Apologists for Hamas attribute the blood lust to the Israeli occupation and blockade. Occupation? Does no one remember anything? It was less than 10 years ago that worldwide television showed the Israeli army pulling die-hard settlers off synagogue roofs in Gaza as Israel uprooted its settlements, expelled its citizens, withdrew its military and turned every inch of Gaza over to the Palestinians.
There was not a soldier, not a settler, not a single Israeli left in Gaza. And there was no blockade. On the contrary. Israel wanted this new Palestinian state to succeed. To help the Gaza economy, Israel gave the Palestinians its 3,000 greenhouses that had produced fruit and flowers for export. It opened border crossings and encouraged commerce. …
This is not ancient history. This was nine years ago.
And how did the Gaza Palestinians react to being granted by the Israelis what no previous ruler, neither Egyptian, nor British, nor Turkish, had ever given them — an independent territory? First, they demolished the greenhouses. Then they elected Hamas. Then, instead of building a state with its attendant political and economic institutions, they spent the better part of a decade turning Gaza into a massive military base, brimming with terror weapons, to make ceaseless war on Israel.
It’s been a while since we’ve had a classic Guardian sentence. Thank goodness, then, for Tracy Van Slyke, who can conjure elaborate grievance from a cartoon about sentient trains:
"For the record, all the “villains” on Thomas and Friends are the dirty diesel engines. I’d like to think there was a good environmental message in there, but when the good engines pump out white smoke and the bad engines pump out black smoke – and they are all pumping out smoke – it’s not hard to make the leap into race territory.”
You see, that “leap into race territory” isn’t hard to make because dirtier cartoon train engines producing darker cartoon smoke obviously constitutes a “message about race.” When she’s not explaining the devilish racial subtext of animated puffer trains, Ms Van Slyke “writes about the intersection of social justice and pop culture.”