God Gave 'Duck Dynasty' Phil Robertson to Democrats. Thank You, Lord, For This Gift.

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The camouflaged, bearded duck hunter in the sky, in his infinite wisdom and vendetta against mallards, gave liberals everywhere a gift. His name is Phil Robertson and his controversial comments on homosexuals, Satan in politics, and God are well documented. However, the latest conservative prophet isn’t just an astute political analyst and theologian. He could be the next salt-of-the-earth conservative who Sean Hannity abandons and one reason why “evil” wins for the third consecutive presidential election.

Why is the Duck Commander a heaven sent gift to liberals, Democrats, and other heathens across the country? The answer to this question starts with comments by GOP candidates before the last election. Indiana Senate Candidate Richard Murdoch in 2012 gave his thoughts on God’s view of pregnancy from rape. Murdoch stated in a debate that, “I struggled with it myself for a long time, but I came to realize life is that gift from God. And I think even when life begins in that horrible situation of rape, that it is something that God intended to happen.” Echoing Murdoch, Missouri’s Todd Akin also presented his knowledge of rape by saying, “It seems to be, first of all, from what I understand from doctors, it’s really rare. If it’s a legitimate rape, the female body has ways to try to shut the whole thing down.” As for the political impact of these religiously inspired statements on rape, a U.S. News article explained the consequence of such misguided dialogue:

Independent voters will keep these incidents in mind when they vote Tuesday. These attacks on women foreshadow Republican intentions if they win the trifecta and control of both houses of Congress and the White House. You can forget about the economy, Washington will be rape and abortion 24/7. The GOP insults may also have an ironic backlash. Ryan, Akin, Murdock, and Koster are poster boys for the need for more women in Congress, so Republican attacks on women may mean the election of more women. Fortunately in the cases of Akin and Koster, voters have the opportunity to send Claire McCaskill and Suzan DelBene to Washington. The really scary thing is these GOP candidates actually believe what they say. The Republican attacks on women will keep on coming. They just can’t help themselves. Fanatics never can.

As a result of such ridiculous claims by God-fearing GOP candidates, Claire McCaskill is a Missouri Senator and Suzan DelBene is Representative for Washington’s 1st congressional district. Prior to the comments, both political races were close. Also, the negative publicity generated a narrative of the GOP being against the interests of women. When voters entered voting booths in the last presidential election, the “rape and abortion 24/7” media attention was fresh in the minds of undecided voters.

Therefore, imagine if the Duck Commander issues more of his intriguing observations on God, society and politics right before the next election. Would they have a Todd Akin and Richard Murdoch effect? According to a now famous GQ article, the following quotes from Phil Robertson are pearls of wisdom that could turn into tens of thousands (or hundreds of thousands if he is more candid with his thoughts) of Democratic votes:

“It seems like, to me, a vagina–as a man–would be more desirable than a man’s anus. That’s just me. I’m just thinking: There’s more there! She’s got more to offer. I mean, come on, dudes! You know what I’m saying? But hey, sin: It’s not logical, my man. It’s just not logical.”

“I never, with my eyes, saw the mistreatment of any black person. Not once. Where we lived was all farmers. The blacks worked for the farmers. I hoed cotton with them. I’m with the blacks, because we’re white trash. We’re going across the field…. They’re singing and happy. I never heard one of them, one black person, say, ‘I tell you what: These doggone white people’–not a word!… Pre-entitlement, pre-welfare, you say: Were they happy? They were godly; they were happy; no one was singing the blues.”

“If I’m lost at three o’clock in a major metropolitan area…I ask myself: Where would I rather be trying to walk with my wife and children? One of the guys who’s running for president is out of Chicago, Illinois, and the other one is from Salt Lake City, Utah. [Editor’s note: Romney is from Boston, not Salt Lake City.] Where would I rather be turned around at three o’clock in the morning? I opted for Salt Lake City. I think it would be safer.”

“Temporary is all you’re going to get with any kind of health care, except the health care I’m telling you about. That’s eternal health care, and it’s free…. I’ve opted to go with eternal health care instead of blowing money on these insurance schemes.”

These statements have the same tone of the words uttered by Todd Akin and Richard Murdoch in that confidence is used to substitute fact. When confidence is the sole ingredient of political dialogue, you get Phil Robertson, Cliven Bundy, Joe The Plumber, and every other Republican cheerleader who merges God and politics. You also get a potential political liability since the majority of Americans don’t vote based on what someone else’s concept of divinity deems right and wrong.

If God in heaven wants to cut food stamps, thinks homosexuality is a sin, and has a dislike of ducks, then the great NRA member in the cosmos has given Democrats an early Christmas present. The Duck Commander should continue educating the GOP on how to conduct business, and never stop pontificating about why God feels certain people are sinners. The moment Sean Hannity abandons Phil Robertson the way he cut and ran from Cliven Bundy, we’ll know that the Duck Dynasty star has gone too far-and lost votes for the GOP.

