The following is a summary of the April/May issue of the St. Croix Review:
Barry MacDonald, in “You Will Be Missed, Rush Limbaugh,” on the occasion of Rush Limbaugh’s death, describes the radio personality’s lasting impact on American culture.
Paul Kengor, in “Death of a Defector: Ion Mihai Pacepa, R.I.P.” reveals many Cold War secrets, along with the astounding successes of a determined Soviet disinformation campaign to divide and weaken the West; in “Warping the Credit for Trump’s Operation Warp Speed,” he gives deserved credit to President Donald Trump for the production of a vaccine for COVID-19 in record time; in “Pagans for Biden,” he forcefully refutes The New York Times, and breaks down how religious affiliation played out in the 2020 election.
Allan Brownfeld, in “The Assault on Teaching the Classics: Identity Politics Replaces a Color-Blind Society,” he makes the case that such prominent blacks as Martin Luther King and W.E.B. Du Bois would consider today’s “identity politics” to be an anti-intellectual form of racism; in “Changing the Names of 44 San Francisco Schools: An Assault on American History,” he offers rebuttals from historians to the hasty actions of the San Francisco Board of Education; in “Attack on the Capitol: What Would the Founding Fathers Think?” he quotes the words of our Founders, reflecting their opinions of the difficulties of government and of freedom.
Mark Hendrickson, in “Wall Street Outsiders Versus Hedge Funds,” explains the esoteric Wall Street games of “short squeezes” and “short selling” with an incident in January when the big-boy hedge funds got caught flatfooted; in “The Problematical COVID-19 Relief Legislation,” he details the outrageous overspending of the Washington, D.C., mindset.
John A. Sparks, in “On the Impeachment and Conviction of President Trump,” looks at the case against the former president and finds it lacking in merit.
Timothy S. Goeglein, in “Why Oval Office Art Matters,” informs us of President Biden’s choices of portraits — and their implications.
Ronald Everett, in “Family Memories,” describes the harsh conditions his relatives endured living under the tyranny of East German Communism.
Matthew B. Wills, in “General T. J. Jackson — Better Known as “Stonewall,” describes a great Confederate general of the Civil War.
T. David Gordon, in “Why ‘No Justice, No Peace’ Is an Unjust Slogan,” reveals what separates Marxist movements, like “Black Lives Matter” from other, more humane systems of governance and justice: violence has been from its origins, and is today, an essential component of Marxism.
David L. Cawthon, in “Marx on Leadership: Necessity Abhors a Vacuum,” he outlines the governing ideas of one of history’s most pivotal philosophers.
Francis DeStefano, in “Marty,” reviews the “sleeper” hit-movie, “Marty,” that won the 1955 Academy Awards with four Oscars, fronting Ernest Borgnine as a second-generation Italian American looking for love in the Bronx; in “Betsy’s Wedding,” he reviews another movie concerning third- and fourth-generation Italian Americans as they grapple with pride and “mixed marriages,” class and generation conflicts, and a complicated mish mash of differing expectorations.
Thomas E. Wilson, in “The Life of Henry Wadsworth Longfellow,” writes about the great American poet’s accomplishments and his sorrows.
Jigs Gardner, in “Letters from a Conservative Farmer — Significant Knowledge,” launches a forceful refutation against the ignorant and simplistic views of “green” environmentalism.
Jigs Gardner, in “Writers for Conservative, 86: Jane Austen,” reviews the interwoven family drama of Pride and Prejudice, by Jane Austen.
