Rebecca Solnit, after writing a piece mocking Esquire's infamous "80 Books Every Man Should Read", got things explained to her by white men. Thankfully, she's wonderful at explaining things back. It was hard to find a quote from this essay to pull here, since there were many paragraphs I wanted to quote, but this one in particular I found very affecting:
There is a common attack on art that thinks it is a defense. It is the argument that art has no impact on our lives, that art is not dangerous, and therefore all art is beyond reproach, and we have no grounds to object to any of it, and any objection is censorship. No one has ever argued against this view more elegantly than the great, now-gone critic Arthur C. Danto, whose 1988 essay on the subject was formative for my own thinking. That was in the era when right-wing senators wanted to censor art or cancel the National Endowment for the Arts altogether. The argument against this art, which included Robert Mapplethorpe’s elegantly formalist pictures of men engaged in sadomasochistic play, was that it was dangerous, that it might change individual minds and lives and then our culture. Some of the defenders took the unfortunate position that art is not dangerous because, ultimately, it has no impact.
Photographs and essays and novels and the rest can change your life; they are dangerous. Art shapes the world. I know many people who found a book that determined what they would do with their life or saved their life. Books aren’t life preservers; there are more complex, less urgent reasons to read them, including pleasure, and pleasure matters. Danto describes the worldview of those who assert there is an apartheid system between art and life: “But the concept of art interposes between life and literature a very tough membrane, which insures the incapacity of the artist to inflict moral harm so long as it is recognized that what he is doing is art.” His point is that art can inflict moral harm and often does, just as other books do good. Danto references the totalitarian regimes whose officials recognized very clearly that art can change the world and repressed the stuff that might.
ProPublica and The Marshall Project bring this long, detailed, important story about the success, and failures, of policing in rape cases.
The fear of false rape accusations has a long history in the legal system. In the 1600s, England’s chief justice, Matthew Hale, warned that rape “is an accusation easily to be made and hard to be proved, and harder to be defended by the party accused.” Judges in the U.S. read the so-called Hale warning to juries until the 1980s. But most recent research suggests that false reporting is relatively rare. FBI figures show that police annually declare around 5 percent of rape cases unfounded, or baseless. Social scientists examining police records in detail and using methodologically rigorous standards cite similar, single-digit rates.