Tag Archives: Political Cartoons

Review: ‘A Diary of the Plague Year: An Illustrated Chronicle of 2020’ by Elise Engler

A Diary of the Plague Year: An Illustrated Chronicle of 2020. Elise Engler. Macmillan. New York. 304pp. 2022. $34.

Just as we’re settling into 2022, there remains some of that deja vu all over again. We won’t shake off 2020 that easily and for good reason. Artist Elise Engler captures this monster of a year with her daily paintings of the news in this unique collection. What began as a more modest project, a daily painting routine begun in late 2015, took on a life of its own after Trump was elected president. At that point, Engler was compelled to follow the topsy-turvy trail of events all the way into 2020 and beyond. This book covers the first hint of Covid-19 in the news on January 20, 2020 all the way to January 21, 2021, the day after Joe Biden was sworn in as president.

Indeed, truth can be stranger than fiction. You just can’t make up some of the headlines from 2020. On May 19, 2020: “Despite FDA caution, Trump says he is taking hydroxychloroquine as a preventative, threatens to permanently end WHO funding.” And there you have the material for that day’s painting. Engler kept to a steady diet of WNYC radio, a credible news source with editorial positions that moderately favor the left. What’s interesting is the hybrid of sorts that Engler created with her work whether or not it includes an editorial slant. Part of it can function as an editorial cartoon or seem to. But, more to the point, you can see Engler mostly focused with just keeping up with the steady stream of news: a raging pandemic; racial tensions at a feverish level; and a most unusual presidential race.

At turns poetic, Engler’s dispatches can sometimes read as passages from a very compelling dystopian science fiction novel, albeit they’re all too real. Consider July 23, 2020, at random, but indicative of the whole: “House passes bill removing Confederate statues, other figures from Capitol; California surpasses New York in total COVID cases; Trump will send federal agents to Chicago.” All the elements in place, a perfect storm, a most frightening time to witness on any level. Page after page, Engler brings home the realities of our times in concise fashion.

Here’s the thing about the news, it’s hot one moment and then it can either heat up again or suddenly cool off. Bits and pieces, significant by themselves and part of a greater whole, are vulnerable to be trampled upon by the next freight train of even crazier and more explosive news. And heaven help those items of news with any hint of complexity from staying very long on the public’s radar, if at all. Consider November 28, 2020. Another day of news to be processed and lost: “Firing squad, poison gas could be allowed for federal executions under Justice Dept. rules; “Voters, not lawyers, choose the president,” judge writes in repudiation of Trump’s effort to halt PA election process; Iran top nuclear scientist assassinated.” Engler thoughtfully corrals these more elusive bits of data and pins them down in a compelling memorable manner.

Elise Engler proved to be at the right place at the right time having honed a means of production years in advance. To add to the urgency, Engler’s studio is in New York City, what became known as the epicenter of the pandemic, at least in the United States. From her drawing board, she was only a short walk away from a tent hospital set up in Central Park. As the violence and chaos unfolded throughout the year, the paintings became less formal, more open, more expressive. Some moments and images have become embedded in our collective memory. Smaller, more nuanced items, will recede into the background, but find a home in Engler’s book, a record from a seasoned artist who was there at her drawing board when it happened.

A Diary of the Plague Year: An Illustrated Chronicle of 2020 is available as of January 18, 2022 and his published by Metropolitan Books, Henry Holt and Co., Macmillan Publishing Group.

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Paul Buhle on Comics: Street Noise: ‘Crash Course’ and ‘Power Born of Dreams’

CRASH COURSE by Woodrow Phoenix

POWER BORN OF DREAMS by Mohammad Sabaaneh

Crash Course: If You Want To Get Away With Murder Buy A Car. By Woodrow Phoenix. Street Noise Books, Brooklyn, NY, 2020. 208pp. $16.99.

Power Born of Dreams: My Story is Palestine. By Mohammad Sabaaneh. Street Noise Books, Brooklyn, NY, 2021. 118pp, $15.99.

Street Noise Makes Noise (but in a good way)

Guest Review by Paul Buhle

This is a review about two outstanding comics. But it is first of all a review of a new comics publisher. A veteran of the book trade, founder and publisher Liz Frances, jumped into the fast-changing world of GNs a few years ago, after a considerable career in the publishing industry. She has explained to interviewers that she wants to create books that count, that have both passion and social value. Certainly so, but I see these two books rather differently. Not that I doubt her explanation for a minute. What I think I perceive is a glimpse at a new generation of comic artists and their art.