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Comedy, Tonight!

A popular show business axiom insists that “Dying is easy, comedy is hard.” While any performer who has bombed onstage will quickly acknowledge this bitter truth, the bottom line is that comedy depends on good ideas and solid execution. Mary Elizabeth Williams makes this point brilliantly in her article for Salon.com entitled Stephen Colbert is Dead, Long Live Stephen Colbert!

During one recent week I attended performances of three very different comedies.

  • One was a world premiere, the other two were Bay area premieres.
  • All three shows were solidly cast with tightly-knit ensembles that employed strongly talented performers.
  • Two productions sizzled, challenging their audiences with issues critical to their lives while causing them to repeatedly laugh out loud (proving beyond any doubt that just a spoonful of sarcasm helps the medicine go down). Curiously, these two plays delivered a wealth of information to their audiences which reflected each creative team’s personal passions.
  • The third, quite surprisingly, fizzled out. Audience response was polite, but noticeably tepid.
  • What could have caused such a difference in response? Was it just a sober audience on a weekday night? Or were other, more subtle factors at play?

* * * * * * * * * *

Suppose you want to write a play that tackles a difficult and extremely newsworthy issue. How can you position it dramatically in an easily understandable setting for a contemporary audience? In the following video, Tony Taccone explains how he and Dan Hoyle teamed up to write Game On for the San Jose Repertory Theatre.

Written for a cast of five (who perform on a unit set), the protagonists of Game On are two impassioned losers whose fanatic devotion to fantasy baseball helps to distract them from the sadder and more distressing realities of their lives.

  • Vinnie (Marco Barricelli) is a middle-aged, Brooklyn-born Italian-American facing some steep medical expenses. When he is not driving a cab in and around San Francisco, the frequently depressed Vinnie is glued to his television, watching documentaries about endangered species on the Discovery Channel. A sensitive soul whose emotions are easily manipulated by mass media, the sentimental, anthropomorphically-vulnerable lug has taken to giving individual polar bears names like “Petie” because he feels so deeply about the perils they face as a result of climate change.
  • Alvin (Craig Marker) is a cold and clinical numbers man. In contrast to Vinnie (who always goes with his gut), Alvin has been using sabermetrics as a tool for building his fantasy baseball team (as well as building statistical arguments for the entrepreneurial dream he and Vinnie share to make insects a new and extremely profitable source of animal protein for the American diet). If all goes well, a culinary trend embracing entomophagy could make them incredibly wealthy.

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Craig Marker and Marco Barricelli in Game On
(Photo by: Kevin Berne)

In a way, Vinnie and Alvin are not that different from Max Bialystock and Leopold Bloom in The Producers . Both are small-time idealists who are completely out of their league trying to raise money to support their dreams. If only someone with megabucks to spare would taste some of Vinnie’s fresh, worm-laden spring rolls or fried crickets, Vinnie is sure that the dipping sauce alone could convince that person to write a check!

As the play opens, Alvin and Vinnie are in the television room of an upscale home in Los Altos, which is close to Silicon Valley’s deep pool of venture capital. As they eagerly await some precious face time with a Godot-like mogul (who has an expressed interest in “green” projects), they argue about baseball players and fundraising strategies. It soon becomes obvious that, while Vinnie is a man of deep passions, Alvin is a rabid control freak.

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Craig Marker and Marco Barricelli in Game On
(Photo by: Kevin Berne)

The hard truth is that neither Alvin nor Vinnie is equipped to go swimming with the venture capital sharks of Silicon Valley. Alvin, in particular, is so wrapped up in numbers and the “rules of the game” that he misses important body language cues and important “tells” dropped by those who step into the game room. They include:

  • Bob (Mike Ryan), a Silicon Valley entrepreneur whose company has just been bought by the Godot-like mogul and who is now scouting potential business acquisitions for his new boss.
  • Glen (Cassidy Brown), Alvin’s former fraternity brother who, following his recent divorce has quietly “married up.” A bit of a doofus, Glen plans to don a cape and ski mask and use a bullhorn to intimidate the guests at his wife’s party into making larger donations to green causes. His attempt to create and perform a politically confrontational rap song (most probably written by Dan Hoyle) is hilariously misguided.
  • Beth (Nisi Sturgis) is Glen’s new wife, a diehard sports fan as well as a wealthy Silicon Valley player who is hosting the party and knows the revered billionaire on a first-name basis. She’s much better at getting people to write checks than Glen could ever hope to be.

