Erase the Bible, lose the West — and that’s the point



The cultural revolution of the 1960s undermined every pillar of American identity, and public religion was no exception. Supreme Court rulings in 1962 and 1963 struck down state-led prayer and mandatory scripture reading in public schools. While these decisions didn’t explicitly ban biblical education as literature or cultural instruction, they effectively removed it from the classroom. Over time, institutional pressure and administrative caution eliminated nearly all engagement with the Bible in the public square.

As large-scale immigration introduced greater religious diversity, demands for a more “neutral” education further pushed cultural Christianity into the realm of the taboo. Christmas and Easter became “winter” and “spring” break. Schools reduced biblical references to passing mentions — if they acknowledged them at all. The result: a rootless, amnesiac society cut off from the spiritual and cultural traditions that once inspired greatness.

By removing the religion that shaped our national character, we’ve lost the ability to understand or transmit our own culture. This is no accident.

Humans remain narrative creatures. Even in an age obsessed with data and reason, we understand ourselves through stories. Every civilization has a set of core narratives that define its identity. These stories echo through its literature, art, science, and daily language. People imitate the archetypes they inherit — knowingly or not—so the stories a culture preserves shape its citizens’ behavior, values, and imagination.

For ancient Greece and Rome, Homer’s “Iliad” served as a civilizational anchor. For Western Christendom, that role belonged to the Bible.

As with all enduring societies, the Western canon both reflected and created its civilization. The canon includes the foundational works every educated citizen was once expected to know, at least in outline: “The Divine Comedy,” “Paradise Lost,” the plays of Shakespeare. But none of these are truly intelligible without biblical knowledge. These literary masterpieces do more than quote scripture — they shape theology itself, popularizing specific interpretations of Christian doctrine.

Art doesn’t just reflect a culture; it defines it.

The stories are everywhere: David and Goliath, Samson and Delilah, Judas the betrayer, the unwelcome prophet, the good Samaritan, the sacrificial Christ. These archetypes saturate Western literature. Even works not explicitly Christian — like Shakespeare’s plays — reference scripture on nearly every page. And for directly inspired texts like Dante’s “Inferno,” biblical illiteracy makes the work incomprehensible.

Yet American legal doctrine now treats biblical ignorance as a virtue. Misreadings of the First Amendment have transformed cultural illiteracy into a legal mandate. Forget the Bible’s spiritual value — removing it from schools broke the chain of cultural transmission.

As a former public school history teacher, I saw this biblical and cultural illiteracy firsthand. I routinely had to explain the story of David and Goliath or the birth of Christ to 16-year-olds — just so they could understand the references in a historical speech or literary text. Students weren’t rejecting scripture. They had simply never heard it before.

Shakespeare and Dante still haunt English literature curricula, but only as lifeless relics. These works already challenge students. Strip out the biblical framework, and they become unreadable. That’s one reason woke activists now demand their removal altogether. Too white. Too Christian. Too patriarchal. But the push to obliterate the canon also masks a deeper failure: Today’s teachers often find these works unteachable — because students lack the cultural foundation to make sense of them.

Mass immigration has intensified the demand for multiculturalism and secularization. As the public square fills with Hindus, Muslims, Buddhists, and atheists, American institutions have stripped out the Christianity that once defined them. But by removing the religion that shaped our national character, we’ve lost the ability to understand or transmit our own culture.

This is no accident. It’s the only outcome multiculturalism has ever produced.

America now suffers from a full-blown identity crisis. If we hope to recover a coherent national identity, we must start with the Bible. Conservatives and Christians who want to revive the American tradition must demand — unapologetically — the return of scripture and prayer to public life.

These practices weren’t controversial for most of our history. The Constitution didn’t suddenly change because the left launched a cultural revolution. Students — even those who are secular or from foreign faiths — still need biblical literacy to understand the civilization they live in and the culture they’re supposedly assimilating into.

A general knowledge of the Bible is indispensable. Without it, American education remains incomplete — and a unified national culture remains impossible.

Shakespeare’s ‘Decolonizers’ Are Making Much Ado About Nothing

The British may be fine with flushing away their literary patrimony, but Americans should cherish William Shakespeare all the more.

Shakespeare's birthplace, collections to be 'decolonized' over fears his genius evidences British 'cultural supremacy'



The Shakespeare Birthplace Trust is an independent charity that cares for the Shakespeare family houses in Stratford-upon-Avon, England, as well as for archival collections relating to his life and works.