Neither of these books is particularly close to traditional comics styles, the kind that my older sisters lovingly employed, when I was six, to teach me how to read. I remember more or less precisely that moment in my life. Looking back from a distance of about seventy years, I can easily grasp the big change. Comics are now certain to be “read” in very different ways, sometimes on devices that do not look or act like printed books, although the books on review here are printed. The real change, however, reflects how artists themselves learn and come to see themselves. As Parsons comics teacher and comic artist Ben Katchor reflected in an interview book, a few years ago, the internal logic of the young artist is no longer the world of the drawing board nor any other fixed spot.

Crash Course author/artist Woodrow Phoenix, a British citizen, whose parents emigrated from Guyana, where the CIA overthrew a leftwing government in 1960 and perhaps arranged for the assassination of the rebellious Walter Rodney in 1980, is a very radical person in his own way. He delivers a powerful message to the heads of readers, certainly to mine, in pounding page after page.

Page from CRASH COURSE

How does he do it? Because he explores in words and expressionist-like drawings the things we know, but do not want to think very much about our cars and our driving. Despite being a key form of death and injury around the world, not even to speak of vast environmental damage, driving has dug itself into our brains. Even if we spend maximum time (as I do) either biking or walking, for most of us, the car is always there. It gets us to the grocery store or to a doctor’s appointment, or to “get out of the city” for a while to visit friends and relatives. Not to mention moving distances for major changes in our lives and work. All these could certainly be done without cars. Given contemporary arrangements, only with real difficulty.

But there’s far, far more to it, and at the psychological core, cars have been ingeniously devised and stylized to make up for the insecurities and shortcomings of our individual lives. “Individual” is key here, as he explains, because each driver lives within a second skin, competing with others in the same circumstances for safety, speed, and psychological reinforcement. Merely reciting the names of models recalls the vicarious excitement, exoticism, and terribly real speed, made all the more attractive because the depictions in every media never show anyone in the real, constant traffic jam. In every hour of an average commute, twenty minutes is spent locked in very boring lines, rousing the desire to get ahead of every competing car and to cut corners by going ten or twenty miles per hour over the law or passing in the breakdown line.

All this, as Phoenix makes so vivid, is dramatized by the sheer eeriness of a vast but empty parking lot. And just as vividly by the violent use of cars to run down political demonstrators, acts now apparently made non-punishable. Cars have created non-spaces across the world, at the same time that they have become weapons, in many ways the weapons of daily use.

From POWER BORN OF DREAMS

Power Born of Dreams begins in prison, an Israeli prison, and that is the most fundamental fact of this book. The second most fundamental is the artist’s technique: linocuts, recalling a past era when leftwing artists of the 1920s struggled to make a living outside of the magazine world. As the artist says, “I was unable to carve my name onto the walls of my prison cell.” So, he chooses a kind of carving, to carve the stories of imprisoned Palestinians, on paper.

The lines are spare, the background black. Interrogation goes with confinement, and each reinforce the other. Israeli companies have made themselves world-famous with “crowd control” techniques, tried out mainly in the West Bank against Palestinians protesting the loss of their homes and their land. The artist’s road out of mental confinement is his art. He can see a tree outside and become a tree, for a moment. Then come back to his own reality behind bars.

He is, in real life, a citizen without a country. No Palestinian who lived in East Jerusalem can be allowed Israeli citizenship, not even marriage with an Israeli can make that happen. Leaving East Jerusalem can easily preclude returning, ever. And even remaining in your home means awaiting the dreaded moment when you will be driven out by a would-be Israeli settler insisting that not even a long family history in this spot, this house, entitles you to remain there.

A large part of the narrative is the deeply personal, deeply disturbing story of the artist himself. During the Second Intifada, he set himself on the task of drawing portraits of the dead, drawing the victim in the mortuary, then giving the portrait to the family the next day, at the funeral. A young boy, the brother of one of the victims, asks, “Can you make my portrait?” The artist says no, he only draws the dead, and this boy surely has a long life ahead of him, but learns days later that the boy, too, has become a martyr, trying to avenge his killing of his brother.

