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21. Moral Diversity: Asset or Liability for Liberty?

Author:
Craig Biddle and Max Borders
Publication Date:
08-2014
Content Type:
Journal Article
Journal:
The Objective Standard
Institution:
The Objective Standard
Abstract:
This debate between Craig Biddle and Max Borders was held at the “Liberty, Free Markets, and Moral Character” conference, cosponsored by the Clemson Institute for the Study of Capitalism and the Foundation for Economic Education, at Clemson University on May 25, 2014. Download the pdf for free. Moderator C. Bradley Thompson: The gladiators are now in the cage. Let the friendly fight begin. [Laughter from the audience.] Photo: FEE Photo: FEE In many ways, the debate that's going to take place, I think, is representative of what both the Clemson Institute for the Study of Capitalism and the Foundation for Economic Education stand for. We're trying to expose you to ideas, and the big ideas are not simply those of capitalism versus socialism, right versus left. Within the broader liberty movement, there is a diversity of views on a whole range of issues. Just within the libertarian movement, there are all kinds of public debates. Within the Objectivist movement, there are all kinds of debates. And between libertarians and Objectivists, there are some very important, fundamental differences. What we'd like to do today is flesh out one of the big differences between libertarians and Objectivists. I don't think I need to introduce our two combatants today: Max Borders, from FEE, and editor of The Freeman; and Craig Biddle, editor of The Objective Standard. So we have the editors of two major liberty-oriented publications. I know Max and Craig have a lot that they agree on, and we're going to find out what they disagree about. And we're going to conduct this, of course, not as a cage fight, but as a civil discourse among friends. Here's the format: Craig and Max will each be given fifteen minutes for opening remarks, then they will each get five minutes to either respond or make follow-up comments, and then they'll get another five minutes each to respond or make further comments. After that, we're going to open up the floor to you for questions. So we're going to have at least forty minutes for Q from the floor.
Topic:
Government

22. Donna Hassler on the Sculptures of Daniel Chester French

Author:
Joseph Kellard
Publication Date:
08-2014
Content Type:
Journal Article
Journal:
The Objective Standard
Institution:
The Objective Standard
Abstract:
Donna Hassler is executive director of Chesterwood, the former summer home and studio of Daniel Chester French (1850–1931), a renowned and prolific American sculptor of public monuments best known for the sculpture of Lincoln at the Lincoln Memorial. Located in Stockbridge, Massachusetts, Chesterwood is a historic site of the National Trust for Historic Preservation, a privately funded nonprofit. I recently spoke with Hassler about French's life and work, Chesterwood, and the value of public art. —Joseph Kellard Joseph Kellard: Donna, thank you for taking time to speak with me about this great sculptor. I love the works of Daniel Chester French, and I've photographed many of them, so it's a real treat for me to chat about him and his work with such an expert on the subject. Donna Hassler: You're welcome. JK: French was quite prolific, producing more than one hundred monuments, memorials and other works. What would you say are some of the distinctive features and themes of his art? DH: Daniel Chester French was an American Beaux-Arts sculptor. Trained in Florence and later Paris, he was inspired by the ideal beauty of Greco-Roman art and architecture early in his career. In fact, he didn't even stay around for the unveiling of the Minute Man sculpture in Concord, Massachusetts, in 1874, because he had accepted an invitation from Ned Powers, the son of the prominent American neoclassical sculptor Hiram Powers, to stay with his family in Florence and study sculpture with another American artist, Thomas Ball. The artist looked to nature in modeling his figurative works but improved upon her in the classical tradition. Allegory and symbolism also played a more important role in his sculpture, especially when he memorialized individuals without portraying them in a realistic manner. JK: French's most celebrated sculptures are Abraham Lincoln at the Lincoln Memorial and The Minuteman in Concord, Massachusetts; many of our readers have seen and enjoyed these. Which of his lesser-known works do you think deserve special attention, and why?
Political Geography:
America

23. Edge of Tomorrow

Author:
Ari Armstrong
Publication Date:
08-2014
Content Type:
Journal Article
Journal:
The Objective Standard
Institution:
The Objective Standard
Abstract:
Edge of Tomorrow, directed by Doug Liman. Written by Christopher Mcquarrie, Jez Butterworth, and John-Henry Butterworth, based on the novel All You Need Is Kill by Hiroshi Sakurazaka. Starring Tom Cruise, Emily Blunt, Bill Paxton, and Brendan Gleeson. Distributed by Warner Bros. Pictures, 2014. Rated PG-13 for intense sequences of sci-fi action and violence, language, and brief suggestive material. Running Time: 113 minutes.

