The reality of black violence captured

(Note: 6:00 p.m.: I’ve continued to fine-tune this entry through the day, so if you read it several hours ago, I’d recommend a re-read.)

Yesterday the New York Post ran an article with several extraordinary photographs of a feral black thug in Notting Hill, London who has just stabbed another black man and who is running away, his blood-reddened knife held toward the camera:


The photo takes us into the very moment of a murderous crime as nothing else has ever done (from the nature of the victim’s wounds, as shown in other photos, the assailant was clearly attempting to kill his victim, but failed). Normally we see murderous thugs’ faces in mug shots, taken in the police station after their arrest. Here we see the thug’s face in the instant after the act, cold, devoid of humanity, the face of a killing machine. This is the face that Bob Dylan, in “Walls of Red Wing,” promised us would “meet you on your crossroads,” if we did not adopt the proper compassionate attitude toward blacks. That was in 1963, and whites embraced blacks all-out, just as Dylan and all other liberals demanded, and look at the result.

Looking at the would-be killer’s face, and at the bloody knife in his hands, and at the street scene behind him, now we know, more than ever, what Britain did when it needlessly imported blacks into Britain during the last 60 years. Yes, of course, not all blacks are lowlifes and criminals. Some blacks are civilized; a few are even pro-traditional British culture. But the immigration that brought that small minority of civilized blacks into Britain also brought in the black savages and the general black population that spawned more savages. The only way not to have turned peaceful Britain into an island of black savagery was not to allow blacks to mass-immigrate into Britain in the first place. And the only way for Britain to stop being an island of black savagery is to reverse the process that brought blacks there, in as humane a manner as possible.

Of course, I don’t expect Britain or other Western countries to follow my advice, whether with regard to blacks, or Muslims, or any of the other unassimilable peoples the West has invited en masse within its borders since the mid twentieth century. It is more likely that the West will not act to save itself until the problems attendant on multiracialism have become personally unbearable to a significant number of whites. But such is the power of liberalism that even that might not be enough to turn things around; remember that liberalism tells whites that they deserve to be reduced to misery, deserve to be punished, for their past and present crimes against blacks and other nonwhites, whether the crime be slavery, or discrimination, or imperialism, or apartheit, or not doing enough to help nonwhites, or just the crime of being whites in a historically white majority country. In which case the liberal West, transfixed by its own guilt and its need to be supportive of blacks and other nonwhites no matter how anti-white, threatening, or violent they become, will keep sinking into multi-tribal Third World mayhem, until the separation of peoples will begin under conditions of such horror that all expectations of humanity will be lost. The West will not give up its liberalism, until the liberalism has worked itself out to the final catastrophe.

- end of initial entry -

LA writes:

The stabbing took place as part of general mayhem at the Notting Hill Carnival last weekend, for which there have now been 214 arrests.

Matthew H. writes:

That’s a powerful image.

What strikes me is the contrast between, on one hand the black killer (and he is one whether he succeeded this time or not) and the overwhelmingly black crowd of gapers and, on the other hand, the street scene in which they are placed.

Everything in the scene is a product of a white culture that these people regard with utter indifference or active contempt. The row of Regency shop fronts, the paved street, the signage meant to ensure the orderly use of public space, the colorful hanging flower basket, the clothes on their backs, even the litter on the ground—All are artifacts of a society that the people in the scene, if left to their own devices, could not sustain for even six months.

The supreme irony is that their very presence in this otherwise civilized cityscape is itself an artifact of white culture. But unlike the noble architecture and the pretty flower baskets this artifact is a symptom of terminal depravity.

Paul K. writes:

If you look closely at the photo, you’ll see that the thug holds his knife in his right hand while his left clutches an improvised knuckle-duster that appears to be a D-shaped loop of steel. Clearly he came prepared.

LA writes:

The next two comments arrived within two minutes of each other:

Kevin writes:

Paul K. writes:

“If you look closely at the photo, you’ll see that the thug holds his knife in his right hand while his left clutches an improvised knuckle-duster that appears to be a D-shaped loop of steel. Clearly he came prepared.”

They look like sunglasses to me.

Greg W. writes:

Paul K said:

“If you look closely at the photo, you’ll see that the thug holds his knife in his right hand while his left clutches an improvised knuckle-duster that appears to be a D-shaped loop of steel. Clearly he came prepared.”

I’m pretty sure those are sunglasses.

Paul K. writes:

I was incorrect. It hadn’t occurred to me that the thug would be holding sunglasses that way.

Buck O. writes:

In the two photos, the first showing the “passer-by” attempting to trip the knifeman, and the second showing the knifeman successfully avoiding the attempt to trip him, and showing him advanced forward toward the camera. Yet, look at the two cops. In the first photo, one of the cops appears to be moving toward the stab victim. His right foot has landed on the white lane line. In the second photo he right foot is up and back—well before the white line, as if he is moving backward and away from the victim. The other cop appears frozen in place and preoccupied with something on his belt. His stance widens in the second photo, but he has not moved. Why isn’t he pursuing the knifeman? His mouth remains open, which perhaps means that he is talking into a bluetooth or some such device, which may be what his right hand is still involved in. Who knows. It looks very odd, like he is simply watching. Maybe there are other cops chasing the “blade runner”. Maybe. I guess you had to be there. From the looks and postures of the people on the street, it seems like this is a movie set and the actors are rehearsing their marks. Very strange.

Posted by Lawrence Auster at September 01, 2011 11:27 AM | Send

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