Brendan O’Neill, like yours truly, finds the Roman Polanski left-right skirmish a competitive exercise in narrative-framing with a lot of posing.

(T)he worst aspect of the Polanski affair is the competition of victimhoods. It is testimony to the domination of the victim culture in contemporary society that both Polanski haters and Polanski defenders, both sides in this bizarre re-enactment of the Culture War of the 1960s and its aftermath, have used the language of victimology to make their case. For many American and British commentators this is all about Samantha Gailey, whom they have transformed into the archetypal and eternally symbolic victim of the alleged great evil of our time, Child Abuse. ‘Remember: Polanski raped a child’, says a headline in Salon, in an article that provides sordid, misery-memoir-style details of what Polanski did with his penis… (Remember, Roman Polanski raped a child, Salon, 28 September 2009 ). For European observers, by contrast, Polanski’s actions can be explained by his own victimised past, especially during the Holocaust. We have to understand his ‘life tragedies’ and how they moulded him, says one filmmaker (Roman a Clef: Wanted and Desired, Documentary.org, 2003). Anne Applebaum, the American commentator who spends much of her time in Europe, says Polanski fled America in 1978 because of his ‘understandable fear of irrational punishment. Polanski’s mother died in Auschwitz. His father survived in Mauthausen. He himself survived the Krakow ghetto.’ (The outrageous arrest of Roman Polanski, Washington Post, 27 September 2009 ) (Applebaum fails to disclose that she is married to the Polish foreign minister, Radoslaw Sikorski, who is actively campaigning against Polanski’s extradition.)

This spat in victimology confirms that the politics of victimhood, the pursuit of law, politics and morality in the name of respecting and helping victims, dominates debate on both sides of the Atlantic, but in the Anglo-American sphere it is the victim of child abuse that is most sacrosanct, while in Europe it is the victims of the Holocaust who enjoy the greatest, most unquestioned moral authority – to the extent that Polanski’s pretty cowardly fleeing of America in 1978 can be excused as a latent reaction by a tortured man to the emotional horrors of Auschwitz.

L’Affaire Polanski has become a Culture War that dare not speak its name, a pale and dishonest imitation of the debates about values and morality that have emerged at various times over the past 50 years. As a result we are none the wiser about the legal usefulness of 30-year-old arrest warrants or contemporary extradition laws, as desperate political observers have instead turned Polanski into either a ventriloquist’s dummy or a voodoo doll for the purposes of letting off some cheap moral steam.

David Zincavage, failed to disclose when he editorialized against the Polanski extradition, that he is married to Karen L. Myers, who has seen several Roman Polanski films. She also alerted me to Brendan O’Neill’s article.

Willam M. Chace, in the American Scholar, identifies the decline in study of the Humanities in general with the internal collapse of the English Department following the overthrow of the idea of the canon.

Perhaps the most telling sign of the near bankruptcy of the discipline is the silence from within its ranks. In the face of one skeptical and disenchanted critique after another, no one has come forward in years to assert that the study of English (or comparative literature or similar undertakings in other languages) is coherent, does have self-limiting boundaries, and can be described as this but not that.

Such silence strongly suggests a complicity of understanding, with the practitioners in agreement that to teach English today is to do, intellectually, what one pleases. No sense of duty remains toward works of English or American literature; amateur sociology or anthropology or philosophy or comic books or studies of trauma among soldiers or survivors of the Holocaust will do. You need not even believe that works of literature have intelligible meaning; you can announce that they bear no relationship at all to the world beyond the text. Nor do you need to believe that literary history is helpful in understanding the books you teach; history itself can be shucked aside as misleading, irrelevant, or even unknowable. In short, there are few, if any, fixed rules or operating principles to which those teaching English and American literature are obliged to conform. With everything on the table, and with foundational principles abandoned, everyone is free, in the classroom or in prose, to exercise intellectual laissez-faire in the largest possible way—I won’t interfere with what you do and am happy to see that you will return the favor. Yet all around them a rich literature exists, extraordinary books to be taught to younger minds.