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Craig Marker, Cassidy Brown, and Marco Barricelli in Game On
(Photo by: Kevin Berne)

Hoyle and Taccone have fashioned a script which covers a lot of topical issues while delivering a steady supply of laughs to the audience. Their play is nicely structured, with plenty of unexpected twists and turns. Working on John Iacovelli’s stylish unit set, Rick Lombardo has directed with a sure hand (San Jose Rep’s impressive study guide for students attending performances of Game On includes a wealth of material on such topics as global warming, food and sustainability, entomophagy, fantasy baseball, sabermetrics, how to fund a startup, and whether or not to seek venture capital).

While Craig Marker has developed a reputation for delivering solidly-crafted characterizations, Alvin’s spectacular emotional meltdown allows him to show audiences what an impressively layered artist he can be with the right material. Game On gives Marco Barricelli a much stronger opportunity to show his strengths than he received from A.C.T.’s recent production of Eduardo De Filippo’s Napoli.

In supporting roles, Mike Ryan offered an appropriately bland Bob while Cassidy Brown enjoyed some deliriously comic flame-outs as Glen. In her limited time onstage, Nisi Sturgis had no trouble communicating to the audience that Beth was much more shrewd and savvy than any of the men in Game On.

* * * * * * * * * *

As in Game On, the dialogue in Wittenberg (which recently received its Bay area premiere at the Aurora Theatre Company in Berkeley) fairly crackles. That may well be because playwright David Davalos is also an actor. Davalos first got the idea for his play in 1991, while appearing as Rosenkrantz in a Utah Shakespeare Festival production of Hamlet. As the playwright notes:

“The theatre I enjoy best as an audience member (Shakespeare, Shaw, Stoppard) also challenges and provokes me, be it emotionally or intellectually. To an Elizabethan audience, a reference to Wittenberg both identified a person there as Protestant and as someone immersed in an academic environment of intellectual foment and questioning — as if an American Hamlet in the 1960s were identified as coming home from Berkeley or Kent State. In many respects, I reverse-engineered Hamlet’s psychology from the moment in Hamlet when he’s just about to stab a praying Claudius but second-guesses himself. I wanted to suggest that Hamlet’s internal moral conflict pre-dated Hamlet.”

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Jeremy Kahn as Hamlet in Wittenberg (Photo by: David Allen)

It’s an interesting dramatic trick, made all the more accessible by Tom Stoppard’s breakthrough success with 1966’s Rosencrantz and Guildenstern are Dead. Billed as “A Tragical-Comical-Historical in Two Acts,” Davalos’s play (which premiered at the Arden Theatre Company in Philadelphia in 2008) takes place in October 1517 as Hamlet (Jeremy Kahn) is still struggling to decide whether to major in philosophy or theology (like some of his classmates, he’s also been hanging out at the Bunghole Tavern).

Two of the university’s most noteworthy professors, Dr. Faustus (Michael Stevenson) and Martin Luther (Dan Hiatt) are vying for the attention of the Danish prince who, as a senior, is due to graduate as part of Wittenberg’s class of 1518. However, Hamlet recently spent a summer in Poland, where he was exposed to the dangerous astronomical theories of Nicolaus Kopernik claiming that the sun (rather than the earth) is the center of the universe.

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Dr. Faustus (Michael Stevenson) and Martin Luther (Dan Hiatt)
try to influence Prince Hamlet (Jeremy Kahn) in Wittenberg
(Photo by: David Allen)

Hamlet is under no great pressure to make up his mind. His ability to win at sports (due in large part to the referee’s deference) allows him to enjoy his royal status on the tennis court as well as in the classroom. Ironically, Hamlet is not the only one facing some difficult decisions.

  • Prone to scatological complaints, Martin Luther is battling a severe case of mental, physical and spiritual constipation that is miraculously eased by his colleague’s insistence on the ingestion of coffee. The play begins several days prior to October 31, 1517 when, outraged by the Dominican friar Johann Tetzel’s continued sales of indulgences as a fundraising tool, Luther launched the Protestant Reformation by nailing his revolutionary Ninety-Five Theses to the door of Wittenberg’s All Saints’ Church.
  • After many years of debauchery, Dr. Faustus is actually thinking of proposing to his steady paramour.
  • Helen (Elizabeth Carter) may have started off as a nun but, as one of Europe’s most valued courtesans, has no intention of giving up her independence to accommodate her lover’s neediness.

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Dr. Faustus (Michael Stevenson) and Helen (Elizabeth Carter)
congratulate Hamlet (Jeremy Kahn) on winning a tennis match
in Wittenberg (Photo by: David Allen)

There was so much to admire in the Aurora Theatre Company’s production of Wittenberg. From Eric Sinkkonen’s intriguing unit set to Maggi Yule’s handsome period costumes; from Josh Costello’s clever stage direction to the work of his finely-tuned four-actor ensemble, this play glows with the kind of intelligence, wit, precognition, and mischievous cross-referencing that could give a puzzle fanatic like Stephen Sondheim an erection.