24. Star Trek: First Contact

Author:
Ari Armstrong
Publication Date:
08-2014
Content Type:
Journal Article
Journal:
The Objective Standard
Institution:
The Objective Standard
Abstract:
Star Trek: First Contact, directed by Jonathan Frakes. Written By Rick Berman, Brannon Braga, And Ronald D. Moore. Starring Patrick Stewart, Jonathan Frakes, Brent Spiner, Levar Burton, Michael Dorn, Gates Mcfadden, Marina Sirtis, Alfre Woodard, James Cromwell, And Alice Krige. Distributed by Paramount Pictures, 1996. Rated PG-13 for some sci-fi adventure violence. Running Time: 111 minutes. Reviewed by Ari Armstrong Imagine a future in which humans rove the galaxy in starships; colonize the moon, distant planets, and space stations; and radically expand their knowledge of the universe. Star Trek: First Contact invites us to imagine just such a future, and it does so in the context of a nail-biting action story pitting the “next generation” crew of the Federation ship Enterprise against mankind's most frightening foes of their fictional universe: the collectivist Borg, who rasp, through cybernetic implants, “Resistance is futile.” Although each of the four films involving The Next Generation (the crew led by Captain Jean Luc Picard) has its merits, First Contact rises above the rest in its storytelling. In the film, the Borg first attack Earth and then send a probe back to their past (our future) to hinder mankind's development and make Earth easy prey for the Borg. What is the singular event the Borg hopes to stop? It is the first human space flight involving “warp” (faster than light) travel, something that (in the world of Star Trek) takes place on April 4, 2063. That the pivotal event of the film is a major technological advancement says a lot about the spirit of the franchise. The crew of Enterprise follow the Borg probe back in time, leading to a twofold story: In Montana, part of the crew help an inventor of 2063 repair his warp ship damaged by the Borg, while on Enterprise (orbiting Earth) the rest of the crew battle a Borg takeover.

25. The Dictionary of Human Form, by Ted Seth Jacobs

Author:
Daniel Wahl
Publication Date:
08-2014
Content Type:
Journal Article
Journal:
The Objective Standard
Institution:
The Objective Standard
Abstract:
The Dictionary of Human Form, by Ted Seth Jacobs. Santa Fe: Mariposa Press, 2011. 819 pp. $150. Reviewed by Daniel Wahl Ted Seth Jacobs painted The Open Window—one of the most beautiful paintings of the twentieth century. He taught Jacob Collins and Tony Ryder—two of the realist movement's most influential teachers. And he has written three books on art—Drawing What the Eye Sees, Light for the Artist, and The Dictionary of Human Form. This last is his latest, and it is arguably one of the greatest books of art instruction ever written. In fact, with more than twenty-five hundred drawings and diagrams on the structure of human form, no other book comes close to being as detailed and as comprehensive. Most books about how to render the human form focus on anatomy. But Jacobs, who has a unique view on this issue (and many others), does not think the study of anatomy is necessary or helpful for artists. He says, for example: Anatomy gives a picture of the skeletal system, of where muscles originate and insert, and their names and functions. I have talked with doctors and biologists, and both have assured me that the appearance of muscles in a dead dissected body is entirely different from that of a living subject. Perhaps that is why, most often, muscles drawn in anatomy books resemble skinny, attenuated, paramecium forms. (p. 10) And: I have not seen all the extant anatomy books for artists, but I have never seen one with what I would consider a mastery of drawing. Anatomy is more applicable to scientific disciplines than to the needs of the artist. Most commonly lacking in anatomy books and courses, is the sense of the special three-dimensional shapes of forms on the surface of the body. (p. 10) And: If you know anatomy as thoroughly as a doctor, but don't know structure, you will not be able to draw correctly. If you don't know any anatomy, but thoroughly understand structure, you will be able to learn to draw like an old master. (p. 1) The Dictionary of Human Form is thus not at all about anatomy; its focus is structure. Jacobs defines structure, most broadly, as “the way in which living organic forms are organized” (p. 7). He then explains why studying the structure of the body is of value to artists.