Consider the English department at Harvard University. It has now agreed to remove its survey of English literature for undergraduates, replacing it and much else with four new “affinity groups”—“Arrivals,” “Poets,” “Diffusions,” and “Shakespeares.” The first would examine outside influences on English literature; the second would look at whatever poets the given instructor would select; the third would study various writings (again, picked by the given instructor) resulting from the spread of English around the globe; and the final grouping would direct attention to Shakespeare and his contemporaries.

Daniel Donoghue, the department’s director of undergraduate studies, told The Harvard Crimson last December that “our approach was to start with a completely clean slate.” And Harvard’s well-known Shakespeare scholar Stephen Greenblatt also told the Crimson that the substance of the old survey will “trickle down to students through the professors themselves who, after all, specialize in each of these areas of English literature.” But under the proposal, there would be no one book, or family of books, that every English major at Harvard would have read by the time he or she graduates. The direction to which Harvard would lead its students in this “clean slate” or “trickle down” experiment is to suspend literary history, thrusting into the hands of undergraduates the job of cobbling together intellectual coherence for themselves. Greenblatt puts it this way: students should craft their own literary “journeys.” The professors might have little idea of where those journeys might lead, or how their paths might become errant. There will be no common destination.

As Harvard goes, so often go the nation’s other colleges and universities. Those who once strove to give order to the curriculum will have learned, from Harvard, that terms like core knowledge and foundational experience only trigger acrimony, turf protection, and faculty mutinies. No one has the stomach anymore to refight the Western culture wars. Let the students find their own way to knowledge.

Arnold Kling sees the culture wars spinning further and further out of control and experiences despair.

I think the long-term significance of what is going on, both at the progressive end and at the Tea Party end of the political spectrum, is an open rupture. In the 1960’s, a Hubert Humphrey or Robert Kennedy could connect with uneducated white voters. The idea of blowing them off was unthinkable, if only because they were such a large majority of the voting population at the time.

Now, the elitism of President Obama and his supporters has reached in-your-face levels. They have utter contempt for the Tea Party-ers, and the Tea-Party-ers know it.

I wouldn’t want the Tea Party-ers at the faculty picnic, either. But my sense of class solidarity with Obama and other educated progressives does not make me want to see them exercise power. If anything, being a member of the educated elite and knowing knowing them as well as I do makes me share the Tea Party-ers’ fears.

I come back to my view that this is white, small-town America making its last stand. However, I think, also, that the progressive elite is making a last stand. My guess is that doubts are mounting among many independent voters about whether they want such a highly-charged politics. I am sticking with my bet that the Democrats will hold onto their House and Senate majorities as well as the Presidency through the elections of 2016, but relative to six months ago I feel that I am depending more on Republican incompetence than overall political trends to win that bet.

One could argue that this country is on the verge of a crisis of legitimacy. The progressive elite is starting to dismiss rural white America as illegitimate, and vice-versa. I see the chances of both sides losing as much greater than the chance of either force winning.

The most devastating response to David Letterman’s joke attacking Sarah Palin’s daughter comes from the inimitable James Lileks who does to Letterman approximately what Rome did to Carthage.

[I]t must be funny, because David is funny and hip. Right? Or maybe not; maybe he’s actually a brackish, hermetically-souled guy who’s spend the last twenty years going from table to table with a giant wooden grinder, asking anyone if they want some fresh-ground scorn with that. Say when. Or maybe he’s about as edgy as a soccer ball, and exists only to remind people they were Edgy once, and hence must be ever-blessed with the gift of Wryness and Irony. With those shields we can never grow old, you know. We’ll always be as sharp and perceptive as we were when we were sitting on a cast-off sofa in college, working through a midweek buzz, happily fellated by the preconceptions the TV so charitably provided. ...