It’s rare to leave a theatre thinking how much you’d like to get your hands on a copy of the script so that you could slowly savor all the puns, comedic setups, and insider jokes that Davalos has so intricately woven into Wittenberg. While one doesn’t need a thorough knowledge of Hamlet, Dr. Faustus, or Martin Luther’s life to enjoy this play, the stronger one’s sense of history and literature, the more fun a person will have at any performance of Wittenberg.

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Martin Luther (Dan Hiatt), Dr. Faustus (Michael Stevenson), and
Hamlet (Jeremy Kahn) are all severely conflicted in Wittenberg
(Photo by: David Allen)

* * * * * * * * * *

In 1981, Joe Sears and Jaston Williams introduced audiences in Austin, Texas to the citizens of Greater Tuna. The Greater Tuna franchise grew over the years because of the small-town charm of its characters and the dexterity with which Sears and Williams handled quick costume changes as they jumped from one character to another. Unfortunately, the last time I saw them perform one of their plays the thrill was gone, the script was weak, and the performers seemed to be navigating on autopilot.

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Jaston Williams and Joe Sears in Greater Tuna

In 1982, Michael Frayn’s backstage farce about everything that could possibly go wrong in a stage production (Noises Off) premiered in London and became a popular hit. Although the show has enjoyed numerous revivals, it failed to make a successful transition to the silver screen in 1992 when Peter Bogdonavich directed a cast that included Carol Burnett, Michael Caine, Christopher Reeve, John Ritter, and Marilu Henner. The verdict was that Noises Off was too much of a live theatre experience to work as a film.

In September 1984, the Ridiculous Theatrical Company presented the world premiere of Charles Ludlam’s deliciously zany spoof, The Mystery of Irma Vep, with Ludlam and his partner (Everett Quinton) entertaining their audience with wacky costume/character changes and a surprise ending. According to Wikipedia, in 1991 Irma Vep was the most produced play in the United States.

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Everett Quinton and Charles Ludlam in
1984’s The Mystery of Irma Vep

In June of 2005, Patrick Barlow’s hilarious adaptation of a popular 1935 film premiered at the West Yorkshire Playhouse in Leeds. Its director, Fiona Buffini, had four actors recreating Alfred Hitchcock’s screen adventure, The 39 Steps, as they jumped through lighting-fast costume changes and a dizzying array of characters in a highly-stylized and monstrously inventive stage production.

Some comedic tricks hit their mark and never fail to please. Others lose their sting after their first time up at bat. The urge to cherry pick the best qualities of past comedic successes and merge them into a new (yet old-fashioned) mashup can be irresistible. But there are times when resistance is definitely called for.

It’s understandable that a creative team might hope to merge the best elements of shows like Noises Off and The 39 Steps in order to capture the kind of comic gold and commercial success that each of those stage comedies achieved on its own. But lightning doesn’t always strike in the same place, in the same way, and with the same force, as Steven Suskin admirably explains in his Huffington Post review of Bullets Over Broadway (Aisle View: Don’t Speak! Don’t Sing!) while meticulously describing how a structural quirk in the new musical continually sabotages the show’s comedic momentum.

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Darren Bridgett and Michael Gene Sullivan in
The Hound of the Baskervilles (Photo by: Tracy Martin)

Created in 2007 by Steve Canny and John Nicholson for a small British theatrical company named Peepolykus, a comic adaptation of Arthur Conan Doyle’s 1901 Sherlock Holmes novel, The Hound of the Baskervilles, became a sizable hit in Great Britain. It has since delighted audiences in numerous cities.

What happens when the intended comedic magic fails to materialize onstage? When a fierce farce feels forced, fertile fun flees a futile fantasy. Instead of the audience feeling like they’re feasting on fresh fruit, its faith flutters in fear of failure as it feeds on a fallen souffle filled with flaccid shtick.

Get it? Got it? Good!

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Darren Bridgett and Michael Gene Sullivan as two country yokels
in The Hound of the Baskervilles (Photo by: Tracy Martin)

That pretty much sums up the energetic (but lame) performance of The Hound of the Baskervilles that I saw down at TheatreWorks (which fully deserved to be subtitled “This Turd Won’t Hunt”). Darren Bridgett, Michael Gene Sullivan, and Ron Campbell (who spent several years as one of Cirque du Soleil’s leading clowns) are all accomplished performers who were working hard onstage.

