Camp of the H-1B Saints



Jean Raspail’s "The Camp of the Saints" is one of those books you can’t mention at a dinner party without setting off a minor war. It’s been denounced, suppressed, and maligned as a hateful screed. And yet half a century after its publication, the book still pops like a gunshot. Why? Because it asks the question that polite society has done its best to avoid: What happens when a civilization loses the will to guard its own front door?

The novel is a fable, a satire, and a warning all at once. The plot is blunt: A massive flotilla of migrants sails toward France from India, while Europe’s leaders wring their hands, draft statements, and find ways not to act. The cast is drawn as caricatures — professors, journalists, bureaucrats, priests — each one a stand-in for the institutions that once anchored Europe but now serve as props for its decline. Raspail spares no one.

The poor on the ships are less his subject than the powerful on shore, who offer nothing but dithering and moral preening while their house is overrun. The book is brutal, unsubtle, and deliberately offensive. But it is also piercing, because it forces the West to confront its soft underbelly: its allergy to boundaries, its addiction to slogans, and its inability to say “no.”

If we want to preserve a middle class, we must demand that corporations train and hire our own graduates before importing replacements from abroad.

And it is why, surprisingly enough, it has something to say about our current debates over H-1B visas and high-tech immigration. Raspail describes hordes of the destitute; the H-1B program is designed for highly skilled engineers, scientists, and doctors. But dig deeper than the press releases, and you find the same theme: institutions playing make-believe, telling one story to the public while the true story unfolds in reality.

When the H-1B program was created, the pitch was simple. America, the world’s technological powerhouse, occasionally needs access to rare and exceptional skill sets. If a rocket company needs an aeronautical genius from Stuttgart, or a cancer lab needs a researcher from Mumbai, the law allows a narrow pipeline. The point was never to replace American workers but to supplement them, filling critical gaps while American talent pipelines caught up.

The reality, though, is something far different. Today, the H-1B program is dominated not by Nobel-caliber minds but by giant outsourcing firms and labor brokers who game the lottery system. They flood the application pool with tens of thousands of petitions, scoop up a massive share of the slots, and then rent those workers back to American companies at cut-rate wages. The result is not a pipeline for the “best and brightest,” but a labor arbitrage racket that undercuts American graduates while enriching a handful of consulting firms.

Even the most prestigious American firms have been caught using the H-1B program to displace their own workers, sometimes requiring those workers to train their replacements before letting them go. It’s the sort of ritual humiliation that would have made Raspail nod grimly: a civilization too weak to defend its own workers in its own labor market.

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Photo by Pascal Parrot/Sygma/Getty Images

Instead of nuclear physicists and neurosurgeons, we see armies of mid-level coders and IT staff — exactly the sort of roles American universities and trade schools could produce en masse if companies invested in them. Instead, corporations cut costs by importing cheaper labor, then spin it as a story of global competitiveness. The rhetoric is lofty; the practice is tawdry.

Here is where Raspail’s cold mirror matters. In his novel, Europe’s leaders never call things by their proper names. They drown reality in euphemism. The same is true today. Politicians and CEOs alike sell H-1B as a meritocratic jewel box, while insiders know it has become a vehicle for mass importation of mid-tier labor at discount prices. The tech lobby, one of the most powerful in Washington, spends lavishly to ensure that every attempt at reform is softened, delayed, or gutted. And so the system persists: a Potemkin policy that serves shareholders at the expense of citizens.

A visa program that actually admitted only the truly exceptional — the researcher on the cusp of curing a disease, the engineer pioneering a new material — would be defensible. A program that functions as a corporate back door for cheap labor is not.

Raspail also reminds us that admission is not an end, but a beginning. Those who come on visas should be expected to adopt the language, the civics, and the loyalty that make one a part of the American project. This is not cruelty; it is hospitality with standards. But when the bulk of visas are funneled through outsourcing firms, newcomers are less citizens-in-waiting than contract labor in transit, beholden not to America but to their sponsoring firm. That is not how you build a nation. That is how you hollow one out.

