The Enemy at Home

The Enemy at Home
افزودن به بوکمارک اشتراک گذاری 0 دیدگاه کاربران 3 (1)

The Cultural Left and its Responsibility for 9/11

مشارکت: عنوان و توضیح کوتاه هر کتاب را ترجمه کنید این ترجمه بعد از تایید با نام شما در سایت نمایش داده خواهد شد.
iran گزارش تخلف

فرمت کتاب

audiobook

تاریخ انتشار

2007

شابک

9781400173662
  • اطلاعات
  • نقد و بررسی
  • دیدگاه کاربران
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نقد و بررسی

AudioFile Magazine
Since the terrible events of 9/11, the question on the lips of Americans, along with most of the Western world, is WHY? Political writer Dinesh D'Souza attempts to pin the blame on American liberals. This audio presentation has the perfect narrator in Michael Kramer, who manages to achieve an almost sublime objectivity in delivery. He takes D'Souza's politically charged, often controversial material and drives it at full speed with a taut, businesslike approach. There is no slackening of pace, or even an intake of breath, for complicated pronunciations, lengthy lists of names, accounts of shocking atrocities, heavyweight facts, or tales of religious-inspired warfare. This is a production that requires two or three listening sessions--or, alternatively, an intuitive use of the rewind button. B.D.J. (c) AudioFile 2007, Portland, Maine

Publisher's Weekly

November 27, 2006
Conservative pundit D'Souza (Illiberal Education
) roots the blame for the 9/11 attacks in the left wing's "aggressive global campaign to undermine the traditional patriarchal family" in this mostly lucid but unconvincing argument. Pointing to Hillary Clinton, Britney Spears and Noam Chomsky, he decries those who have teamed up with Hollywood and the U.N. to foist an irreligious, sexually licentious, antifamily liberal culture—epitomized by Eve Ensler's play The Vagina Monologues
and gay marriage initiatives—on a Muslim world that rightly reviles it. By deliberately attacking Islamic values, the left tacitly allies itself with al- Qaeda in its effort to defeat Bush's war on terror and thus discredit conservatism at home, he asserts. But D'Souza's claim that Islamic extremists are inflamed solely by America's music videos and feminists—not its U.S. bases in Saudi Arabia, the Israeli-Palestinian conflict or American support for Muslim dictators—is too single-minded. For example, he paints Abu Ghraib poster-girl Lynndie England as the personification of liberal sexual depravity, without acknowledging that the U.S. Army sent her to Iraq, not the left. Charging that liberals aid terrorists while sympathizing with the terrorists' culturally conservative worldview, D'Souza's critique of American cultural excess trips over its own inconsistencies.




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