“They tore down the tree and destroyed the nest?” is his dialogue among two birds. “Imagine living without a home.” This leads, as it must, to an apparently tragic conclusion: the settlers slice up an imagined Palestinian homeland, in the geographical territory agreed to at Camp David, into slices smaller and smaller, divided from each other so that travel and work, not to mention emergency medical care, become almost impossible.

Things could change, at least theoretically. But a humane outcome could not alter the power of Mohammad Sabaaneh’s artistic descriptions, their capacity, we hope, to open hearts of readers everywhere.

Paul Buhle

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Comics Portrait: President-elect Joe Biden by Nick Thorkelson

President-elect Joe Biden

We are entering a new era, even if a certain someone is in denial. Here is a comics portrait by Nick Thorkelson, who is one of the most astute of cartoonists!

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Filed under Comics, Illustration, Joe Biden, Nick Thorkelson, Portraits

Election 2020: Houston, We Have a Problem. The infamous Greg Abbott Order to Suppress the Vote!

Texas Governor Greg Abbott knows how to suppress the vote! The infamous Greg Abbott Order. Will it Stand?

Republicans have a long history of voter suppression. It is devious and totally in Trump’s wheelhouse, the sort of horrid activity done in plain view. You remember, during the debate, how Trump encouraged his supporters to intimidate voters at the polls, right? Well, that’s one form of voter suppression. That brings us to today’s editorial cartoon: Texas Governor Greg Abbott, who recently ordered that each county in Texas be limited to only one drop-off box for mail-in ballots. This is an abrupt decision made with only three weeks before the election.

Democratic members of Congress, all chairs of prominent committees, have called Abbott’s order an apparent “last-ditch effort to suppress Texans’ ability to vote.” Consider the fact that mail-in drop-off sites are relied upon just like mail boxes and each county is suppose to have what it needs. Harris County, a county with a population of 4.7 million, which includes Houston, has relied upon a dozen drop-off sites. Harris County is around the size of Rhode Island. Abbott now has Harris County with only ONE drop-off box! This is the opposite of making voting accessible for everyone. At this writing, Abbott’s order is being challenged but it may stand as is.

Houston, and the rest of Battleground America, we have a problem. Where are you experiencing voter suppression? In about three weeks, November 3, 2020, it will be Election Day in the United States of America. What are you doing to help promote a fair and honest election? Well, it has nothing to do with suddenly showing up in MAGA gear as a self-proclaimed poll watcher. For many Americans, it will mean voting like your life depends upon it. In the end, all of us in the USA must find a way to come together. We will continue to do this one step at a time. The Abbott order is now a moment in time right up there with another infamous moment in time, George Wallace standing in front of Foster Auditorium at the University of Alabama on June 11, 1963, in order to stop the enrollment of African-American students. Don’t be hesitant, afraid and silent. Speak up. And vote.

The following is from the Texan Tribune, 6 October 2020. Read the entire article here.

The Democratic chairs of three high-profile congressional committees urged Texas Gov. Greg Abbott on Tuesday to rescind his order limiting counties to one drop-off location each for absentee ballots, saying it “appears to be a last-ditch effort to suppress Texans’ ability to vote.”

In a letter to the Texas governor, U.S. House Majority Whip James Clyburn, D-S.C., and U.S. Reps. Zoe Lofgren, D-Calif., and Carolyn Maloney, D-N.Y., said they are investigating Abbott’s order because it “may interfere with the administration of free, fair, and safe federal elections in Texas during the coronavirus pandemic.” The chairs also asked Abbott to provide documents regarding his decision.

Clyburn leads the U.S. House Select Subcommittee on the Coronavirus Crisis, Lofgren chairs the Committee on House Administration, and Maloney presides over the Committee on Oversight and Reform.

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The 1921 Tulsa Race Massacre: An Astute Cartoonist’s Prediction

Cartoon by Daisy Scott, 1921

UPDATE: The Trump rally in Tulsa is now scheduled for June 20. However, especially during this pandemic, the correct action would be not to hold a rally.

With Trump set for his rally in Tulsa on June 19, Juneteenth, he and his henchmen continue to stoke the fires of racism. Juneteenth memorializes June 19, 1865, when Union general Gordon Granger read orders in Galveston, Texas, that all previously enslaved people in Texas were free. Trump’s response to CNN on his rally coinciding with this date, well-known as a date to commemorate emancipation from slavery: “Uh, no, but I know exactly what you’re going to say. … Think about it as a celebration. My rally is a celebration,” Trump said, adding, “Don’t think about it as an inconvenience.” Add to this the fact that Tulsa was the site for the infamous race massacre of 1921.

