By Mona Charen
Tuesday, August 20, 2013
In Duck Soup, one of the stuffy characters responds to
Groucho's raillery with the protest: "I didn't come here to be
insulted!" to which Groucho quips "Oh really? Where do you usually
go?"
I went to Scotland. Don't misunderstand, the Scots were
delightful hosts -- friendly, accommodating and, of course, a delight to the
ears. The country is as beautiful as advertised, and the castles, museums and
lochs live up to their billing.
But a few days in Edinburgh during the "Fringe"
festival is enough to bury images of thistles and bagpipes very deep. The two
links to the Scotland of legend are the enduring Anglophobia (the country will
vote on independence in September 2014) and the fondness for whiskey. A nation
of 4 million people boasts more than 100 distilleries and the cocktail hour
seems to be interpreted most liberally.
But modern Scotland is deep-dyed in socialism. The
Scottish parliament, revived in 1998 in the hope that a measure of self-rule
would vitiate the independence movement, is dominated by parties of the left.
The Scottish National Party, which favors (in addition to separation from
England) "free" education through university, unilateral nuclear
disarmament, steeply progressive taxation and the "eradication" of
poverty, holds 65 of 129 seats. Labour, the Liberal Democrats and a couple of
green parties hold 47 seats, while the conservatives claim just 15. Of the 51
members of the House of Commons representing Scottish constituencies, exactly
one is a conservative.
Now, about the "Fringe." It's a festival of
performances, concerts, dance, circuses and street theater that dominates the
city every August. My family was open to sampling (the younger members more
experimental than the older). But just based on the descriptions available in
the local paper, The Scotsman, many of the offerings were repellent.
We could have seen a play titled, "The
Radicalisation of Bradley Manning," which the Scotsman described as a
"shocking indictment of the brutal and relentless homophobia of U.S.
military life" and also a "more subtle critique ... of western
culture ... that reacts to any breach of discipline or convention with a
fierce, repressive violence, and a demand that we all conform, or be
silent."
Alternatively, we could have dropped in on "Bin
Laden: The One Man Show" that featured a "well-spoken Englishman
politely offering tea and biscuits to his audience." The play presents a
"different truth, a version we never get to see, free from projection, indoctrination
and cartoon villainy." Cartoon villainy? Has anti-Americanism so distorted
the moral reasoning of the playwright and the critic?
"Bonk!" provided audiences with "serious
and rather stomach-churning anatomical detail," as well as a faked female
orgasm to "knock Meg Ryan into a cocked hat." "Nick Helm: One
Man Mega Myth" boasts an "amazing set involving 13 London buses (to
scale)" and "giant penises (not his own)." Well, that's
presumably because they couldn't book Anthony Weiner.
Why don't you guess what the play "The Extremists"
is about? The Taliban? The Shining Path? Al-Qaida? No, the audience meets
"Norman Kreeger, author of Extremism in the 20th Century and Beyond."
He's a guest on a TV chat show, where he expounds his "philosophy of
free-market democracy and the necessity of the war on terror." He
"almost persuades you that there is an enemy out there ... the only thing
is, the more he and the TV anchor explain their beliefs, the more they become
indistinguishable from the enemy they claim to share so little with."
"Eastend Caberet: Dirty Talk" is described as
"delightfully dirty as ever." The female star kicks off her stiletto
heels and crawls through the audience, dragging men on stage to "share
their dance moves and sex noises."
We've come a long way from the "bonnie, bonnie banks
of Loch Lomand."
American writer David Sedaris is on hand to share his
fiction. One story, "I Brake for Traditional Marriage," features a
character so outraged by a gay marriage bill that he "shoots his wife and
daughter before stabbing his mother-in-law with an ice pick and driving into a
pedestrian." What was that about cartoon villainy?
This is not to single out the Scots. The leftist tripe
and cultural waste they're enjoying is available in every western capital,
including our own. The difference, while there still is one, is that the
relentless leftism goes almost entirely unrebutted there.
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