What could possibly have gone wrong? Several hunches pin the blame in surprising places:

  • Because I was unable to attend the production’s opening night (where members of the audience are frequently welcomed with a free glass of wine), I caught up with The Hound of the Baskervilles at a midweek performance which draws a more sedate audience less driven by the thrill of attending an “event.”
  • As a critic, I’ve already sat through several performances of The 39 Steps (including a January 2011 TheatreWorks production directed by Robert Kelley). It could very well be that the novelty of this particular production style has worn thin, causing me to feel as if The Hound of the Baskervilles was a similar product that was simply late to market.
  • Whereas the characters in Game On and Wittenberg were motivated by their passions and/or obsessions, none of the characters in The Hound of the Baskervilles exhibited any sense of personal need. At numerous times during the evening, it seemed as if the performers were on a treadmill, trying to keep up with the demands of their rapid costume changes. I never felt any sense of dramatic urgency that could heighten the fun.
  • Because of the way the comedy has been structured, the actors occasionally step out of character to address the audience — even bitching about written complaints (fictional) that were submitted by members of the audience at intermission. At the beginning of Act II, one actor insists on starting all over again and performing a compressed, hyperactive version of Act I to prove to those who complained just how wrong they were. Sometimes a gimmick doesn’t work. This one landed with a resounding thud.
  • It’s quite possible that, despite the current fascination with television and film treatments of Sherlock Holmes, the TheatreWorks audience was not especially familiar with Arthur Conan Doyle’s story of The Hound of the Baskervilles. As a result, some of the jokes which might titillate Sherlock Holmes fans may have completely lost their punch.

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Darren Bridgett and Ron Campbell in a scene from
The Hound of the Baskervilles (Photo by: Mark Kitaoka)

Ironically, the experience awakened long-buried memories of a dreary Broadway musical entitled Baker Street, which opened on Broadway in February 1965 and whose exquisite sets (designed by Oliver Smith) were far more impressive than the show’s book, score, or Hal Prince’s stage direction. Although the cast was headed by such theatrical stalwarts as Fritz Weaver (Sherlock Holmes), Martin Gabel (Professor Moriarty), and Inga Swenson (playing a stage actress named Irene Adler), Baker Street is rarely, if ever performed. Consigned to oblivion, it offers a tiny footnote to the history of the Great White Way as the show that marked the Broadway debuts (in small supporting roles) of Tommy Tune and Christopher Walken.

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Martin Gabel, Fritz Weaver, and Inga Swenson in 1965’s Baker Street

To read more of George Heymont go to My Cultural Landscape

A Tale of Boko Haram, Political Correctness, Feminism and the Left

As the situation confronting kidnapped women in Nigeria continues to deteriorate, the need for international solidarity has never been greater. The 276 teenage women, who were kidnapped at gunpoint by Islamist group Boko Haram, have been held captive for more than a month. What is worse, there have been reports of mass forced “marriages” to rebel militants and some women may have literally been sold into slavery across the Nigerian border in neighboring countries. Thus far, rescue efforts have been unsuccessful or hampered because the Abuja government is reportedly compromised and riddled with Boko Haram informants at the top. Distraught and desperate, parents have lost hope in the authorities and are launching their own rescue operations.

Like other Muslim fundamentalist groups which have sought to rein in girls’ education across the globe, Boko Haram is determined to halt the progress of modern women. The group believes the Abuja government has become corrupted by the west and seeks a return to the country’s pre-colonial past characterized by Muslim rule. Merciless and brutal, Boko Haram has conducted a scorched earth policy to carry out its goals, and has already killed about 5,000 Nigerian men, women and children. Women Living under Muslim Laws, an international network which seeks to challenge Islamic fundamentalism and encourage solidarity amongst progressive-minded women, says “the mass murder, abduction of school children and sexual violence against girls including rape and sexual slavery are heinous crimes under international law.”

Initially, the abduction story failed to get much media or public traction. Outraged by the lack of scrutiny, the girls’ families protested and an accompanying social media campaign finally managed to raise the profile of the story. It wasn’t long before Nigeria’s president — who had earlier stayed silent on the kidnappings — promised to secure the girls’ release. Even Michelle Obama has taken up the cause while Hollywood celebrities took to Twitter. It wasn’t long before a new popular hashtag, “bring back our girls,” focused additional attention on the issue. TV media outlets in the U.S. are generally rather parochial and don’t cover international news that much, but recently cable has started to discuss the story. “We are sorry it took us so long to pay attention,” noted one MSNBC host, “but we are watching now.”

Left’s Familiar Pattern

To be sure, Twitter on its own may not succeed in liberating the Nigerian girls, but the social media campaign is a good start and could keep pressure on the Abuja government to actually demonstrate accountability to its citizens. It is to be hoped, moreover, that in the long-term such social media activism might result in greater international solidarity between the progressive left in the west and secular forces in Nigeria intent upon reclaiming their country from the forces of political Islam. For that to happen, however, the ideological left would have to overcome and jettison its age-old doctrinaire tendencies which stultify creative and dynamic freedom of maneuver.