Daisy Scott

 

Cartoon by Daisy Scott, 1921

Daisy Scott in the Tulsa Star. Caption: “Isn’t it time to start cleaning your own mess?

Tulsa Race Massacre of 1921

Writer Michael Tisserand remembers Daisy Scott, a cartoonist who predicted the troubles ahead for Tulsa in 1921. This is from a social media post today:

“Among the many things that history has ignored about the 1921 Tulsa Race Massacre is that the first regularly published Black female cartoonist was working at the Tulsa Star at the time, and she saw what was coming.

The Tulsa Star would be destroyed in the fires. Daisy Scott never worked as a cartoonist again. Yet she remained in Tulsa with her husband, Jack Scott, a boxer, and they would raise a family together.

During the fires, Jack Scott had risked his life to help stop a lynching. He, like others, would be baselessly indicted for murder; that charge would not be officially dropped until 2007.”

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Spider-Man and the Mueller Report

Illustration by Henry Chamberlain. What A Tangled Web We Weave When First We Practice To Deceive!

Maybe you’ll never read the Mueller Report. Well, don’t feel too bad.
Many a House Democrat hopes that Americans may finally be convinced that there is overwhelming evidence that Trump should be frog-marched out of office byway of the Mueller Report. They believe that if only Americans read the report or even a Cliff Notes version or maybe even seeing the big man himself forced to testify about his own report that then a collective light bulb would go off across the land. Well, there’s an even easier way to achieve that eureaka moment. Just go see the new Spider-Man movie.

Illustration by Henry Chamberlain. What supervillain would Bill Barr be? Doctor Octopus?

Nothing hits a person harder than to be betrayed by someone that they’ve grown to trust. Just think of this magical connection that Trump has with his base of supporters. It’s pure magic, right? Well, Spider-Man develops a bond with Mysterio in this new movie: one raw talent finds a mentor in a mature and seasoned superhero from another world. Pure magic! And then Mysterio delivers the greatest cut of all. He not only totally betrays Spider-Man’s trust, he proves to be a master of deception who doesn’t care who he hurts since he sees everyone as more than willing to be decieved. If only Mysterio could be impeached!

Illustration by Henry Chamberlain. Trump Demands Loyalty from Comey.

Well, there’s no impeaching Mysterio or even sadly hoping he’ll just go away with the next election cycle. Mysterio is around for as long as he wants striking fear over and over again. You gotta wonder if Trump finds anything useful in the Mysterio playbook. Mysterio and Trump would get along. Heck, they’re both already sharing from the same dictator playbook: strike fear, sow distrust, promise everything, discard any rules or sense of decency. If that were crystal clear to citizens, they’d want a guy like that out of office pronto, right?

Illustration by Henry Chamberlain. Lots and Lots of Fire and Fury!

And then the house lights go up and the movie is over. Mysterio is only fiction, right?

You know you want to read it.

Gee, if you had a guy like Mysterio running the country, it would make sense to impeach him, wouldn’t it? People wouldn’t just pretend there wasn’t a problem, would they? Well, truth is always stranger than fiction.

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Trumpworld: Barr: Trump would never just say, “Fire Mueller!” Oh, really?

Barr Spins Before Congress

Today, Barr testified/spun before Congress. A perfect example: Sen. Dianne Feinstein asked Attorney General William Barr what is it about Trump ordering his White House counsel Don McGahn to fire Mueller (as well as demanding that McGahn lie that Trump had ever asked to fire Mueller)  that is not obstruction of justice. Barr’s response was to spin a picture of Trump, with his brilliant legal mind, requesting a closer look at Mueller’s conflict of interest; and Trump never outright made such a crude demand as saying, “Fire Mueller!” Huh? Which is more likely, that Trump was simply expressing a legal opinion or that he barked out what he wanted? Feinstein followed up with the question: “So, what was the conflict of interest?” Barr never ever answered that question! He proceeded to tap dance byway of speaking on legal theory to run out the clock. And that is just one example of Barr’s technique. Don’t expect Don McGahn to ever get a chance to testify himself. If he does, that would be well worth seeing.

 

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Trumpland: The Comb-over Flyover!

Trump Shutdown Continues. Immigration Policy Remains in Limbo.

