The Ultimate Logic
of a Society Built on Mass Murder
As a native-born American, I grew up watching cowboy and Indian shoot-em-ups in which the highlight of the movie was when the white guys in the circled wagon train shot the Indians off their horses until all the red men were dead, and very silent. Indians didn’t do a lot of screaming in pain when they were shot; they just expired. Same thing with buck-toothed Japanese, line after line of them, charging into U.S. machine guns, falling instantly silent and dead. It was somehow quite clean, almost antiseptic, these cinematic rituals of death, all staged for the broadest popular consumption to demonstrate the inevitability—and cosmic justice—of ultimate white victory over the darker races.
This was mother’s milk to the white American nation—which is why Richard Pryor and kids like me rooted for the Indians. Mass murder is at the core of the American national religion, which is a celebration of a genocidal march across a continent filled with other, doomed human beings. America’s contribution to European culture was to invite “all the nations of Europe” to come to these shores and become fellow “white” citizens, whose status was defined by the enforced inferiority of Blacks and the remnants of the Indians. Ritual burnings of Blacks were organized as great public festivals, attended by thousands, staged in order to affirm whites’ collective right to commit murder. This monopoly on violence was what made them white Americans.
U.S. foreign policy reflects the nation’s origins and ghastly evolution into a globe-strutting mob, that empowers itself to kill at will. A million dead Filipinos at the turn of the 20th century; aerial bombing of Haitian villages less than a generation later; the totally unwarranted nuclear annihilation of two cities at the very end of World War Two; two million dead Koreans shortly thereafter; three million dead Vietnamese in the next decade,; and, since 1996, six million Congolese—all, and many, many more, slaughtered in the name of U.S. civilizational superiority—the ghastly opiate of the white American masses.
What kind of human beings does such a culture produce? To paraphrase the Bible, “By their massacres, ye shall know them.” The modern mass American murder is overwhelmingly a white phenomenon. Yet few whites ask the question, “What’s wrong with white America?” It is seems that white America lacks the capacity for self-examination. It cannot grasp the simple truth, that a culture that celebrates the annihilation of whole peoples, casually and without guilt or introspection, is devoid of human values at its very core. In the end, it turns against itself. That is the simple lesson of Newtown, and Columbine, and Aurora. The same cultural deformity creates a huge market for games like the very popular Assassin’s Creed, whose latest version integrates individual and group murder with events of the American Revolutionary War. American kids can simulate mass murder all day long, and feel patriotic and smart while doing it. Assassin’s Creed features an inter-racial cast of killers—possibly in deference to the brown guy in the White House who owns the ultimate Kill List. It’s the modern equivalent of the cowboys and Indians movies of my youth. The same sickness.
—Black Agenda Report, December 18, 2012