The truth is that the H-1B program, as currently run, is less a gate than a hollow archway — grand in appearance, flimsy in substance. It is sold as a crown jewel of American competitiveness, but in practice, it erodes wages, weakens training incentives, and mocks the idea of meritocracy. It is the sort of policy that Raspail would have recognized immediately: a symbol of a civilization that cannot even defend its own professionals in its own industries.

The armada in "The Camp of the Saints" is fiction, exaggerated and harsh. But the deeper theme — the failure of nerve, the surrender of sovereignty, the refusal to tell the truth about what is happening at the gates — is all too real. Today, it is not fleets of the poor but paper armies of visa applications, filed by corporate giants and labor brokers, that wash up at our shores. And our leaders, much like Raspail’s, prefer to hide behind euphemisms rather than face what they’ve allowed.

Literature earns its keep when it clarifies the stakes. "The Camp of the Saints" does not flatter; it does not console. It strips away illusions and forces us to see how quickly a civilization can collapse when it forgets to defend itself. Our immigration debate, particularly around H-1B visas, is in desperate need of that same clarity. If we want genuine excellence, we must close the scam pipelines and admit only those whose skills are verifiably rare and indispensable. If we want to preserve a middle class, we must demand that corporations train and hire our own graduates before importing replacements from abroad. Raspail’s novel insists on candor. It shows what happens when a nation replaces hard choices with soft lies.

Bill & Ted share absurdist adventure in new 'Waiting for Godot'



Bill & Ted are Waiting for Godot.

That was the pitch. I’m going to attend a matinee performance of "Waiting for Godot," Samuel Beckett’s tragicomedy in two acts, at the Hudson Theater on Broadway. After which I will review Bill S. Preston, Esquire’s and Ted "Theodore" Logan’s excellent adventure into the theatre (with a hard “re”) of the absurd.

Were I waiting for Godot, I’d pass the time pretty much the way I did during intermission: by deleting spam voicemails offering me personal loans and tax relief.

I’m sure that was also the pitch to bring together Keanu Reeves and Alex Winter to play Estragon and Vladimir, respectively. The marketing is right there. But the play itself — which has a couple of winks to the "Bill & Ted" trilogy — will keep you waiting for the Wyld Stallyns to show up.

Spoiler: They, like Godot, never do. Instead, Reeves and Winter are Estragon and Vladimir in full — waiting brilliantly.

Wither Wick?

It’s wild to watch an action-hero mainstay like Reeves pull off Estragon: weak, bootless (at times it’s one boot, other times it’s both), can’t remember yesterday or even parts of today, regularly beaten by thugs off stage …

There’s no sign of John Wick or Johnny Utah in his performance and certainly no Neo. If the play’s two acts were "The Matrix," there’s no red pill to free him or Didi (his affectionate name for Vladimir) from it. If anything, it’s as if the companions have been damned by an overdose of blue pills.

“Who am I to tell my private nightmares to if I can't tell them to you?” Estragon asks his friend, with whom he shares a waking nightmare.

Winter’s Vladimir compliments his Gogo (his nickname for Estragon). Not with kind words — there are many times when he’s quite brutal to his friend — but with warm embraces, his own coat, carrots and radishes, and ways to pass the time, as they wait for Godot, which Vladimir constantly has to remind Estragon that they’re doing.

For what purpose? Why are they waiting for Godot? No one knows.

1953: Pierre Latour and Lucien Raimbourg in the original Paris production of "Waiting for Godot." Lipnitzki/Getty Images

Tunnel vision

Director Jamie Lloyd makes some great choices, from casting to staging and sound design. Every version of the play I’d seen before had kept the setting to Beckett’s minimal specifications. Act one opens on “A country road. A tree. Evening.” And in act two, we learn that some time has passed, hence, “The tree has four or five leaves.”

Instead of planting the tree on stage, Lloyd has the cast address the tree out somewhere in the audience. So I got to imagine the following happening somewhere above my face:

VLADIMIR
… What do we do now?

ESTRAGON:
Wait.

VLADIMIR:
Yes, but while waiting.

ESTRAGON:
What about hanging ourselves?

VLADIMIR:
Hmm. It'd give us an erection.

ESTRAGON:
(highly excited). An erection!