26. he Rape of the Masters, by Roger Kimball

Author:
Daniel Wahl
Publication Date:
08-2014
Content Type:
Journal Article
Journal:
The Objective Standard
Institution:
The Objective Standard
Abstract:
The Rape of the Masters: How Political Correctness Sabotages Art, by Roger Kimball. New York: Encounter Books, 2005. 200 pp. $17.95 (paperback). Reviewed by Daniel Wahl Roger Kimball begins The Rape of the Masters: How Political Correctness Sabotages Art by asking why we teach and study art history. “It is a question,” he says, “that elicits a complicated answer.” To learn about art, yes, but also to learn about the cultural setting in which art unfolds; in addition, to learn about—what to call it? “Evolution” is not quite right, neither is “progress.” Possibly “development”: to learn about the development of art, then, about how over the course of history artists “solved problems”—for example, the problem of modeling three-dimensional space on an essentially two-dimensional plane. Those are some of the answers, or some parts of the answer, most of us would give. There are others. We teach and study art history—as we teach and study literary history or political history or the history of science—partly to familiarize ourselves with humanity's adventure in time. We expect an educated person in the West to remember what happened in 1066, to know the plot of Hamlet, to understand (sort of) the law of gravity, to recognize Mona Lisa, Botticelli's Birth of Venus, or Manet's Bar at the Folies-Bergère. These are aspects of a huge common inheritance, episodes that alternately bask in and cast illuminations and shadows, the interlocking illuminations and shadows that delineate mankind's conjuring with the world. All this might be described as the dough, the ambient body of culture. The yeast is supplied by direct acquaintance with the subject of study: the poem or novel or play, the mental itinerary a Galileo or Newton traveled, the actual work of art on the wall. In the case of art history, the raison d'être—the ultimate motive—is supplied by a direct visual encounter with great works of art. Everything else is prolegomenon or afterthought: scaffolding to support the main event, which is not so much learning about art as it is experiencing art first hand. Or so one would have thought. What has happened to the main event? (pp. 1–2) As Kimball makes clear, the main event has changed.
Political Geography:
New York

27. The Martian, by Andy Weir

Author:
Ari Armstrong
Publication Date:
08-2014
Content Type:
Journal Article
Journal:
The Objective Standard
Institution:
The Objective Standard
Abstract:
The Martian, by Andy Weir. New York: Crown, 2014. 384 pp. $24 (hardcover). Reviewed by Ari Armstrong Imagine you're on a mission on Mars. Your space suit, not to mention your body, was punctured by an antenna blown loose by a raging sandstorm. Luckily, although the blow knocked you unconscious, the blood from your wound helped seal the hole, so you didn't die from lack of oxygen. Now that you're awake and moving again, you realize an unfortunate fact: Your entire crew, reasonably thinking you died and facing the dangerous storm, took off in the MAV (Mars Ascent Vehicle) and left you behind. You are now totally alone on a planet hostile to life. Your food supplies are running low, and you have no obvious way to communicate with Earth, much less to get home. What do you do? If you're Mark Watney, the main character of Andy Weir's near-futuristic, science fiction novel The Martian, you carefully think about what you need to do to stay alive and get rescued, and then you methodically do it. Watney's training as a botanist and a mechanical engineer gives him the skills he needs to survive; and his fierce desire to live, his fortitude, and his quirky sense of humor give him the strength of will to do it. Fortunately, Watney's own mission and various other missions to Mars have left a number of important tools at his disposal. He has a reasonably well-stocked Hab (basically, a giant pressurized tent), some solar cells, several functional space suits, two functional rovers, duct tape, glue, and various other machines and items. Oh, and he has some live potatoes, which his crew was supposed to have cooked for Thanksgiving dinner. Don't forget the potatoes! They become crucially important in Watney's efforts to survive. The story revolves around Watney coming up with clever ways to keep sucking air and consuming calories, then figuring out how to travel some two thousand miles across the cold Martian landscape to the site of a future Mars landing.
Political Geography:
New York

28. From the Editor, Fall 2014

Author:
Craig Biddle
Publication Date:
08-2014
Content Type:
Journal Article
Journal:
The Objective Standard
Institution:
The Objective Standard
Abstract:
Welcome to the Fall 2014 issue of The Objective Standard.
Topic:
Economics and Education

29. Letters to the Editor, Fall 2014

Publication Date:
08-2014
Content Type:
Journal Article
Journal:
The Objective Standard
Institution:
The Objective Standard
Abstract:
To the Editor: I would like to congratulate Alexander Marriott on his well-written and illuminating article “Getting Lincoln Right” [TOS Summer 2014]. Mr. Marriott eloquently addresses the most common moral and historical fallacies that are used to smear the legacy of a man who, in my view, is one of the greatest presidents in American history.
Political Geography:
America