Simply put, by prioritizing anti-imperialism over other struggles the left gets itself into a straightjacket which becomes more and more unwieldy and suffocating over time [the long list of leftist foreign policy missteps is too long to get into here, but for those who are interested see my full archive here]. Whatever the country, left ideologues can predictably be trusted to whitewash or give a “pass” to backward political and social forces as long as the latter voice opposition to the West. Rather than go down that road and get into trouble, the left would do well to critique the agenda of western governments when need be, while simultaneously expressing sympathy for other progressive causes around the world. If recent trends are any indication, however, history is poised to repeat itself in Nigeria as the ideological left rehashes its axiomatic positions while ignoring civil society on the ground. What is worse, we may be seeing an odd convergence of sorts between ideological leftists, politically correct feminists, hard-line African American commentators and even conservative Muslims no less.

Debating Boko Haram’s Origins

Take, for example, Lindsey German of the UK Stop the War Coalition. Writing in the Guardian of London, German expresses concern about the history of western imperialism in Africa and elsewhere, and she pours cold water on the notion that the U.S. can solve Nigeria’s problems. That’s all fine and good, but then German goes a bit far by arguing that Boko Haram’s emergence has much to do with western oppression, corruption and economic inequities which have historically plagued Nigeria.

According to some Nigerians, however, that’s just not true. In a recent piece for the progressive UK web site Left Foot Forward, human rights campaigner Leo Igwe takes on such views. “Any intelligent member of Nigerian society,” Igwe writes, knows that Boko Haram is not a reflection of pervasive poverty nor does the group speak for marginalized sectors of society. Igwe acknowledges that the politically correct crowd in Europe and the U.S. doesn’t want to be accused of so-called “Islamophobia.” The Nigerian, however, adds that such an impulse should not get in the way of legitimate criticism.

Boko Haram, Igwe remarks, is a jihadist group pure and simple “whose campaign of violence and bloodletting is rooted in its fanatical interpretation and appropriation of Islam.” Boko Haram’s attacks upon “western-style” schools have nothing to do with righteous indignation over poverty, Igwe remarks. “How does bombing mosques, churches and schools imply agitating for the development? How does killing and kidnapping foreigners attract attention to poverty in the region?” he asks.

Leftist Over-Simplifications

Rather than express any curiosity about what secular or progressive Nigerians might think or engage with the likes of Igwe, German resorts to classic leftist arguments common amongst the authoritarian set. “If Islamism is now a threat to western interests in growing parts of Africa,” she says, “it is one that they have played a large part in creating.” In what sounds like an apology for Boko Haram, or at least a dodge, German then argues that economic backwardness, Shell Oil and corruption are linked to the West and this background helps to explain or “inform” the plight of Nigeria’s kidnapped girls.

Similar and simplistic arguments may be found on the likes of politically correct AlterNet, which recently reposted an article by Margaret Kimberley, the latter of Black Agenda Report. In her zeal to cast doubts on western motivations, Kimberley seems to let Boko Haram off the hook. Media reports, she explains, fail to point out that the Islamists are simply seeking revenge against the Nigerian government which recently detained rebel members. Glossing over Boko Haram’s backward Islamist agenda, Kimberley then remarks “the kidnappings of the past two years are a direct result of the government’s mistreatment of its people and its failed efforts to fight Boko Haram.” Rather unhelpfully, Kimberley remarks “Sometimes the answer to the question, ‘What can we do?’ is ‘Nothing.’ There is nothing that the average American citizen can do to get these girls released and those with the power to do something aren’t very interested in internecine warfare in Nigeria. Their machinations created this and so many other tragedies around the world.”

Obama’s Nigeria Deployment

Despite such ideological straightjackets and gross over-simplifications on Boko Haram, the left is certainly justified in raising legitimate questions about European or American motivations in Africa. As I’ve written previously, the U.S. has unsavory economic and strategic interests in volatile West Africa, and Obama has begun to raise the Pentagon’s military profile in the area. Recent U.S. deployments to Nigeria, including a team of military advisors who will assist Abuja in its intelligence gathering efforts aimed at Boko Haram, are but the latest sign of Washington’s larger regional footprint.

Obama has moreover sent a further 80 troops to Chad, just across the Nigerian border, to assist in tracking down the rebels. U.S. forces will conduct surveillance flights and could also be used to operate surveillance drone aircraft, though technically the Americans won’t participate in ground operations. Needless to say, however, the Senate has cleared the Pentagon to target Boko Haram and Obama seems to be moving in this general direction anyway.

