Book – Rothbard Reader

 

An excellent introduction to the vast trove of Rothbard’s work.  If you have never read any Rothbard, the Rothbard Reader is your one-way ticket to appreciating the deft skill with which he can make the complicated understandable.  Murray’s clear thought translates brilliantly into his clear prose.  There are another 30 books to read if you wish to continue on.

 

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Read Rothbard is Under Construction

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Book – Anatomy of the State

This gives a succinct account of Rothbard’s view of the state. Following Franz Oppenheimer and Albert Jay Nock, Rothbard regards the state as a predatory entity. It does not produce anything but rather steals resources from those engaged in production. In applying this view to American history, Rothbard makes use of the work of John C. Calhoun.

How can an organization of this type sustain itself? It must engage in propaganda to induce popular support for its policies. Court intellectuals play a key role here, and Rothbard cites as an example of ideological mystification the work of the influential legal theorist Charles Black, Jr., on the way the Supreme Court has become a revered institution.

Click here to visit Mises.org for download page

http://www.readrothbard.com/post/book-anatomy-of-the-state

Murray Rothbard’s Star Wars Review

Arts and Movies

By Mr. First Nighter


Star Wars, dir. by George Lucas. With Alec Guinness and Carrie Fisher.

First came the hype. That Star Wars is going to be the biggest popular film success since Jaws means very little. So every season is going to have its oversold smash hit, so what? But the difference, the new hype, with Star Wars was its overwhelming acclaim among the critics. Usually the masses whoop it up for a Jaws while the critics go ape over Bertolucii or Fassbinder. Yet here they were in joint huzzahs, with the critic from Time flipping his wig to such an extent as to call it the best movie of the year and making Star Wars the feature of that week’s issue.

But the oddest, the most peculiar part of it was what my fellow-critics were saying: “Hurrah, a fun movie-movie”; “good escape entertainment”; “a return to good guys vs. a happy ending again”; “movie fare for the entire family”; “like Flash Gordon” etc. Here were men and women who have spent the greater, part of their lives deriding these very virtues, attacking them as mindless, moralistic, unaesthetic, fodder for the Tired Businessman instead of the Sensitive Intellectual. And yet here were these same acidulous critics praising these mindless, reactionary verities. What in blazes was going on? Had all colleagues experienced a blinding miraculous conversion to Old Culture truths? While I do not deny the logical possibility of such a mass, instantaneous conversion from error, my experience of this wicked world has convinced me that it is empirically highly unlikely. So what gives?

The best thing about seeing Star Wars is that my curiosity was satisfied. The mystery explained! For it was indeed true that Star Wars returns to the good guy-bad guy, happy ending, and all the rest. But there is an important catch, and it is that catch that enables our critical intelligentsia to praise the movie and yet suffer no breach in their irrational and amoral critical perspective. The catch is embodied in the reference to Flash Gordon: namely, that this is such a silly, cartoony, comic-strip “movie that no one can possibly take it seriously, even within its own context. No one, that is, over the age of 8. Hence, in contrast to Death Wish or Dirty Harry, where the viewer is necessarily caught up in the picture and must take the viewer is seriously, Star Wars is such kiddie hokum that the adult critics can let their hair down and enjoy it without having their aesthetic values threatened.

To put it another way, our critics, who are bitterly opposed to a moralistic and exciting plot, are scarcely challenged by the plot of “Star Wars, which is so designedly imbecilic that the intelligentsia can relax, forget about the plot and enjoy the special effects, which the avant-garde always approves.

Even on the kiddie level, Star Wars doesn’t really work. It is peculiarly off-base. The hero, for example, is so young, wooden and callow that he doesn’t really come off as an authentic comic-strip hero. As a result, his older mercenary aide becomes a kind of co-hero, which throws off the balance of the story. The hero presumably doesn’t get the Fairy Princess in the end, either, although far worse is the casting of the Princess. For, Carrie Fisher is ugly and abrasive, and if one could care very much about the hero one would hope that nothing came of their proto-romance: Miss Fisher is the quintessence of the Anti-Princess, and this ruins whatever may have remained of interest of value in Star Wars. There are more problems; not only does wise Alec Guinness lose his mighty duel with his evil ex-disciple, but the whole duel is pointless and leads nowhere, even within the context of the plot.

“Not only is this oversold turkey not the best movie of the year, it is not very good even within the sci-fi movie genre. Some of the critics have proclaimed Star Wars as even better than “2001”, but that would be no great feat, since there have been few movies of any genre that have been worse than that pretentious, mystical, boring, plotless piece of claptrap. But Star Wars doesn’t begin to compare with the science fiction greats of the past, e.g.: “The Thing”—the first post World War it sci-fi movie; “It Came from Outer Space”; “The Night of the Living Dead”, and, best of all, the incomparable “Invasion of the Body Snatchers”; None of these movies needed the razzle-dazzle of “special effects”; they did it on plot, theme, and characters. Back to them!


First appeared in The Libertarian Forum, Vol. 10.6, June 1977


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