30. The Roots of the IRS Scandal

Author:
Steve Simpson
Publication Date:
10-2013
Content Type:
Journal Article
Journal:
The Objective Standard
Institution:
The Objective Standard
Abstract:
The revelation in May of this year that the Internal Revenue Service (IRS) was systematically targeting Tea Party and other conservative groups for special scrutiny under the laws governing nonprofit organizations shocked the nation and triggered one of the Obama administration's biggest scandals to date. According to a Treasury inspector general's report, in May of 2010, agents in the IRS's Cincinnati office began singling out applications for nonprofit status from groups with terms such as "Tea Party" or "patriot" in their names. The agents conducted lengthy investigations of the groups to determine whether they intended to spend too much of their money on political activities that are prohibited to most nonprofits.1 The IRS required some groups to answer long lists of questions about their intentions, it demanded donor lists from others, and it even examined Facebook and Internet posts.2 Some groups simply gave up and withdrew their applications. Others spent two years waiting for a decision that never came.3 When Congress investigated the scandal, Lois Lerner, the former head of the office that oversees nonprofit organizations, invoked her Fifth Amendment right against self-incrimination and refused to testify. Later, hearings revealed that Douglas Shulman, the former head of the IRS, was cleared to visit the White House at least 157 times during his tenure and that IRS chief counsel William Wilkins, who was one of two Obama appointees at the IRS, helped develop the agency's guidelines for investigating the Tea Party groups.4 As a result, critics of the IRS have good reason to think that the scandal reaches the highest levels of our government. The public's outrage over this scandal is, of course, entirely appropriate. If the government can enforce laws based on nothing more than one's political views, then both freedom of speech and the rule of law are dead. But the outrage over the IRS's focus on conservative groups obscures a far more important question: Why was the IRS investigating the political activities of any group? The answer to that question is more troubling than the possibility of rogue IRS agents, biased law enforcement, or even abuses of power at the highest levels. As bad as all of those things are, the bigger threat to freedom is a legal regime that requires scrutiny of Americans' political activities and a political and intellectual culture that applauds such scrutiny and openly calls for more of it. This is the situation in America today. Our tax and campaign finance laws impose a host of regulations on Americans based on how much time, effort, and money they spend on political speech, and many opinion leaders agitate for even more laws and investigations every day. Against this backdrop, the IRS scandal should not surprise us. Our politicians and intellectuals demanded regulation of some of the loudest voices in our political debates, and the IRS delivered. Unfortunately, far too many critics of the IRS have accepted the premise that our laws should distinguish between groups that spend money on political activities and groups that do not. Expressing this view, Washington Post columnist Ezra Klein has argued that the real scandal was that the IRS did not treat all nonprofits as harshly as it treated the Tea Party groups.5 Using the same reasoning, congressional Democrats have attempted to blunt the scandal by claiming that the IRS also investigated some groups on the left.6 It appears that these claims are untrue, but the message is clear: As long as the government is scrutinizing everyone's speech equally, then there is no scandal. But this is the opposite lesson to learn from the IRS scandal. For anyone who cares about freedom of speech, the real scandal is that the government regulates Americans' campaign spending at all. So long as laws remain on the books that do so, scandals such as this one-and far worse-are inevitable. But to understand why that is so requires a deeper understanding of the premises on which the laws are based and how the laws operate in practice. . . .
Topic:
Government
Political Geography:
America and Washington

31. Nuclear Energy: The Safe, Clean, Cost-Effective Alternative

Author:
Thomas J. Eiden
Publication Date:
10-2013
Content Type:
Journal Article
Journal:
The Objective Standard
Institution:
The Objective Standard
Abstract:
Contrary to claims by opponents of nuclear energy that it is "unsafe," "unclean," and thus "unacceptable," nuclear energy is the safest, cleanest, and among the most practical forms of power generation today. Unfortunately, opponents of this wonderful source of power are succeeding in their efforts to deceive people about it; and the deceived, in turn, are fueling legislation and regulations that shackle the nuclear industry. It is time to set the record straight and to defend this life-serving industry. Let us begin with a summary of the nature of nuclear energy. Nuclear power is generated by a controlled chain reaction involving the splitting of atoms. A modern nuclear power plant uses the intense heat created by this reaction to heat water and create steam, which turns a turbine and generates electricity. Whereas a coal-fired plant heats water by burning coal, a nuclear plant heats it by splitting atoms. This process is called nuclear fission. Nuclear fission, in simple terms, occurs when an atom splits in two, releasing a massive amount of energy and several subatomic particles called neutrons. These neutrons, in turn, hit and split other atoms, beginning and sustaining the chain reaction. Reactor operators control this reaction in a variety of ways and thus regulate the amount of heat generated and energy produced. The raw fuel for this process is the metal uranium, which must be enriched before it can be used for producing energy in commercial reactors. Enrichment is necessary because mined uranium ore is around 99.3 percent uranium-238, which, in today's commercial power plants, does not readily split upon exposure to neutrons from the fission chain reaction, and thus makes poor fuel. The other 0.7 percent of mined uranium is uranium-235, which makes excellent fuel. The number refers to the atomic mass, or the total mass of protons and neutrons that make up the atomic nucleus. This difference in mass of the same element makes them two different isotopes of uranium. The enrichment process consists essentially of increasing the percentage of uranium-235 by decreasing the percentage (via removal) of uranium-238. The fuel manufacturing process ultimately yields black, pinky-sized pellets of usable nuclear fuel. These pellets are stacked in tubes of a special metal alloy, and thousands of these fuel rods are placed in a reactor core. The rods are arranged in a very specific geometric configuration to enable a sustained nuclear reaction to occur. The nuclear fission reaction is controlled by inserting or removing a separate set of rods made of neutron-absorbing metal or by adding neutron-absorbing chemicals to the water that cools the reactor. All methods of producing energy involve risk, and nuclear fission is no exception. Historically, however, nuclear power has been by far the safest form of energy production among reliable and scalable energy sources. Nuclear power is safer than other forms of energy for several reasons. To begin with, . . .
Topic:
Nuclear Power

32. Dr. Josh Umbehr on the Concierge Medicine Revolution

Author:
Ari Armstrong
Publication Date:
10-2013
Content Type:
Journal Article
Journal:
The Objective Standard
Institution:
The Objective Standard
Abstract:
Americans are rightly concerned about the rising costs of health care and the monstrosity known as ObamaCare. As patients are looking for better ways to manage their health care, doctors are seeking innovative ways to offer their services. One type of medical practice growing in the marketplace is “concierge medicine,” in which patients pay a doctor or group of doctors a set fee (usually paid annually or monthly) in exchange for a defined package of care.
Political Geography:
America

33. Les Misérables

Author:
Zachary Huffman (reviewer)
Publication Date:
10-2013
Content Type:
Journal Article
Journal:
The Objective Standard
Institution:
The Objective Standard
Abstract:
Les Misérables, the recent film adaptation of the beloved musical based on Victor Hugo's epic novel, carries viewers through a sweeping tale of revolution, romance, and redemption. Set in 19th-century France, the film captures the drama and hardship of life during a time of revolutionary turmoil while providing a testament to the inner hero of man and his capacity to live as an embodiment of his values. The film opens with the release of ex-convict Jean Valjean (Hugh Jackman) on parole from a nineteen-year prison sentence he suffered for stealing a loaf of bread and repeatedly attempting to escape. Valjean attempts to resume a normal life under the watchful eye of his nemesis, the rigid Inspector Javert (Russell Crowe). Valjean soon realizes that the only way he can be truly free is to violate his parole, disappear, assume a new identity, and begin his life anew. In fleeing his parole, Valjean infuriates Inspector Javert, who vows never to rest until he has captured Valjean and administered "justice." From this point on, Javert's pursuit of Valjean dominates much of the story; however, numerous other story lines develop as well, the most important involving Valjean's adoption of Cosette (Amanda Seyfried). Cosette's mother, Fantine (Anne Hathaway), is thrown into abject poverty when a foreman at Valjean's factory unjustly terminates her employment. Eventually Valjean learns of Fantine's plight and vows to care for Cosette, whom he showers with love. The story leads to the June Rebellion of 1832 in Paris, .
Political Geography:
France

34. Oz the Great and Powerful

Author:
Ari Armstrong
Publication Date:
10-2013
Content Type:
Journal Article
Journal:
The Objective Standard
Institution:
The Objective Standard
Abstract:
Oscar "Oz" Diggs is a charlatan. Although his heroes are Harry Houdini (the great illusionist and escapist) and Thomas Edison, Diggs is neither a great performer nor a great scientist. He scrapes by as part of a traveling circus, passing himself off as a supernaturalist, allegedly raising spirits of the dead. In his off hours, Diggs is a womanizer, pushing away his true love in favor of cheap, short-term "relationships." Oz the Great and Powerful, the story of Diggs, is fundamentally the story of a man in search of self-esteem. Diggs lacks integrity, and so he lacks respect for himself. He allows himself to languish in a career he hates and in a series of unfulfilling relationships. He is basically a lying dirtbag who knows he has poor character-and, at the beginning of the story, he has little desire to improve his character. Early in the film, Diggs says, "I don't want to be a good man, I want to be a great one." Over the course of the story, however, Diggs learns that goodness-strength of moral character-is a precondition both of greatness and of personal happiness. Oz the Great and Powerful, then, explores the interconnections between the moral issue of character and the psychological issue of self-esteem. As he chooses to do the right thing, Diggs holds himself in greater esteem; and, as he learns to trust and value himself, he gains a greater desire and ability to act morally. For a film based on children's books, its theme is remarkably sophisticated. Oz the Great and Powerful serves as a prequel to the classic 1939 film The Wonderful Wizard of Oz. Diggs, escaping the angry boyfriend of one of his conquests by flying away in a hot-air balloon, finds himself in the eye of a tornado. And then he finds that he is not in Kansas anymore . . .

35. Star Trek: The Original Films

Author:
Ari Armstrong
Publication Date:
10-2013
Content Type:
Journal Article
Journal:
The Objective Standard
Institution:
The Objective Standard
Abstract:
With the latest Star Trek film, Star Trek into Darkness, coming out on DVD, now is a good time to recount the virtues of the original films, which date back to 1979 and are worth watching or rewatching, as the case may be. Viewers of the newest film, which includes many of the same characters as the original films but in an altered timeline, will notice numerous interesting parallels to the stories of the originals.Star Trek: The Motion Picture Directed by Robert Wise.Story by Alan Dean Foster.Screenplay by Harold Livingston.Starring William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, George Takei, Walter Koenig, Nichelle Nichols, and Persis Khambatta.Distributed by Paramount Pictures.Released December 7, 1979.Rated PG for sci-fi action and mild language.Running Time: 132 minutes. Star Trek, the original series, first aired on television from 1966 to 1969. Due to the series's popularity in syndication, as well as the popularity of the 1977 science-fiction films Star Wars and Close Encounters of the Third Kind, Paramount Pictures decided to reinvigorate its major science-fiction property as a film. The result was Star Trek: The Motion Picture. Of all the Trek films, the original fits best in the genre of classic sci-fi. It is also the film with the least physical action. The story involves the crew of the starship Enterprise and its interactions with a strange being from the distant reaches of space, a machine on a quest to join its creator. This gigantic space-faring machine, surrounded by a mysterious cloud, attacks ships it regards as threatening. In an attempt to communicate with the crew of the Enterprise, the machine kidnaps and duplicates a crew member, killing her in the process. With its psychedelic portrayal of the machine's inner being (into which the Enterprise travels) and its jangling soundtrack, this film is rather dated. Thankfully, the performances make the best of the material, and Persis Khambatta creates an especially memorable character as the duplicated crew member. Thematically, the film leaves little to remember it by (although Freudians could have a field day analyzing its portrayal of a machine trying to "merge" with its creator). But the film is good, classic science fiction, and it is a work that will continue attracting the interest of science-fiction fans. Star Trek II: The Wrath of Khan Directed by Nicholas Meyer.Story by Harve Bennett, Jack B. Sowards, and Samuel A. Peeples. Screenplay by Jack B. Sowards and Nicholas Meyer.Starring William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, George Takei, Walter Koenig, Nichelle Nichols, Kirstie Alley, and Ricardo Montalbán.Distributed by Paramount Pictures.Released June 4, 1982.Rated PG for violence and language.Running Time: 113 minutes. In The Wrath of Khan, released in 1982, Ricardo Montalbán-then famous for leading the television series Fantasy Island-creates the most memorable Star Trek villain, Khan Noonien Singh, a maniacal but intelligent man bent on the destruction of James T. Kirk, former captain of the Enterprise and now an admiral in Star Fleet. . . .
Topic:
War

36. The Men Who Lost America: British Leadership, the American Revolution, and the Fate of the Empire

Author:
Alexander V. Marriott (reviewer)
Publication Date:
10-2013
Content Type:
Journal Article
Journal:
The Objective Standard
Institution:
The Objective Standard
Abstract:
“If America should grow into a separate empire,” British Prime Minister Frederick Lord North warned in late 1778, “it must of course cause . . . a revolution in the political system of the world” (p. 15). In his latest book, The Men Who Lost America: British Leadership, the American Revolution, and the Fate of the Empire, Andrew Jackson O'Shaughnessy examines the lives of the ten British political leaders, generals, and admirals most responsible for attempting to prevent that revolution from succeeding. O'Shaughnessy sympathetically discerns how and why they failed—and why America succeeded. O'Shaughnessy, professor of history at the University of Virginia, also examines the revolution from an outsider's perspective in his masterful An Empire Divided: The American Revolution and the British Caribbean (2000).1 Whereas his previous work sought to answer the question of why the other British colonies in the Americas—Canada and the sugar islands in the Caribbean—did not join with the American revolutionaries, The Men Who Lost America sets forth to save the British leadership from the historical ignominy of being remembered as “incompetent and mediocre” or “hidebound” (p. 5) and “novices” (p. 8). With a much more intimate biographical knowledge of these principal actors—including George III; generals Cornwallis and Clinton; Lord North; and the secretary of state for America, Lord George Germain—O'Shaughnessy seeks to reconstruct the perspective of the British war effort, which is, he contends, “essential for making the war intelligible” (p. 9). Among the strengths of the book, O'Shaughnessy artfully weaves the entire breadth and sweep of the wars of the American Revolution through nine biographical chapters (with one chapter devoted to the brothers General Sir William Howe and Admiral Lord Richard Howe). O'Shaughnessy also destroys certain deeply entrenched myths about the American Revolution and inculcates greater appreciation for the victory gained by the revolutionaries over a collection of determined, intelligent—and in many cases quite sympathetic—adversaries. The main recurring theme of the book, apparent in the experience of every figure examined, is the fundamental misunderstanding among British policy makers of the nature of the revolution and the depth of support for it among the colonists. “It was indeed an axiom of British policy,” writes O'Shaughnessy, “that the majority of Americans were loyal, and that the revolution was nothing more than a coup achieved by 'the intrigues of a few bold and criminal leaders'” (p. 98). Many modern American admirers of the American Revolution also unwittingly hold on to this view, often encapsulated in the convenient notion that the Americans were divided roughly into thirds: revolutionaries, loyalists, and the indifferent. As the British learned only very slowly, too slowly to alter their strategy, the loyalists were not anything close to a majority or even a consistent minority large enough to count on. . . .
Political Geography:
America

