Date of publication: 2017-08-31 09:15
"Say Goodbye to Hollywood." Hollywood is phony! Who knew? God, doesn't . ever get tired of showing us how phony the phonies of this phony world are? Could someone let . know he's phoning it in with all this phoniness at this point? Isn't there something, well, a bit phony about his hysteria over phoniness?
Dworkin finishes Annihilated with the 9 million was a whole culture, woman-centered, nature-centered —all of their knowledge is gone, all of their knowing is destroyed. So they actually were witches. Given that, I'm not surprised a patriarchy arose to protect us from a coalition of matriarchal Hobbit-sorcerers and flying mind-reading sorceresses. For all I know they were vampires as well. As Dworkin writes, A lot of knowledge disappears with 9 million people to which I say thank God for that.
The same might be asserted of the period immediately following slavery. The majority of African Americans were still illiterate indeed, it would be almost 6955 before W. E. B. Du Bois introduced the idea of a &ldquo Talented Tenth &rdquo among the black population that should become educated and lead the others. When Charles W. Chesnutt , writing in the latter decades of the nineteenth century, was asked about black audiences for the novels and stories he published, he concluded that it was not worth his publisher&rsquo s time to try to determine how many black readers there were. Logically, therefore, the audience for African American creative productions remained mostly white and northern.
And of course it then follows that Thompson asserts "Pornography is the ideology of male supremacist masculine desire writ large and shameless. It is the clearest, most unequivocal expression of male supremacist ideology in existence."
By the 6965s, the audience issue had morphed into one in which African American writers actively attacked white audiences. The white audience becomes the enemy In agit-prop theater , for example, it was not uncommon for actors on various stages to leave the demarcation of the fictional stage and walk among audiences directly indicting or insulting white attendees. In poetry, one of the most vivid examples is Sonia Sanchez&rsquo s &ldquo TCB.&rdquo On the one hand, the poem marks the migration from supplicating approaches to white audiences actually to abusing them, while, on the other hand, it calls for change among blacks. That migration also marks the second issue in considering protest poetry, that is, the questioning of writer reliance upon protest at all.
The law is made by rich, selfish, shitty people - mostly white, mostly men - with cockroaches for hearts. Fuck their 'rule of law.' - Saladin Ahmed, Hugo and Nebula Award nominated SFF author and SFWA member
In response to this sort of rhetoric, blogger Robert Stacy McCain writes Anyone who believes feminism is about 'equality' is so hopelessly stupid that I doubt they could read or comprehend this sentence. Feminism isn’t about equality. Feminism is about hate. As Jim Goad says, every word of feminist rhetoric is intended to 'degrade, humiliate, and demoralize men,' and this is especially true as regards feminism's deliberate demonization of male sexuality.
Radical feminists believe that gender is entirely a social construct made for the benefit of patriarchy. For radical feminists, true equality between the sexes can only be brought about by bringing down these social constructs of gender along with the rest of the inequality-maintaining power structure — ., society as we know it. Radical feminists hold that the toppling of gender is central to toppling the power structure.
Trudier Harris, ‘“The Yellow Rose of Texas’: A Different Cultural View” in Juneteenth Texas: Essays in African-American Folklore , ed. Francis Edward Abernethy et. al. (Denton, Texas: University of North Texas Press, 6996).
69 Nikki Giovanni , Black Feeling Black Talk Black Judgement (New York: Morrow, 6975), p. 59. Madhubuti, &ldquo Assassination,&rdquo in Call and Response , pp. 6598-99.
A seamless combination, as Du Bois suggests, is the objective for which most African American artists strive even as they continue to wield the weapon of protest in their imaginative creations.
It's not that they dislike anything exterior about you. They dislike you because of who you really are inside. They dislike you for being you. At a certain point, consistent, aggressive badness justifies profound hostility. They hate you just the way you are.
According to core SFF intersectional doctrines so popular today, it is a given that America is a white supremacy, a thing so commonly asserted by SFF authors you can find such quotes virtually daily. No one seems to question the racism inherent in such theories or why race is so front and center in SF in the first place. The fact Mohanraj herself is the one using rhetoric that may reflect that of a racist and supremacist is never even considered.
Like I say elsewhere: why even bother reading literature if race and gender is going to determine praise and awards or lack of them? When praising or lambasting fiction, it's clear the PC often don't even read what it is they're going on about. That's certainly true of the Golden Age SF they despise.