You can only play these games for thus much, so I’m glad the entire carnival is imploding. Beyond traditional circles, light, college-educated liberals are starting to understand their agonizing disposition. A landed aristocracy feigns feeling of giving up and serving the poor in an effort to keep these people tokenized, according to the rap sheet, which is now there. In some ways, you could argue that this is a new form of slavery, but one in which a progressive light elite relies mostly on non-white writers to produce endless victim stories to support and spread their warped perspective of reality. They require that these people continue to spread racist and discriminatory propaganda in order to fuel their desire to be viewed surprisingly as light heroes.  ,
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Guy will write about how National Public Radio stumbled into this trap, where tales about non-white communities found a home in one of America’s light, liberal neighborhoods.  ,
Politico ran unlimited segments centered on black and Hispanic voices in an effort to entice more black and Hispanic viewers. turns out that the stories were really liked by bright liberals. photograph. twitter.com/FiB8Czh0ta— Yang ( @AxiomAmerican ) April 9, 2024
Sheluyang Peng stated in Tablet that NPR is n’t the only place where this cancer has spread and killed its patient. White progressives in the artistic world prefer to consume this exaggeration at the cost of pleasant tales about how these non-white communities thrive in this ostensibly racist, white supremacist area. White progressive masses stifle stories of the success of the poor. Despite the fervor that has been poured at Justice Clarence Thomas, his tale is irrevocably American: a poor black child who was raised in a shack is now one of the best legal practitioners in the nation serving on our Supreme Court.  ,
Peng’s writing described an industry that has gone off the rails but has created a sub-genre that mocks the light liberal’s dependancy to victimhood narratives that only serve as a stodgy refutation of their confirmation biases. Non-white authors had embellish and make up accounts of persecution in order to sell books, which is repugnant and unpleasant. Peng cites a 1950 article from Negro Digest in which Zora Neale Hurston predicted the existing weather:  .
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There is, of course, a dilemma in the need for “diverse accents”: Rather than seeking an exact diversity of viewpoints, our La commissars instead seek a culturally diverse group whose members may keep the same stance. This one off-the-shelf whisper history is now the only viable path to elite development.  ,
In reality, the prevalence of the victim narrative has created a new subgenre of metafictions that make fun of these prey narratives themselves. Last month the artistic world was awash over fantasy writer R. F. Kuang’s first nonfantasy book, titled Yellowface, about a struggling white female writer who takes on an Asian person’s image and is able to use her “diverse” position to move up the posting industry’s ladder. A Black writer is featured in the new movie American Fiction who struggles to publish his repurposing of Greek mythology, but he instantly achieves rapid fame when he writes a book about the oppressed Black ghetto. The younger Latino writer who has just been published in Andrew Boryga’s most recent book Victim is about a young Latino writer who struggles to get published until he discovers that making up stories about the activities of “underprivileged groups” will make him famous. Each of these works makes direct mockery of the predominantly white liberal elite, who are addicted to the injury tale despite acknowledging that its target audience is primarily composed of the people they are mocking.  ,
The self-loathing woke class “does the work” of recognizing their own” verification of different voices,” which in turn leads to further needs to propagate stress stories. Take, for instance, a scene from Victim where the protagonist, a young boy, is given college admissions counseling by a nice white liberal named Mr. Martin, who encourages Javi to write an admissions essay for an elite college ( a thinly veiled stand-in for Cornell ). However, Javi does n’t see himself as a victim, and is even offended when Mr. Martin asks him to reframe his past lived experiences as sob stories. When Javi finally embellishes his alleged hardships, Mr. Martin claims that Javi has “real hardships” in contrast to the wealthy kids he also tutors before stating his rationale for applying for the position:” You see, I do this here, at a school like this, to work with kids like you, because it makes me feel like I’m able to give back.” Mr. Martin then breaks down in tears.  ,
[…]Â
Our Mr. Martin types are nothing new. Acid-tongued novelist and contrarian extraordinaire Zora Neale Hurston unleashed a barrage of broadsides against the publishing industry in an essay in Negro Digest in 1950 titled” What White Publishers Won’t Print.” She begins by saying,” I HAVE been amazed by the Anglo-Saxon’s lack of curiosity about the internal lives and emotions of the Negroes, and for that matter, any non-Anglo-Saxon peoples within our borders, above the class of unskilled labor.”
After chastising the white liberal publishing industry, Hurston shifts her focus to well-known Black authors who repurposed the struggles of underprivileged Black Americans for personal gain:” The fact that there is no demand for incisive and full-dress stories around Negroes above the servant class is indicative of something of enormous importance to this country. The fiction that centers on upper-class Negroes exploiting the race problem does NOT fill this gap.  ,
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In creating multi-layered characters that eschew the current liberal ethos—oppressor versus oppressed—Peng uses Philip Roth, a well-known American Jewish author, as a role model for how such pieces should be read to their audience. Roth received criticism from the New Yorker audience for his short story entitled” Defender of the Faith.”
The plot revolves around the actions of a Jewish soldier, Private Sheldon Grossbart, who repeatedly deceives Sergeant Nathan Marx, his Jewish commander, into allowing Grossbart to receive more exclusive benefits due to his faith, including getting kosher food at the chow hall, going to services on Friday, and receiving a special pass to leave camp to attend a Passover Seder. Near the conclusion of the story, Marx discovers that Grossbart had merely played the victim and had lied about his sex.  ,
Roth’s alleged self-loathing was criticized, which shocked him to the core. The Israeli-Palestinian conflict and the Gaza War are currently the oppressor-oppressed model in his most vile form. Peng cites leftist Jews who are considered persona non grata for supporting the state of Israel in liberal academia and some who work for elite colleges. This intersectionality eating its own was witnessed at the 2017 Chicago Dyke March because a Jewish woman’s rainbow flag featuring the Star of David was viewed as a sign of Palestinian oppression, not in my opinion.  ,
We all know this conflict is multifaceted, complicated, and riddled with nuance. It’s not black and white, which Mr. Roth tries to convey in his writing, is it?  ,
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Despite all the rants about how bad conservatives are, it seems that the white liberal elites actually do the damage. And they have.  ,
