Thanksgiving is the best example of the confluence between America’s pioneering spirit and our national penchant for thankfulness.
Thanksgiving is perhaps the quintessential American holiday; we have feasting, we have football, we have family and friends, and we have gratitude. The last line item on that list may seem odd to associate with ‘Americanness’ as much as the others, but it fits in just fine. In fact, it is deeply embedded in American history, dating back to the colonial era, before the founding of the United States. The strong focus on thankfulness – to the point of dedicating a whole holiday to it – is peculiarly American, but can feel at odds with the classic stereotype of Americans as self-absorbed and entitled. In this case, the stereotype is dead wrong; gratitude is an American tradition that dovetails perfectly with our historic national culture of self-reliance, risk-seeking, and innovation.
The National Museum of World War II Aviation is an impressive and well-deserved celebration of American military aviation history.
Off to the east side of Colorado Springs, housed in several large hangars outside of the city’s municipal airport, lies one of the hidden gems of American military history: the National Museum of World War II Aviation. The hangars look no different from other commercial buildings in the area, but they house some of the finest examples of airworthy planes from the first half of the 20th century. Despite its nondescript exterior, the WWII Aviation Museum is a spectacular showcase of American aviation history that should be on any military history fan’s bucket list.
Beware those who would manipulate the past to satisfy the narratives of the present.
The English writer George Orwell, born 119 years ago last week, was a trenchant and far-sighted critic of all forms of totalitarianism. Those critiques and warnings for the future are most famously depicted in his novels Animal Farm and 1984 – books which, thankfully, haven’t yet caught the attention of the censors on either side of the political aisle. One of the main ideas explored in 1984 is the manipulation of history by the Party, the totalitarian government which rules the state of Oceania and lords over the novel’s protagonist Winston Smith. The Party, commanded by the ubiquitous and all-seeing Big Brother, frequently alters history to conform with its present goals, forcing the populace to wholly buy in to the new narrative or be sent for reprogramming. This passage, from Chapter 2 of 1984, explains this process and how and why the Party seeks such minute control over the events of the past:
And if all others accepted the lie which the Party imposed – if all records told the same tale – then the lie passed into history and became truth. “Who controls the past,” ran the Party slogan, “controls the future: who controls the present controls the past.” And yet the past, though of its nature alterable, never had been altered. Whatever was true now was true from everlasting to everlasting. It was quite simple. All that was needed was an unending series of victories over your own memory.
In the same chapter is the quintessential version of this manipulation of history for totalitarian political ends, one which has become a part of the cultural lexicon of the West:
At this moment, for example, in 1984 (if it was 1984), Oceania was at war with Eurasia and in alliance with Eastasia. In no public or private utterance was it ever admitted that the three powers had at any time been grouped along different lines. Actually, as Winston well knew, it was only four years since Oceania had been at war with Eastasia and in alliance with Eurasia. But that was merely a piece of furtive knowledge which he happened to possess because his memory was not satisfactorily under control. Officially the change of partners had never happened. Oceania was at war with Eurasia: therefore Oceania had always been at war with Eurasia. The enemy of the moment always represented absolute evil, and it followed that any past or future agreement with him was impossible.
This approach to our past – a presentist mindset that places history at the service of current narratives and future politics – is not only visible in works of dystopian fiction. Examples abound in modern life, both at home and abroad.
Memes are an incredible tool of information exchange; unfortunately they are just as often a fount of misinformation.
We’ve seen lying with statistics. We’ve seen lying with maps. Now, in the heat of the most serious nation-on-nation conflict in decades, we’re seeing lying with memes.
The meme above, although not new, has been rocketing around social media over the past few days in the context of the Russian invasion of Ukraine. It pops up almost any time someone criticizes the invasion for its brutality or advocates for a strong Western response. The accounts posting it – mainly the useful idiot crew – are garnering thousands of positive responses, all decrying the United States for imperialism, militarism, and atrocious human rights abuses, if not outright war crimes. If you took these folks at face value, you would think that the US was, in the words of one prominent progressive commentator, “the greatest source for evil and destruction since the fall of the Third Reich.” This sort of moral relativism is nothing new; authoritarian flunkies and anti-American stooges – see one Noam Chomsky – have been pushing these inane ideas for decades. Now these tactics have been updated for the 21st century, where memes are the ideological currency of the day. And although the rhetorical technology has changed, the inaccuracy and misinformation has not. The “USA Bombing List” meme is a case in point.
If you have the chance to travel to Charlottesville, Virginia and are interested in history, the area is fantastic for exploring the landscapes of the early American republic. Two estates of former Presidents – and good friends – are within only a few minutes’ drive of one another: James Monroe’s Highland and Thomas Jefferson’s Monticello. The differences in how each estate is presented to visitors are a microcosm of contemporary society and tell us quite a bit about where things may be going culturally.