X-POSITION: Nicieza Body-Slides From "Age of Apocalypse" to "Deadpool & Cable"
Sipping drinks on the porch in the sunset, Farsheed Shomloo, an immigration lawyer, pointed to a book on the patio table and told Jim, “You should read this new book about Iran, it’s really interesting.” Jim replied:
“I don’t want to read it. I know the outcome already. In Iran, there is beautiful poetry and everything turns out a disaster. Here the poetry is not so beautiful, but people are free to discover the best in themselves; that’s why America has happy endings. Here it’s a negative system: there is no entrenched despotism, no will to dominate. We immigrants can remake the whole country if we want to. It’s ours for the taking, as if there is a perpetual clean slate where nobody is ever owed anything. I’ll tell you, the Iranian revolution was a disaster for Iran and a success for America, because it brought a lot of talented, ambitious Iranians here. Every time there is a disaster in the Third World, it’s a good thing for America, since the best of the middle class finds its way here.” (Robert Kaplan, from An Empire Wilderness)
If so, that impression was in his mind on that last day of 1807 when he was forty and played Surrey to Burr’s Wolsey, exclaiming to the ravening crowd that Burr had “no religious principles, and little, if any sense of reverence to a moral Governor of the Universe.” How could even an Adams purport to know such a thing? John Quincy Adams’s theologically trained father would have been aware that one makes a statement about the state of another person’s soul at great peril to one’s own. (Roger Kennedy, from Burr, Hamilton, and Jefferson)
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