37. The Real Crash: America's Coming Bankruptcy

Author:
Michael Dahlen (reviewer)
Publication Date:
10-2013
Content Type:
Journal Article
Journal:
The Objective Standard
Institution:
The Objective Standard
Abstract:
From 2006 to 2007, Peter Schiff, CEO of Euro Pacific Capital, was one of few people warning that the U.S. economy was fundamentally unsound and that real estate was grossly overpriced. In his first book, Crash Proof: How to Profit From the Coming Economic Collapse (2007), he predicted that the economy, the housing market, and the stock market would fall apart. He also voiced these predictions on several cable news shows, yet few people heeded his warnings. Some hosts and other guests even mocked and ridiculed him. But Schiff was right. In his recent book, The Real Crash: America's Coming Bankruptcy-How to Save Yourself and Your Country, Schiff says that the worst is yet to come and that the 2008-2009 economic crisis was merely a "tremor before the earthquake." Schiff argues that the main culprit of our economic instability is America's central bank: the Federal Reserve. Through its control of the money supply and the effect this has on interest rates, the Fed artificially inflates the prices of various asset classes, creating so-called "bubbles," and when those prices inevitably collapse, the Fed then inflates the prices of other asset classes. "Throughout the 1990s," Schiff observes, "we had the stock bubble and the dot-com bubble. The Fed replaced that with the housing bubble and the credit bubble. Now, the Fed and the administration are replacing those bubbles with the government bubble" (p. 20). By "government bubble," Schiff is referring to the U.S. dollar and Treasury bonds. When asset prices collapse and recessions ensue, Schiff notes, the Fed-via bailouts and low interest rates-props up insolvent banks and other companies (while also helping to finance government debt). It has taken these actions allegedly to minimize the short-term pain of recessions, but in doing so, the Fed has prevented the economy from correcting itself, making it increasingly unsound. "If you keep replacing one bubble with another, you eventually run out of suds. The government bubble is the final bubble" (p. 23). If the Fed keeps interest rates artificially low and if the government keeps running massive budget deficits, the day will come, Schiff argues, "when the rest of the world stops trusting America's currency and our credit. Then we'll get the real crash" (p. 1). In his introduction to the book, Schiff explains that he is taking a different approach here than he took in his previous books: "[T]his time I have decided that rather than simply predicting doom, I would lay out a comprehensive set of solutions. That's why I wrote this book" (p. 2). After diagnosing our economic problems, Schiff explains how we can fix them. . . .
Topic:
Economics and Government
Political Geography:
America

38. Living Proof

Author:
Mikayla Callen (reveiwer)
Publication Date:
10-2013
Content Type:
Journal Article
Journal:
The Objective Standard
Institution:
The Objective Standard
Abstract:
In her debut novel, Living Proof, Kira Peikoff addresses one of the hottest issues today-religious dogma versus individual rights-in the form of a conflict between the "rights" of embryos and the rights of people to engage in embryonic stem cell research. Living Proof is set in the not-too-distant future, the year 2027, in which the government has placed bans on any type of research on embryos and embryonic stem cells as part of an embryonic rights movement. The legal manifestation of this movement is the Department of Embryo Preservation, or DEP, whose sole purpose is to ensure that no embryos are used for research or destroyed in any way. The devoutly religious director of the DEP, Gideon Dopp, prides himself on his position at "the noblest of all government agencies" (p. 332), where he is responsible for "weeding out sinners to protect innocents" (p. 331). He makes it his personal goal to ensure that no embryos are harmed. [The DEP] mandated that all fertility clinics "preserve the soul of every embryo." In keeping with the law, the department required that clinics report, once a month, the number of embryos left over from every patient's attempt at in vitro fertilization-a number the inspectors verified with their visits. To ensure accurate reporting, the department periodically conducted random audits. . . . (p. 14) If an unfortunate doctor fails an audit, there are "serious consequences for the clinic: probation and heavy fines" (p. 15). The authorities mete out far more severe punishments for the "crime" of destroying an embryo, an act that is grounds for shutting down the clinic and charging the doctor responsible with first-degree murder. In this setting, the reader follows Arianna Drake and Trent Rowe in a conflict-ridden love story. . . .
Topic:
Government

