When Vice-President Al Gore cast the tie-breaking vote in the U.S. Senate last month for a plan to require background checks on people making purchases at gun shows, it was hailed as a major triumph for gun control. The lobbying power of the National Rifle Association was ebbing, we were told, following the school shootings in Colorado and Georgia.
The other day I left the office around lunchtime and walked over to the Occupy Chicago gathering outside the Board of Trade. At the corner waiting for the light to change, I stood next to a protest drummer who fit the stereotype well: unshorn, unkempt and not much over 20.
The story of the lone, crazed gunman is a familiar one in America, but that is not the story of Benjamin Smith, who went on a drive-by shooting spree in Illinois and Indiana over the July 4 weekend, killing two and wounding nine.
The 20th century has been scarred by the mass murder of ethnic groups in Armenia, Nazi-occupied Europe, Cambodia, Rwanda, Bosnia and Kosovo. On a smaller scale, hate crimes against certain groups also erupt in this country. What factors converge to make such violence possible? Can anything be done to prevent it?
Recently in these pages I made the following claim: "A God of most radical grace must be a God of wrath—not the kind of wrath that burns against evildoers until they prove worthy of being loved, but the kind that resists evildoers because they are unconditionally loved" ("Washing away, washing up," Aug. 25-Sept. 1). A reader was puzzled.
When violence breaks out and murder occurs, we want an explanation, a reason, and preferably someone to blame. After Buford Furrow shot children at a Jewish day-care center and then a Filipino-American postal worker in Los Angeles, the media trained its sights on the Idaho-based Aryan Nations, to which Furrow belonged.
all the books that might be read to mark the tenth anniversary of 9/11, one of
the most probing is by a law professor at Yale, Paul Kahn. In Sacred
picks out two distinctive political problems of our post-9/11 world--terrorism
and torture--and argues that they are parallel.
Guy Ritchie's Snatch, a British comedy (at least some of the audience was laughing), puts its disregard for human life right up front. We watch a jewel heist and massacre, some brutal beatings and a guy getting his face smashed with a hammer--all during the credits.