Colin Flaherty on Black Violence

Spencer Quinn writes: As white nationalists, I think we often find ourselves agreeing with mainstream conservatives, but for different reasons. A good example would be Colin Flaherty, author of the indispensable works ‘White Girl Bleed A Lot’: The Return of Racial Violence to America and How the Media Ignore It (WND Books, 2013) and ‘Don’t Make the Black Kids Angry’: The Hoax of Black Victimization and How We Enable It (CreateSpace Independent Publishing Platform, 2015).

These books chronicle in a methodical manner, city by city, all sorts of black crime, mostly black-on-white crime and the inevitable subsets (black-on-old, black-on-young, black-on-gay, black-on-women, etc.). Black-on-Asian crime gets some play as well. Rarely black-on-black, by the way. Mr. Flaherty also has a thing for black mob violence. He writes about that a lot.

These books are written in such a way that any rational reader will be forced to conclude that (a) blacks commit a disproportionate amount of violent crime, (b) they have no excuse for committing these crimes, and (c) this problem extends well past black communities. He also has a refreshing lack of moralizing about this problem. He does not delve into the whys of the matter, as if to let blacks off the hook somehow for their reprehensible behavior. Nor does he prescribe social-engineering or racial mea culpas as a possible solution. He essentially holds the victims of these crimes and “society” to be completely blameless. He just focuses on what is and lets the reader draw his own conclusions from that.

Although Mr. Flaherty does a great service for those who wish to argue for a white ethnostate, I would ultimately consider him a mainstream conservative (albeit a rather brave and unique one). Essentially, he keeps race out of the equation in his writings. But how can this be since he refers to race in the very titles of his two books?

Well, essentially, he doesn’t pick sides. That is, unless you consider the “human beings who don’t commit crimes” as a side. Where a mainstream conservative would lament a black-on-white crime because it is a crime and all crimes are bad, a white nationalist would take it a few steps further by bristling at the fact that the victim is white and confirming in his racialist connections between the perp’s race and his savage behavior. True, Mr. Flaherty singles out blacks, but it is not because of any professed anti-black bias. As far as his professional demeanor goes, he is no white tribalist. He just goes where the data leads him. Further, to his credit, he goes where no mainstream journalist dares to go.

Early in White Girl Bleed a Lot, Mr. Flaherty mentions how YouTube videos of black mob violence will appear, but without any mainstream media reporting. Or, if there is reporting, the topic of race will be conspicuously left out. Also of note in White Girl is how police underreport black crime. In 2011, in Milwaukee, a mob of 50 blacks robbed a convenience store and then mugged 10 whites having a picnic. The next day the victims asked police about the case. The response? “What case?”

The two central premises of White Girl Bleed a Lot are the prevalence of black-on-nonblack crime and the reluctance of whites, especially of those whites in the media, to talk about it. Or, if they do, it’s to punish the messenger (i.e., Mr. Flaherty himself). In one of the more amusing chapters of White Girl, Mr. Flaherty describes the ludicrous way in which criticized his coverage of black crime. In one instance, Salon condemned Mr. Flaherty by pointing out niggling or perceived inaccuracies in his writing (what Mr. Flaherty described as a “mobile alcoholic beverage cart” was really, according to Salon, “one of those stupid group bicycles with a beer keg”). In another, they allowed for the possibility that 20 blacks beat up a single white woman not because of anti-white racism but because they were missing a pair of sunglasses.

Don’t Make the Black Kids Angry is essentially more of the same: black violence, white denial. Of course, it has updated information in it, so as a starting point for breaking the black victimhood myth, it is as good as its predecessor. If anything, it is more complete.
One way in which Don’t Make differs from White Girl is its insistence on blacks have no one to blame but themselves. One of Mr. Flaherty’s longer chapters deals with Ferguson, Missouri during the aftermath of the Michael Brown shooting. At the outset, he provides a litany of complaints from black celebrities about how blacks are oppressed and are subject to police brutality and racial discrimination as justifications for black rage and discontent. He then proceeds to bust this myth point by point.

Read on.

About Luke Ford

I've written five books (see My work has been noted in the New York Times, the Los Angeles Times, and 60 Minutes. I teach Alexander Technique in Beverly Hills (
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