39. The Chronicles of Prydain

Author:
Daniel Wahl (reviewer)
Publication Date:
10-2013
Content Type:
Journal Article
Journal:
The Objective Standard
Institution:
The Objective Standard
Abstract:
In his introductory remarks to The Chronicles of Prydain, Lloyd Alexander notes that the story is fantasy, yet not far removed from reality. Although the series includes enchanters, invisible dwarfs, and other impossibilities, the protagonists must strive constantly to live up to their highest potential in order to achieve their goals; and they must judge other people, who may not be completely good or evil and who may be much better or worse than they initially appear. So, too, notes Alexander, must we all. This is the way the real world is. The Chronicles of Prydain is ideal for young readers from about fourth through sixth grades, or for parents to read aloud to third or fourth graders. The series consists of five books: The Book of Three, The Black Cauldron, The Castle of Llyr, Taran Wanderer, and The High King. The Book of Three introduces the main character of the series: Taran, a young boy nicknamed "assistant pig keeper" for his role on the farm where he lives and works. At the start, he is worried that he will never become anyone special, but after setting out to retrieve the escaped pig he is in charge of, and over the course of many adventurous trials that ensue, Taran develops into a heroic young man. He learns how to make tough choices, to weigh his alternatives by means of his best judgment, to judge individuals' characters, to acknowledge his errors, and to persist in the pursuit of his goals even in the face of grave danger. In short, he learns how to fight for the people he loves and the world he wants. In proving himself far more capable than he initially appears, Taran is much like Eilonwy, Gurgi, Doli, and Fflewddur Flam, the other four main characters and his close friends throughout the series. Eilonwy at first seems like a scatterbrained, excessively talkative girl of little substance. Although she remains talkative to the end, seemingly having a simile for everything, she proves to be wise and as courageous as they come. Gurgi at first seems like a disgusting and shifty creature, half man, half beast, and grossly incompetent. Nevertheless, he proves to be loyal, competent, even lovable. Doli initially seems like a dwarf among enchanted dwarfs. Among other quirks, he repeatedly fails at turning invisible and apparently excels at being irascible. Although his grumpy exterior never changes, it proves to be only on the surface-unlike his abilities, which turn out to be deep and vital. Finally, among the main characters, is Fflewddur Fflam, who at first seems to be the last person you would want on your side on a long and dangerous quest. Flam, as his friends call him, routinely exaggerates the truth and thus gives the impression of being unreliable. But he, too, proves the opposite: He is a loyal friend and a brave man who can be counted on, no matter the danger. By the end of The Book of Three, these characters have experienced much together; and, with their help, Taran has completed his initial quest of retrieving the aforementioned (and highly remarkable) pig-along with another victory of much greater import. In the books that follow, Taran sets out on many more adventures. . . .

40. Killing Floor

Author:
Ari Armstrong
Publication Date:
10-2013
Content Type:
Journal Article
Journal:
The Objective Standard
Institution:
The Objective Standard
Abstract:
I was arrested in Eno's diner. At twelve o'clock. I was eating eggs and drinking coffee. A late breakfast, not lunch. I was wet and tired after a long walk in heavy rain" (p. 1). This is the scene in which Lee Child introduces the world to Jack Reacher, an American wanderer and former homicide investigator with the military police who manages to get himself into all kinds of trouble, despite his efforts to avoid it. Even with only these opening lines of Killing Floor-Child's first novel, originally published in 1997-we get a sense of Reacher's character. He is a man who likes to get to the point. He narrates in concise statements. He is rarely ruffled, never intimidated. Reacher, tired of his regimented military life-he was born on a military base in 1960 and never left the military until six months before the novel begins-decides to try the freedom of the open road. He wants to go where he pleases, see the country, and not get tied down. His only stable contact is his bank, which wires him cash from his military pension and sends him mail. On a whim, Reacher wanders into Margrave, Georgia, to learn the story of a long-deceased musician called Blind Blake, whom his brother had mentioned to him in a letter. His plan is to look around, get the lowdown on Blind Blake, then hop on a bus and leave. Unfortunately, Reacher wanders into town around the time police discover the bodies of two men, brutally murdered, found near the highway where Reacher got off the bus. Plenty of people saw him walking near the scene of the crime. So, he is arrested for murder. Initially, Reacher's goal is to beat the murder rap and leave town as quickly as possible. Unfortunately for his plans-but fortunately for those seeking justice-Reacher learns that the murders are part of a bigger crime, a crime that, unexpectedly, involves someone he knows. After beating the rap, Reacher decides to stick with the case and help solve it. . . .

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