What’s amusing is how unamusing he is in the clip. How sour he seems. Compare him to his predecessors: Carson was all midwestern charm, with unreadable yet mannerly reserve; Steve Allen was almost as smart as he was certain you thought he must be, but he was cheerful; Parr was a nattering nutball covered with a rich creamy nougat of ego, but he was engaging. Letterman is empty; he’s inert; he stands for nothing except disdain for people foolish enough to stand for anything – aside from rote obesciance to all the things Decent People stand for, of course, all those shopworn assumptions passed around in the bubble.

This posture was fresh in ’80; it even had energy. But it paralyzes the heart after a while. You end up an SOB who shows up at the end of the night to reassure that nothing matters. I think he may have invented the posture of Nerd Cool, an aspect so familiar to anyone who reads message boards – the skill at deflating enthusiasm, puncturing passion with a hatpin lobbed from a safe distance. The instinctive unease with the wet messy energy of actual people.

Yes, reading too much into it. Really, it’s just a rote slam: If your mother is a loathed politician, and your older sister gets pregnant, famous old men can make jokes about you being knocked up by rich baseball players, and there’s nothing you can do. That’s the culture: a flat, dead-eyed, square-headed old man who’ll go back to the writers and ask for more Palin-daughter knocked-up jokes, because that one went over well. Other children he won’t touch, but not because he’s decent. It’s because he’s a coward.

Oh, one more thing: it’s okay for David to say that because someone said something else about someone, and since I didn’t write about that, I’m a hypocrite. Just so we’re clear.

Mark Stinson, in the Chatham (North Carolina) Journal Weekly, laments the invasion, and take-over, of Siler City by intolerant representatives of the contemporary community of fashion.

We have a certain number of people that are transplanted here because they wanted some space. We have others that have money that wanted space too; that like the city life but want to live in the country. These people use their wealth to force the rest of us to do what they want. ...

Bobby Smith of S&W Speed Shop in Siler City has occupied the same corner lot for almost 40 years. He has been a constant tax paying citizen and local fixture around this area. ...

This brings me to the invasion of the jug making pot heads that want to turn Siler City into a smaller version of Chapel Hill. You see the arts incubator has grabbed a chunk of mid down town Siler City and proceeded to start transforming the town into a Chapel Hill / Carrboro clone. Bobby never in 40 years had one complaint about a vehicle sitting in his parking spots beside his shop or parts of vehicles stored in his lot behind his shop until the artsy bunch cleaned up town (as they put it) and located a pottery next to him. They have constantly whined and complained to the town forcing Bobby to move just about everything off his property to accommodate their desires to make downtown visually pleasing to them.

Recently they sent a police officer because Bobby had his truck. which he is repairing sitting in his parking spot “turned the wrong way” and they didn’t like the looks of that truck so they wanted it gone. ...

Kenny Clark is feeling the effects of their constant complaints as well and Clapp Brothers will be next on the hit list if something isn’t done to balance things out again. They have already complained about things such as shipping crates temporarily stored in Clapps lot.

I personally love arts n crafts. I enjoy learning new ways to be creative but not at anyone else’s expense. If I want to see pottery I go to Jug Town where it is done the right way. I may be wrong, but in my opinion anyone can learn to make a pot. Not everyone can fix a bull dozer, build engines or repair a truck that helps members of our community make an honest living. ...

does it make sense to bully the small established businesses out just because you want to make pots? The Arts incubator could never draw the kind of money some of these business have and never will. People involved with the Arts Incubator may have millions but that money isn’t being spread around the community. I was all excited about the arts incubator coming to Siler City until I saw how it grew to push people aside and trample those that are established in the community just to add “culture” to Chatham. ...

I went through town to see a naked blue lady on top of a building, a half a naked man and a naked anatomically correct statue of a man on a street corner and honestly was upset. I don’t want my children to see such things in what is supposed to be a public place. I find it offensive. Is it better to be offended by art or annoyed with an eyesore of machine parts that are supposed to be outside a garage anyway?