All the action happens in or around a huge tunnel that’s been built on the stage. The tunnel looks really cool — like something you could skateboard on — and it aids the physical comedy. Picture a barefoot Reeves running up a half-pipe only to slide down and pass out into sleep. At times, the tunnel appears to open and shut like the aperture of a camera, and its design is used to manipulate the sounds of the play, both the music and spoken lines.

The supporting cast is powerful. Pozzo, played by Brandon J. Dirden, is scary, imposing, and cruel — especially to his “pig” Lucky (played by Michael Patrick Thornton), who is in a wheelchair. I thought Lloyd chose to put the actor in a wheelchair, but it turns out Thornton is actually paralyzed in real life and uses one. So not a choice per se? — but it works. A lucky break.

Down in the hole

The first time I read "Waiting for Godot" was in high school. I have Brother Jeff — who was the sole Franciscan in a school of Marists — to thank for feeding me and the rest of our AP English class a bibliography of dread. So in addition to "Godot," we read James Joyce’s “The Dead,” T.S. Eliot’s “The Love Song of J. Alfred Prufrock,” and other works that explored the meaninglessness and senselessness of life that I was not prepared for.

I may still not be prepared for it. It’s been 25 years since I graduated from Catholic school, and "Godot" still haunts me: “Down in the hole, lingeringly, the grave-digger puts on the forceps.”

Going into the Hudson Theater, I thought Lloyd might play up the "Bill & Ted" angle and set the play in a Circle K parking lot — you know, where the dudes encounter the phone-booth time machine and Rufus (George Carlin) for the first time.

But phone booths aren’t a thing any more, so I thought a more accurate contemporary version of "Waiting for Godot" would be Vladimir and Estragon texting each other their dialogue — “Nothing to be done 😢” — followed by two acts of doomscrolling.

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Phelim McAleer

The weight of waiting

The official Instagram account for the play shared a post that leaned into the year 2025 with a cute group chat between Estragon, Vladimir, and Godot. Godot is typing (as depicted with an ellipses), and the phone has existentially low battery life. But alas, none of the characters in the show has an iPhone — not even a beeper.

The play is a real nostalgia trip. Beckett’s masterpiece is over 70 years old, the leads were once teen heartthrobs, they’re wearing bowler hats, and it’s a throwback to a time when boredom was possible.

When was the last time you were bored — when you felt the weight of waiting?

Thanks to my phone, boredom is almost an impossibility. Before showtime, I scrolled — until I was told it was time to put my phone away. Were I waiting for Godot, I’d pass the time pretty much the way I did during intermission: by deleting spam voicemails offering me personal loans and tax relief. I could imagine purgatory doing nothing but this. What could be worse?

Well, “in the midst of the COVID-19 pandemic, Ethan Hawke and John Leguizamo performed in a Zoom version of 'Godot.'" There’s your answer.

No play for young men

Ian McKellen as Estragon and Patrick Stewart as Vladimir. Robbie Jack/Getty Images

I think part of the greatness of "Godot" has to do with Beckett’s creation of characters that really take the form of the actors portraying them. Casting friends makes sense. I don’t know how close Pierre Latour and Lucien Raimbourg were when they were cast to perform the first presentation of "En Attendant Godot" in Paris in 1952. Maybe they were the Bill and Ted of their day?

On Instagram, actorEric Stolz shares his memory of the 1988 production starring Robin Williams and Steve Martin: “I’ve often thought that Beckett would have loved that Production, the absurdity they embraced brought it into the realm of the Marxs [sic] Brothers, which to me is a great compliment.”

After going down the "Godot" rabbit hole, I found that the duo that really nailed it for me was Ian McKellen and Patrick Stewart. As much as I love Reeves’ and Winter’s performances, I have to admit my ageism. The boys — ages 61 and 60 — are just too young and fit for the roles.

McKellen and Stewart were in their 70s when they contemplated hanging themselves from that lone tree and argued over the salvation of the crucified thief in the Gospels. And it really works, because they’re old men. Vladimir has to piss uncontrollably, Estragon is senile, and they both stink like old men stink. Because they’re old men.

