[...] The playscript includes an addendum by Tom Dale, one of the "internationals": the driver, he surmises, "knew absolutely that she was there." This version -- a charge of plain murder -- has, along with the notorious Mohammed al-Dura fabrication, entered the world's book of infamous fake facts. And for the opportunistic leaders of the ISM, which knows usable goods when it sees them, Rachel Corrie's death is neither piteous nor pointless: it is pure bonanza. A predatory organization that callously endangers its human shields by placing them before the hideouts of war, it purports to preach non-violence -- except on its website, where it openly defends "armed struggle." Arafat, the warlord and terror chieftain who launched the intifada that was the ultimate ground of Rachel Corrie's death, lauded her as a "martyr"; for Arafat too, in the enduring propaganda blitz against the life of the Jewish state, she was usable goods. Media-savvy herself, she understood, as we have seen, the notion of a usable death: "the difficulties the Israeli army would face if they shot an unarmed US citizen." Her grieving mother and father, seeking solidarity with their daughter and her cause, journeyed to Gaza, where they were an immediate temptation to the armed kidnappers who prefer to seize Westerners; identified as the martyr's parents, they were left to themselves by the equally media-savvy gunmen.(Hat tip: Martin Kramer)
In view of the play's manifestly political intent, and particularly in the lurid light of the editors' having concluded with an accusation of deliberate murder, the London audiences who jubilantly welcomed My Name Is Rachel Corrie, and the New York audiences who weepily do the same, should know at least this much: they have been spectators at a show trial. And there are Jews in the dock.
Saturday, December 09, 2006
Go right now to a library and find and read Ozick's essay "A Liberal's Auschwitz." Then read this. Here are the final paragraphs: