. Does that make Puccini a sad man? If Charles Schulz is right, Puccini should have been one of the happiest men in the world, with all those sad songs pouring out of him.
Most sad songs are about the agonizing limitations of love � so they are songs about love's failure �
I'm writing an entire book about America's Heart Failure � and the Progressive aim of proving love impractical, if not a downright delusion -- which is sort of the inferences conveyed by making abortion not only legal but "the only way to go, girl!"
Now there is a train of thought! Hanging sad songs to the sad and sickening deaths of 1,500,000 American, gestating infants per year.
Billie Holiday wrote "Strange Fruit" about the deaths by hanging of thousands of runaway slaves and, as the South referred to them, "uppity negroes." Now that's a sad song.
"The Battle Hymn of the Republic" is not a sad song. It is the angry march of a raging chorus, promising God's vengeance on America for her hypocrisy, her refusal to live up to the words "all men are created equal."
How about abortion's denial of the "inalienable right to life?" If God can get upset over slavery, he certainly might be a little peeved by the remark made by a Surgeon General for the Clinton administration, Joycelyn Elders, the one sarcastically asking America what that nation's "love affair with the fetus" was all about.
She was obviously a "Progressive Realist" whose contempt for American sentimentality had her spitting over her shoulder at the American past.
Let her spit on the American Civil War, and that nation's love affair with equality.
Presidential candidate Barack Obama, another "Progressive Realist," seemed to do so, when he described the Emancipation Proclamation more as a tool of war than any sincere act on Abraham Lincoln's part to live up to the Declaration of Independence and the words "all men are created equal."
Such idealism plays no part in "Progressive Realism." Like the Soviet "Socialist Realism" which Joseph Stalin ordered Russian artists to serve and which he exported into America with the Group Theater and the New School for Social Research, this specter of "Progressive Realism" has socialists replaced by scientists and Marxism the only logical step to worldwide, government-enforced eugenics, that "perverse science," as Winston Churchill described it, which was the philosophic spine in the horrific gestation of "Eugenical Realism" called the Holocaust.
Because we don't smell the burning flesh of fetal tissue certainly doesn't mean we don't know what's going on. Did America have to have a "love affair" with the Jewish Diaspora to save the lives of millions of Jews?
Must we have a "love affair with the fetus" to end legalized abortion?
The only "love affair" America had to have to end slavery, or will have in order to overturn Roe v. Wade is a love affair with life.
The ancient Greeks knew all about grand love affairs when they called Man's love affair with death "Thanatos."
For Progressive Realism and Progressive Realists to deny that abortion and the RU486 morning after pill are not America's Thanatos, or love affair with death, portraying homicide, or as the Clinton administration might prefer to call it, "fetizide" as Man's increasingly best solution to almost every problem � well � it's like saying that the Holocaust did not involve a Nobel Prize Winner's famous invention, Zyklon B.
Such denials can't be done � and the fall from grace which the Nobell Prize itself is inevitably undergoing mirrors the same disgrace the word "Progressive" will be forced to live with when America does what it inevitably must do: overturn the Roe v. Wade decision with a Constitutional Amendment that forbids the Supreme Court from ever defying the human rights paragraph in the Declaration of Independence.
"Strange fruit" indeed � resting at the bottom of an abortionist's wastebasket.
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Michael Moriarty is a Golden Globe and Emmy Award-winning actor who starred in the landmark television series Law and Order from 1990 to 1994. His recent movie and TV credits include, Pale Rider, Who'll Stop the Rain, The Glass Menagerie, Courage Under Fire, The Yellow Wallpaper, 12 Hours to Live, Santa Baby, Deadly Skies and many more.
George Soros, the American multi-billionaire socialist and major investor in the Barack Obama presidential campaign, remains the most mysterious figure in Alex Goldfarb's book.