Vladimir and Estragon are excited over an erection — even if they have to hang themselves to get one — because they’re old and impotent. That joke’s been on my mind for 25 years — but now I realize that beyond the shock of the thought, the joke only really lands if we’re seeing old men deliver it. And while Keanu and Winter nail the back-and-forth — I literally loled — I don’t believe they’d need to commit suicide to get a hard-on.

I admit that I may have been influenced by a video I watched of Ian McKellen where he talks about "Waiting":

But what are they waiting for? I think the play’s been so popular over the years because Beckett was the first person to realize that an awful lot of life is about waiting. You were probably all waiting to come tonight. Probably in the odd moments in the last week when you’ve been thinking [mimes looking at his watch]: Christmas, or birthday, or holiday, or examinations; waiting to go to college, waiting to meet the right person. My age, waiting for death. We’re all waiting. What we’re doing is passing time. Getting through. … And Godot’s just a bit of hope to make life a little better.

After the curtain call, when the house lights came up, an usher was waiting to speak to a woman in my row. Apparently the woman had been recording the performance on her phone. You won’t find her footage online. She was forced to delete it. The play runs through early January 2026. Don’t wait to see it. It’ll pass the time.

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The Medal Of Freedom Was Created For People Exactly Like Charlie Kirk

For years, the Presidential Medal of Freedom has been awarded to celebrities and political allies. But on Tuesday, President Donald Trump will posthumously award Charlie Kirk the highest civilian honor, reviving the medal’s original intent of recognizing those who have made extraordinary contributions to the security, ideals, and freedoms of the country. Kirk was assassinated […]

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The secret to Chick-fil-A's success has nothing to do with chicken



Chick-fil-A was once again ranked as the number-one fast-food restaurant in the American Customer Satisfaction Index. It’s the 11th consecutive year the chicken chain has held the top spot.

But it's not just CFA's food and service that have made it one of the most popular chains in America. It’s something much more nuanced.

Chick-fil-A didn’t set out with a customer-first strategy and later decide to care about people.

Unlike most other organizations in the industry, Chick-fil-A has discovered an authentic way to integrate business strategy and corporate culture. It’s often said that “culture eats strategy for breakfast.” I’ve found that this statement is only half true. Culture is undoubtedly powerful. It shapes mindsets, decisions, and environments. However, it doesn’t negate the need for strategy.

For true, lasting success, culture and strategy need to feed off each other. When they’re disconnected, the result is often imbalance, misalignment, and, ultimately, mission drift. A business can be healthy yet lack purpose, or have a clear purpose yet operate in an unhealthy way.

Thriving organizations — the ones that stand the test of time — are those that harmonize who they are (their culture) with what they do and how they do it (their strategy). This integration is essential for missionally driven leadership.

Let’s go back to Chick-fil-A.

The company is built on biblical values, honors the Sabbath, fosters servant-hearted leadership, and champions hospitality. These values are operational standards. They guide how team members respond to guests with “my pleasure,” how conflict is resolved, and even how franchise partners are selected.

Chick-fil-A didn’t set out with a customer-first strategy and later decide to care about people. It cared about people first, and from that foundation, the strategy naturally emerged. That distinction matters.

RELATED: Here are 5 Christian companies that join Chick-fil-A in publicly proclaiming their Bible-based views

Justin Sullivan/Getty Images

When core values shape strategic direction, execution becomes more consistent and more resilient, especially in the face of disruption.

And yet culture alone is not enough. Without strategy, culture easily becomes sentimental, a fond memory of “how things used to be” without the structure needed to drive meaningful outcomes. Leaders must be vigilant in asking: Is our culture shaping what we pursue, how we define success, and how we evolve in the face of change?

The return-to-office debate provides a timely example of how strategy and culture must interact.

In June 2025, Ford Motor Company announced it would require white-collar employees to return to the office four days per week. CEO Jim Farley framed the decision as a step toward a “more dynamic company,” one that fosters in-person creativity and collaboration. That’s a strategic choice, but one rooted in a specific cultural aspiration.

Across industries, leaders are weighing similar decisions. Do we bring everyone back? Stay remote? Create a hybrid solution?

