Feminist Marxism was on an inexorable march to cultural victory this century. Not artistic Marxism, since feminism is inherently inartistic and catechetical. So, expecting good storytelling from its disciples is like seeking beauty from a brutalist architect. Yet they have dominated screen and literary fare for more than 20 years via two Sovietist methods — the relentless saturation of the feminist-“minority” narrative and the blockage of traditionalist truth. An opinion piece last week by the New York Times’s last conservative man standing, Bret Stephens, The Literary World’s D.E.I. Checklist, revealed the dysfunction.
Winning the Cultural Cold War: Why Americans Are Turning Away From the Literary Establishment
The National Book Awards’ emphasis on identity reflects a publishing culture increasingly disconnected from the mass audience.
