‘Portraits of the New Chattel Slavery: WSJ Artist Exposes How the Other 20th Lives’

This month a brilliant artist at The Wall Street Journal has broken new ground in the flourishing investigative journalism market by going where cameras could not. You can click here to see these images in their original context, alongside a breathtaking column by Laura Saunders. Witness the pain of these Americans’ faces, as the fruits of their brow sweat are ripped away by the useless, degenerate masses and their fanatical, usurper ringleader.

First in Tim Foley’s slideshow of unbridled pain is a retired couple, who is just breaking even as socialist fascists have taken over their country. Social Security income is capped at roughly $40,000 annually for each of them — presuming each of them made only a meager $120,000 per annum since the age of 18 — and so in order to get by on $180,000 with their deductions in investment income in tow, their aging bodies will have to scrap together $23,000 this year. And what incentive do they have to even do that in the Nancy Pelosi/Barack Hussein Obama II economy? In the crossed arms of the man — whom we will call “Carlton” — and “Carlton’s” world-weary stare, we see a bold entrepreneur degraded into being a simple welfare slave on the Democrat retirement plantation. He has just told his partner in Christ they will face the belt-tightening prospect of having to switch from Perrier to the utter swill San Pellegrino. We can see from his lean that the heat of South Carolina’s merciless golf courses have caused spinal degeneration. His wife has a raised eyebrow, characteristic of these stark sketches of the toil and misery of 21st century America. We can sense she knows that “Carlton’s” days to be numbered. And without his brave, beating heart, the Social Security Administration will be cutting off a hefty $40,000 a year.

Mr. Foley’s next portrait of insurmountable anguish shows a nuclear family taxed nearly $22,000 more in 2013 by a society thankless for the parents’ willingness to put up with each other after 40. Clinging like a Ritalin addiction to the father’s body is two of the children, the one in front of him cowering into his shoulder, staring upwards at a towering, dream-crushing IRS. At $650,000 a year, these surely above-average children face a dark future, one in which they may have to take on some degree of debt for every single one of them to attend Kenyon, Amherst, or some other liberal arts institution that may by and large be bought into. The married, upstanding professional “businessess” faces forward more than her righteous husband to symbolize how liberals have electorally plotted to divide his Godly household. She like “Carlton’s” wife raises a single eyebrow. But the pre-menopausal woman’s eyebrow raises as if to say: “Should I really have to pay this much more this year to stave off my de facto execution for having to carry an ectopic pregnancy?”

‘Single person’ features yet another pearl-clad responsibility-ite, her face tilted slightly to her left in cynicism, her hair diligently parted, her arms crossed in indignation. As yet unbruised by years of toil and her holy, as yet unfulfilled, duty of childbirth, one eyebrow is not raised more than another, as with the retired woman and married mother. She still possesses the idealism of youth, and so is surprised to see our newly totalitarian government demanding so much of her, three years out of Wharton. She has purchased fine pearls to attract a suitable mate. She uses a watch, despite its being old-fashioned; checking her smartphone’s email app every five minutes to look out for any possible, more lucrative opportunities from one of her firm’s ruthlessly job-creating competitors. But now that she will be paying so much more on her taxes in 2013, what’s the point? she says to herself. Any more income will just mean moving into a higher tax bracket. And this is the way that in the New World Order’s America, a job creator is effectively murdered in public by a raging lynch mob. The mob, she understands well, is just jealous of the superior productivity genes that the American Enterprise Institute’s own Charles Murray has proven with science her to have.

The most heartbreaking of Mr. Foley’s portraits is that of the ‘Single parent,’ a subject with whom The Wall Street Journal’s editorials have famously long sympathized. The subscriber can immediately derive additional sympathy because her children look sufficiently alike to allay any suspicion that she might be single by a decadent choice. In the foreground, we see that she must console her child about her peasant family’s additional 2013 tax liability of just over $3,000. She places a loving hand over his shoulder, as she has probably just told him that — upon hearing the results of the treasonous fiscal-cliff congressional package — they will not be able to purchase for him a Hanson Robotics “Zeno.” The boy has his mother’s job-creator genes, but he knows with this year’s inability to afford that multithousand-dollar toy, his hopes of becoming an undergraduate in MIT’s robotics labs may very well be crushed. As with any of the parents or married people in this sketch essay, in his signature Foley-ian style, the woman’s eyebrow is raised at a new, decadent culture so willing to punish any American unworthy of the very gutter. This final, masterful sketch is the single greatest representation of economic repression since (original, lesser) Depression documentarian Dorothea Lange’s “Migrant Mother,” below.