While there’s no one-size-fits-all answer, the wrong approach is to follow trends blindly or make decisions out of fear. The right starting point is culture. What kind of culture are we trying to build? What rhythms cultivate collaboration and mentorship? Do our physical and digital environments reinforce the values we profess or erode them?

For some organizations, RTO policies can rekindle a sense of belonging and a shared mission. For others, flexibility and trust are core values best expressed through remote autonomy. The key is less about whether employees sit at a shared desk and more about whether the strategy supports the cultivation of a shared identity.

In my work with CEOs and business owners, I’ve witnessed a key dynamic among healthy organizations: They let culture shape strategy, and they let strategy reinforce culture. It’s a two-way street.

Right now, culture matters more than ever in attracting and retaining talent, sparking innovation, and uniting multigenerational teams around a shared purpose. That’s why everything from hiring practices and customer service to key performance indicators and product development must reflect and reinforce the values a company holds dear.

It’s one thing to say we value integrity; it’s another to weave it into how we sell, serve, and lead.

So what does this look like in practice?

First, leaders must examine whether their strategic priorities truly align with the values they profess. If your organization touts that people matter most, does your strategy show it through investments in employee development, customer care, and sustainable work rhythms?

Next, consider what kind of culture your current strategy is creating, whether intentional or not. Every strategy has cultural side effects. Sometimes, a relentless drive for performance without margin produces a culture of fear and burnout.

Then, consider your internal language. Do your people have a shared understanding of what terms like “excellence,” “service,” or “innovation” mean within your unique context? Without clarity, even good intentions can lead to confusion or misalignment.

Finally, reflect on leadership behavior. Are you and your leaders embodying both the values and the strategic vision? Employees learn far more from what their leaders model than what they say. When leaders walk in alignment with both strategy and culture, they build trust, and trust builds momentum.

So yes, culture may eat strategy for breakfast, but only when the two sit at the same table, aligned, accountable, and advancing together.

The real secret behind Chick-fil-A's dominance? Culture and strategy are on the same menu.

Shots Heard Round the World

In the year after the Japanese attack on Pearl Harbor, separate regional wars in Europe and Asia became a world war that engulfed hundreds of millions of people in conflicts spanning the globe. The year witnessed the Axis alliance at the height of its power, as well as significant Allied victories that would pave the way for the liberation of captive peoples within three blood-drenched years. This was also the year when the Nazis operationalized the Final Solution, condemning millions to be murdered in death camps in Poland and in less structured ways elsewhere. Before 1942, the United States was an economic behemoth but militarily weak; by the end of the year, America had taken huge strides toward becoming a superpower in every sense of the term, with Ford Motor Company alone outproducing the entire nation of Italy. In 1942, Peter Fritzsche, professor of history at the University of Illinois Urbana-Champaign and a noted authority on Hitler, National Socialism, and the Third Reich, surveys the changes wrought by this formative year in World War II.

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A Primer for the Promised Land

To have the pleasure of knowing, and learning from, Peter Berkowitz, is to encounter a polymathic mind whose insightful intellect ranges across politics and the academy, law, philosophy, and history. My own experience working with Berkowitz as a member of the State Department’s Commission on Inalienable Human Rights was a true privilege for which I will be forever grateful. The range of Berkowitz’s knowledge can be found in a newly published collection of columns that are ostensibly all about one subject—the state of the State of Israel—but range across 10 years of that country’s controversies and crises, especially on the debate on the future of the Judiciary and the world after October 7.

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An Honest Look at a Latter Day Saint

Nineteenth-century America was a land of prophets unseen since ancient Israel. These preachers roamed the frontier, erecting churches and gathering followings. One obscure but particularly extreme example from Ohio "jumped off a riverbank in an attempt to catch the heavenly message." Another, born into an obscure family of hardscrabble New York farmers, soon passed into the very same rural Midwestern town. Surrounded by failed apostles, this one would go on to build a church with 17 million adherents. In the new biography Joseph Smith: The Rise and Fall of an American Prophet, John G. Turner sets out to discover what separated Joseph Smith from his contemporaries.

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Under the Influence

Lee Tilghman wants you to know she’s finished being an influencer.

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