‘Victimhood Culture’ Is the Heroin of Choice for White, College-Educated Progressives

You can only play these games for thus much, so I’m glad the entire carnival is imploding. Beyond conventional circles, light, college-educated liberals are starting to understand their insufferable disposition. A landed elite 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, one might argue that this is a new form of slavery, but one in which liberal white elites largely depend on non-white writers to produce endless victim stories to support and spread their warped perspective of reality. They require these individuals to continue spreading reports of racism and risk to fuel their desire to be viewed unfortunately as white saviors. &nbsp,

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, progressive neighborhoods. &nbsp,

Radio ran infinite segments featuring 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 a Product article that NPR is not the only place where this tumor has spread and killed its network. White progressives in the literary world prefer the “victimhood society” to this exaggeration because they consume it at the expense of pleasant tales about how these non-white communities thrive in this supposedly prejudiced, white nationalist land. White democratic masses drown out stories of how the poor can succeed. Despite the hate directed at Justice Clarence Thomas, his tale is irrevocably United: he is now one of the best legal practitioners in the nation serving on our Supreme Court. &nbsp,

Peng’s article described an industry that has gone off the rails but has developed a sub-genre that mocks white liberals ‘ addiction to victimization narratives, which only serve to acease 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 an essay from Negro Digest in 1950, in which Zora Neale Hurston predicted the current environment:

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. The only path to elite progression is now this one off-the-shelf sob story. &nbsp,

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 poet is featured in the new video American Fiction who struggles to find his repurposing Greek mythology published, but he immediately rises to fame when he writes a book about the oppressed Black people in the ghetto. The younger Latino writer Andrew Boryga’s most recent book Victim is about a young author who struggles to get published until he discovers that making up stories about the experience of “underprivileged organizations” will make him famous. Each of these works makes direct mockery of the predominantly white liberal elite, who are addicted to the stress tale despite acknowledging that its target audience is primarily composed of the people they are mocking. &nbsp,

The self-loathing woke class “does the work” of acknowledging their own” verification of various voices,” which in turn leads to more needs to spread trauma stories. Take the example of a scene from Victim, in which 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 a prestigious university ( 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. &nbsp,

[…] 

Our Mr. Martin types are nothing new. Acid-tongued novelist and contrarian extraordinaire Zora Neale Hurston launched a barrage of broadsides against the publishing industry in an essay in Negro Digest in 1950 entitled” What White Publishers Won’t Print.” She states in her opening statement that” 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.”

Hurston chastises the white liberal publishing industry for using the struggles of poor Black Americans as 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. &nbsp,

In creating multi-layered characters that eschew the current liberal ethos of 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 centers on 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 receiving kosher food at the chow hall, special access to camp, and a special pass to leave camp for a Passover Seder. Near the conclusion of the book, Marx discovers that Grossbart had merely been a victim and had lied about who he was. &nbsp,

Roth was accused of being a Jew who hated himself, a charge that shook his soul. The oppressor-obsessed model is currently exhibiting his most vile manifestations in the Israeli-Palestinian conflict and the Gaza War. 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. &nbsp,

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? &nbsp,

Despite all the rants about how bad conservatives are, it seems that the white liberal elites actually do the damage. And they have. &nbsp,

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