Left Comes up Short

Countering the Pentagon’s relentless foreign adventures in countries far and wide is certainly a worthwhile goal for the left, though it should be said that Obama’s deployments to Nigeria thus far hardly constitute an armada. Journalist Bill Weinberg, who writes frequently on Africa, believes the left has become far too predictable. “Judging from the reaction of the left,” he writes, “you’d think it [Obama’s military deployment] was Operation Nigerian Freedom.” Weinberg adds, “There’s something sickeningly inappropriate about greater concern for the 15 military advisors than the 276 missing girls.”

Weinberg does seem to be on to something when it comes to the leftist perspective on Nigeria. Indeed, in piece after piece leading commentators hone in laser-like on the U.S. military deployment to Nigeria while ignoring civil society on the ground and the very real threat posed by political Islam. Take, for example, Robert Dreyfuss, a columnist with long-standing ideological tendencies hailing from The Nation magazine. In a recent article, Dreyfuss spills much ink over Obama’s creeping interventionism without ever asking what ordinary Nigerians might think about their country being ripped away by Islamic fundamentalists.

Casting Doubt on #BringBackOurGirls

Ultimately, however, individual westerners should not take any proactive measures or express solidarity with Nigerian women. That, it seems, is Kimberley’s essential nihilistic argument over at Black Agenda Report. That is to say, in light of long-standing imperial history and the nefarious motivations of their governments, all westerners are somehow tainted and can’t get involved. Therefore, Kimberley says, Bring Back Our Girls is utter nonsense and the whole campaign is self-indulgent. “Hashtags and petitions,” she writes, “are a poor substitute for a government whose infrastructure is dedicated to producing and delivering oil to the West but not doing very much for its own citizens.” Such a rigid perspective on Nigeria is somewhat questionable for Weinberg, who writes “The #BringBackOurGirls campaign may have been ‘promoted’ by Michelle Obama, but it emerged as a popular meme from below, by desperate and angry Nigerians–with whom the ‘anti-war’ left demonstrates no solidarity. Can progressives in the West possibly think of anything better to tell these folks than ‘Tough luck, shift for yourselves?'”

It’s counter-productive enough when left ideologues and African American commentators pour cold water on Nigerian solidarity, though oddly enough some criticism has come from other quarters. Take, for example, Nigerian-American Jumoke Balogun, who dismisses international coalition building up on Compare Afrique web site. Balogun writes that the U.S. is gearing up toward a military buildup in Africa, and worries that hashtag activism might actually serve to justify such policies. In light of such dangers, Balogun essentially argues that westerners don’t have the right to get involved in Nigeria’s struggles.

Weinberg is perplexed by such views. “An honest argument against U.S. military involvement is one thing,” he writes, “but to dismiss the notion of international responsibility and solidarity entirely? That’s quite something else. No, hashtags alone won’t bring back the girls, and nobody ever said they would. They are supposed to be a tool to prompt action. Is the rest of the world throwing up its metaphorical hands and saying ‘Not our problem’ really something we want to uphold as a positive good?”

Peculiar Affliction of Post-Modernism

Balogun’s arguments are echoed somewhat, though in more academic and post-modernist fashion, by Pakistan-American columnist Rafia Zakaria. In a recent al-Jazeera column, Zakaria refers condescendingly to “parachute reporters” who have descended on Nigeria to report on the kidnapped girls. To be sure, the mainstream media milks stories for sensationalistic effect, but should one dismiss Nigerian coverage out of hand if it results in increased awareness? Oddly, Zakaria argues that the media has focused an “inordinate” amount of time on romanticized “beleaguered girls in faraway lands.” What would she prefer, a news blackout?

Zakaria, who seems to subscribe to the notion of “cultural relativism,” refrains from lambasting Boko Haram, and at one point even seems to elevate the group by remarking that the rebels oppose “Western strategic and military interests.” All throughout, Zakaria spices up her prose with post-modernist buzzwords such as “trope,” and demonizes western feminists by claiming they are essentially compromised and somehow in league with sinister colonialism. At one point, she even seems to attack feminists by claiming they are — bizarrely enough — “opportunistic” and akin to “Victorians” or “Edwardian” British imperialists of the 19th century, whose wives “consistently portrayed black and brown women as uncivilized and imprisoned others, against whom their own liberation could be posed and the exploitation of those lands justified.”

Having smeared western feminists through such tainted associations, Zakaria then warms to her theme. “Given this history,” she writes, “the emergence of the schoolgirl paradigm — in which one side is so visibly unequal, younger and simpler — as the basis of feminist and activist engagement bears just enough resemblance to the past to require further scrutiny and reconsideration.”