Fearful that Shakespeare's globally recognized genius might lead some readers to suspect that not all cultures were created equal, the organization has committed to the process of "decolonizing" its collections and organizational practice to help "create a more inclusive museum experience."

The trust, which came into existence in 1847, acquired early Shakespeare collections from local antiquarians and others from the Stratford-upon-Avon Borough Council and Guild of the Holy Cross. Since appointing its first librarian to catalogue its library and archival materials in 1877, the organization has grown its collection with the help of donations and long-term deposits.

For much of its history, the trust appeared to understand that its function was to preserve Shakespeare's reconstructed birthplace, extol his works, and share England's cultural inheritance with the world. It appears, however, that post-colonialist, post-modern, and other varieties of radical leftist thought have poisoned its mission.

The organization has, for instance, tried to distance itself from the content it is supposed to champion as well as from the hardworking staff who kept the trust going in ages past, noting:

We recognise that the historical materials we hold may represent positions, language, values, and stereotypes that are not consistent with the current values and practices of Shakespeare Birthplace Trust. People accessing our collections may encounter language or depictions that are racist, sexist, homophobic, or otherwise harmful. Some descriptions may have been written by staff, others may have originated from the individuals and organisations that created the records.

The trust appears to have also embarked on a mission of iconoclasm partly as a result of its receipt of funding from the Esmée Fairbairn Foundation.

The Esmée Fairbairn Foundation is a leftist grant-making organization committed to "racial justice," "migrant justice," and "gender justice." It is also committed to socially re-engineering Britain's arts scene, specifically by "creating a cultural workforce that is more reflective of UK society, by enabling more people to progress in their career in the arts who identify as D/deaf, disabled or neurodivergent, are from communities experiencing racial inequity, or who are economically disadvantaged."

'Purge the Shakespeare Birthplace Trust's interpretative policies and brand narratives of Anglocentric and colonialist thought.'

According to the page for a recent "Global Shakespeare" project funded by the Esmée Fairbairn Foundation, the Shakespeare Birthplace Trust is working with elements of the South Asian immigrant communities in the West Midlands to "uncover the hidden stories linked to specific objects and re-examine what they can teach us about the impact of colonialism on our perception of history of the world and the role Shakespeare's work has played as part of this."

The Telegraph reported that the iconoclastic initiative comes in the wake of concerns expressed by academic Helen Hopkins that Shakespeare's unparalleled literary genius might be used to push "white supremacy," and that in order to be globalized, Shakespeare must effectively be stripped of his national character.

Hopkins, who collaborated with the trust as an embedded researcher, suggested in 2022 that in the interest of "implementing positive change at the heart of Shakespeare's cultural iconography," namely the trust's museum, it was necessary to "recognise the role Shakespeare has been forced to play in establishing and upholding imperialistic narratives of cultural supremacy; to purge the Shakespeare Birthplace Trust's interpretative policies and brand narratives of Anglocentric and colonialist thought; to institute new communicative strategies to address societal inequities that are embedded in imperialism and associated with Shakespeare’s global cultural status."

'They cannot stand that an Englishman is the greatest writer that the world has ever produced.'

Hopkins noted further that it was a tragedy that the trust prioritized Shakespeare over its sub-collection of objects related to the 19th-century Indian poet Rabindranath Tagore but expressed hope that the trust could engage in "decolonial work" and "mark the beginning of a new relationship between itself and the multicultural and global communities it serves." To Hopkins' likely delight, the Shakespeare Birthplace Trust has made sure to start hyping the foreign poet in the time since.

The trust told the Telegraph in a statement, "As part of our ongoing work, we’ve undertaken a project which explores our collections to ensure they are as accessible as possible."

Critics have rushed to defend Shakespeare following reports of the efforts to downplay the Bard's greatness and identity and the trust's efforts to effectively globalize his town.

"For the last 300 years, Europe and the West have stood head and shoulders above every other civilization," historian Rafe Heydel-Mankoo told GB News. "The most profound and sophisticated music, art, and culture has come from the West, and we need to lose the embarrassment and be proud to admit the genius of the West and celebrate that Shakespeare was an Englishman."

"That's what sticks in the craw of the anti-Western ideologues that run our cultural institutions," continued Heydel-Mankoo, "because they cannot stand that an Englishman is the greatest writer that the world has ever produced, and they will do anything to diminish and downplay that achievement."

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