If you missed it today, Trump made an announcement that is a rehash of immigration policy which will secure a continuance of the Trump Shutdown.

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Doonesbury cartoonist Garry Trudeau and the Infamous Rape Joke

“Bull Tales” comic strip by Garry Trudeau

The very idea of a comic strip like Doonesbury is in the best spirit of what comic strips have been capable of doing. Doonesbury, which launched October 26, 1970, lived up to its ambitious goals. Now, there’s been a seismic shift in reading habits, and comic strips are evolving and adapting to the new cultural landscape. In 2014, the siren song of Amazon compelled Garry Trudeau to shift his focus to writing a sitcom. On March 3, 2014, the “Classic Doonesbury” series began, featuring approximately four weeks of daily strips from each year of the strip’s run. Trudeau continues to produce new strips for Sundays. The times, they keep a changin’. That said, in the #MeToo era, with a focus on Brett Kavanaugh and rape culture, something can be learned from taking a look back at the early efforts of Garry Trudeau in his Yale college newspaper, specifically, the infamous “rape joke.”

And what exactly transpires within this particular comic strip? Our main character, arguably Trudeau’s alter ego, is annoyed by a female student and contemplates raping her. He wants to dance with her and she obliges but only after insulting him. He makes a self-deprecating observation in relation to the idea of raping her.

What made that joke possible? What made young Garry think that was funny and okay? It’s a joke that left me disappointed when I read it. I had purchased a collection of Trudeau’s Yale comic strips many years ago. In fact, I was a teenager, with ambitions related to comics, when I bought the collection of Yale comic strips. It has been said (and this could be internet trolling) that Trudeau admits to cringing whenever he sees the “rape joke” or hears of it and has even had it removed from later editions of this collection of his Yale strips.

What bothered me way back in the early ’80s, when I first read this comic strip was that I immediately knew it was wrong and yet there it was. Trudeau knew it was wrong too. It’s possible to imagine Trudeau, a Baby Boomer with a pre-internet mindset, mistakenly thinking that he could keep that comic strip under wraps. In all fairness to him, I can’t seem to find any response directly from him about the “rape joke.” There’s this recent Trudeau piece, no mention of the infamous joke, from Comic Riffs at The Washington Post.

He should talk about the “rape joke” now, all these years later. I know, not very likely. It is the stuff of legend how Trudeau has avoided the press. I always found that ironic given how outspoken he has been in his celebrated comic strip satirizing society, politics, and the media.

Is it too much to ask of Garry Trudeau to speak about that “rape joke” within the context of our current state? It’s a fair, even intriguing, question for him and it might just inspire Mr. Trudeau on what lies ahead for him. In fact, if he really wants an invigorating project, why not dissect that “rape joke” and come up with some answers. It could be a graphic novel. I’m not kidding.

Garry Trudeau’s new collection of comic strips, #SAD!: Doonesbury in the Time of Trump.

Garry Trudeau will be in Washington DC on Oct. 1 to speak in support of his latest collection of comics strips, #SAD!: Doonesbury in the Time of Trump, at Politics & Prose.

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Filed under Comic Strips, Comics, Donald Trump, Doonesbury, Garry Trudeau, Political Cartoons, politics, Politics & Prose, Washington DC

Book Review: A HIGHER LOYALTY by James Comey

TRUMP DEMANDS COMEY’S LOYALTY–BUT DOES NOT GET IT. illustration by Henry Chamberlain

“The wicked flee when no one pursues.”
–Proverbs 28:1

James Comey speaks up for the truth in his new book, “A Higher Loyalty,” and he tackles his subject from many angles: giving the reader his life’s story, providing compelling examples of the demise of infamous liars, and saying it all with wit, grace, and a good dose of honest humor. This book has a lock on being timeless. A hundred years from now, people will still find it engaging while something like “Fire and Fury” will have become considerably dated. The name Donald Trump will elicit a mild groan in a hundred years while the name of James Comey will draw out favorable comparison with Jimmy Stewart’s character in “Mr. Smith Goes to Washington.” Indeed, in James B. Comey we have a real life Jefferson Smith.

