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A biography of the controversial black leader who became a Muslim while serving a prison term and turned against that group two years before his assassination at age thirty-nine

This article examines the painting "The Banality of the Banality of Evil" by graffiti artist, Banksy. I argue that his painting represents a current cultural phenomenon, the banality of the banality of evil, which takes Hannah Arendt's notion of the banality of evil to a different meaning. I argue that the painting represents not only the Nazi's, in this case Eichmann, unwillingness to confront his crimes, but people's unwillingness to engage in political debate without confronting the significance and exclusivity of Nazism. Furthermore, I argue that instead of the banality of the Nazi as an ordinary man committing horrendous act, the increasing use of the accusation of 'being a Nazi' presents Nazism as the cliché and banal subject.

This article examines the painting The Banality of the Banality of Evil by graffiti artist, Banksy. I argue that his painting represents a current cultural phenomenon, the banality of the banality of evil, which takes Hannah Arendts notion of the banality of evil to a different meaning. I argue that the painting represents not only the Nazis, in this case Eichmann, unwillingness to confront his crimes, but peoples unwillingness to engage in political debate without confronting the significance and exclusivity of Nazism. Furthermore, I argue that instead of the banality of the Nazi as an ordinary man committing horrendous act, the increasing use of the accusation of being a Nazi presents Nazism as the cliché and banal subject. ; Published version