Debating Islam

It’s not the first time we’ve heard from Zakaria, who makes a point of attacking naïve feminists and their sundry foreign crusades. Recently, during an online exchange appearing in Dissent magazine, Zakaria criticized secular feminist Meredith Tax, author of Double Bind: The Muslim Right, the Anglo-American Left, and Universal Human Rights. Earlier, Tax published an essay arguing that the left had strayed from its original Enlightenment roots. “In the United States,” Tax writes, “at least among academics and feminists, great efforts have been made to…delegitimize secularists as passé.” Rather outlandishly, Tax adds, the left has wound up “taking up the language and framing of the Muslim Right, including extremist Salafi parties who try to enforce Sharia law through street violence.”

Responding to Tax, Zakaria seems eager to establish her bona fides. “As someone whose native country of Pakistan is currently ravaged” by Islamists, she writes, “I could not share more wholeheartedly Tax’s assessment of the virulence of fundamentalism and the threat it poses to free expression, to women, to minorities, and to all those who oppose the imposition of their views on others.” Then, however, Zakaria quickly reverts to form, accusing Tax of over-generalizing about Islam and unfairly lumping moderate Muslims in with Salafi-Jihadis. Zakaria is “deeply disturbed” by Tax’s claims, and even gets defensive about Sharia no less, which to her mind is “not a static body of law but a dynamic body of jurisprudence open to reinterpretation.”

There’s really no reasoning with the likes of Zakaria, since by the logic of post-modernism or cultural relativism westerners shouldn’t even express ideas. It is arrogant “hubris,” Zakaria writes, that “the political trajectories of the Global South are dependent on the ruminations of Anglo-American leftists and their ability to choose the right alliances.” Tax, who seeks to build international coalitions “between democrats, trade unionists, religious and sexual minorities, and feminists struggling in the Global South against both neo-liberalism and fundamentalism,” responds that “thinking on a global scale is not hubris; it is a strategic necessity in a globalized world where, more than ever before, actions in one place affect events in another.”

Coda: Debating Sharia in Brunei

Tax makes a lot of sense, but it will take work to change politically correct habits on the left. Indeed, if recent controversies are any indication, the ideologues are reverting to type. Take, for example, the debate over Sharia law in the tiny Sultanate of Brunei. To its credit, Hollywood has decided to boycott hotels affiliated with Brunei’s government, which has just imposed a harsh version of Islamic law in the country. In fact, the Sultan has said he will carry out death by stoning for gays convicted of homosexuality. The measures also include the death penalty for extramarital pregnancy, alcohol consumption and hating the Prophet Muhammad no less. Talk show host Ellen DeGeneres has said she will join the boycott, and other celebrities such as Jay Leno will also participate. Moreover, the Los Angeles and Beverly Hills city councils have both voted to condemn Brunei.

The case of Brunei and Sharia law should be a no-brainer for the left. But no, here comes AlterNet once again, which seeks to clarify certain characteristic of Sharia. Like Zakaria, columnist Alex Kane explains that Sharia “is a lot more complex than can be understood in angry sound bites.” Kane goes on to quote experts who are fearful that the gay boycott, which merely seeks “publicity,” will not succeed in building coalitions with women. Kane goes on to knock Hollywood liberals for ignoring other labor violations at Brunei hotels, before remarking, rather ridiculously, that “Hollywood and its activist allies have spurned a holistic analysis of the problems in the country and its role as an ally of U.S. empire. The movement has left out labor rights and propagated an impoverished idea of what sharia law means.”

Right Wing Hawks

In the midst of leftist contortions, it’s not surprising that the political right has seized upon the Boko Haram controversy to score points. Over at Commentary magazine, Jonathan Tobin supports the Nigeria social media campaign, but then goes on to rhetorically ask, “Do those flocking to Twitter really think anything short of force will rescue the girls?” Not mincing words, Tobin adds “Like it or not, the West is locked in a long war with Islamist terror.”

Commentary columnist Max Boot chimes in for good measure, writing “What we really need in Pakistan is the same thing we need in Nigeria: not one-off humanitarian assistance but a sustained and serious commitment to nation-building.” War hawk Boot adds that the U.S. has a stake in the Nigerian “outcome,” because “we” don’t want “Islamist extremists destabilizing the No. 1 oil producer in Africa.” Meanwhile, over at the Wall Street Journal, controversial Somali activist and “Enlightenment fundamentalist” Ayaan Hirsi Ali says “Western liberals” should “wake up.” Decadent liberals she adds, “seem more eager to smear the critics of jihadism as ‘Islamophobes’ than to stand up for women’s most basic rights.”

From Boko Haram to Brunei, the left has not handled recent political controversy very deftly, and this has opened the door to the opportunistic right. What will it take for the left to overcome its ideological and politically correct playbook? It is to be hoped in the days and weeks ahead that the left will broaden its horizons in the name of building a truly progressive and international consensus.

Nikolas Kozloff is a New York-based writer. To follow on Twitter, click here.

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