This is not a heavy book in the sense of being meant for only the most high-minded of readers. In fact, it is very accessible. The full title, “A Higher Loyalty: Truth, Lies, and Leadership,” is a valuable frame for an assortment of insights. Comey presents the facts and we see patterns emerge involving grocery store clerks, Mafia dons, American presidents, and law enforcement at the highest levels. Tell the truth and reap the rewards. Tell lies and face the consequences. What is so extraordinary is how often Mr. Comey finds himself in the middle of a number of historically significant events right up to our present crisis. I’m talking real American hero stuff where I’m left wondering if Tom Hanks will star in a movie as both Bob Mueller and James Comey.

For you kids too young to remember, Bob Mueller and James Comey go way back. In fact, in the Bush administration, Mr. Mueller was the FBI Director and Mr. Comey was the Deputy Attorney General. This was in the heyday of the U.S. War on Terror, led by mad dog Veep Dick Cheney. One of the most notorious programs of that era, code name “Stellar Wind,” allowed for wholesale spying on Americans, the law be damned. At the eleventh hour, on what may have been Attorney General John Ashcroft’s deathbed, there was a race between Comey and the President’s men to reach Ashcroft to get the final word on continuing the Stellar Wind program. Ashcroft had recently sided with Comey on putting the brakes on it. At that critical moment, just as Comey reached Ashcroft’s hospital bed, heavily guarded by the FBI, Comey put in a call to Mueller requesting that, under no circumstances, was he to be removed by Bush’s people. Without missing a beat, Mueller approved it. That is just a taste. There is more to this episode and it all hinges upon the essential value of integrity and honesty.

JAMES COMEY. illustration by Henry Chamberlain

Another example that is quickly digestible by young and old alike is Mr. Comey’s indictment of Martha Stewart for insider trading. This is a perfect example of how telling the truth would have cut one path while telling a lie led down another path, a path that secured jail time for Martha Stewart. As Comey explains time and time again, his job is to make a case and that rests on finding credible evidence of wrongdoing. Once evidence is secured that the suspect has lied with intent of obstruction of justice, the suspect has been trapped in a corner and will have to pay the price.

We can cut to the chase now and look at an example involving Donald Trump. The one thing that kept rising to the top in conversations that Trump forced upon Comey was Trump’s denial of having anything to do with prostitutes performing urinating acts for his delight in a Moscow hotel. If it was not clear the first time, Trump felt compelled to repeatedly deny this incident. Based upon a lifetime in law enforcement, Comey could not help but bring up the fact that when suspects repeatedly deny something, there is a good chance that they’re lying, which establishes patterns of behavior.

Among the observations by Comey most anticipated by readers are his views on the investigation of Hillary Clinton’s mishandling of classified emails. One specific wrinkle in this case that is quite telling involved the spin desired by the Obama administration. Attorney General Loretta Lynch made explicitly clear, in front of staff, that she wanted Comey to describe what was happening with Clinton’s emails and the FBI as a “matter.” This really made no sense. As one colleague wryly said to Comey, “Yeah, sure, you are after all, the Federal Bureau of Matters.” Comey used the term “matter” once in a press conference and then let it go. From there on, it was what it was, an investigation.

Contrary to what is widely believed, Comey did not go it alone and reopen the Clinton email investigation all by himself weeks before the election. What happened involved following procedure, logic, and plain ole common sense. You can’t just dismiss thousands of new Clinton emails on Anthony Weiner’s laptop. Again, Comey worked as part of a team. He ended up having to be the face of that team.

The point is, whether it is an investigation involving Democrats or Republicans, the FBI must under no circumstances be swayed into one camp or another. The Justice Department and the FBI are there to protect the American people and the Constitution of the United States. The FBI Director is not to be part of a closed group of friends as Trump would have it. Time and again, Comey speaks to what is in his heart, the people who have inspired him, the ideas and core values that have shaped his life. Sadly, he sees very little, if anything, guiding Trump. It is not said to mock Trump. We live in a crazy Trump-addled time. To say that Trump lacks a moral compass cannot be said enough. Any act that reminds us of how things are not okay, not normal, is a good thing.

Having been fired by Trump, yanked out of the job he loved, all for brazenly political reasons, it makes sense that Comey would ultimately speak out. That he has chosen to write such an even-tempered book, and of value for us now and generations to come, speaks well for the man, the institution of the FBI, and for the country.

“A Higher Loyalty: Truth, Lies, and Leadership” is a 312-page hardcover published by Flatiron Books, an imprint of Macmillan Publishers. You can pick up a copy by simply clicking the icon below:

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Filed under Democracy, Donald Trump, James Comey, politics, Russia, Russiagate