Are activists actually manufacturing racism/sexism/homophobia? (Part 2 of 2)

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In 2019 Ibram X. Kendi published his new book, “How to be an Antiracist,” where he looks at the effects of attacking ordinary whites as a method of protest and activism. According to Kendi, this is wasted effort, as it takes the focus off the real problem, which is the powerful elite that controls resources and creates political policy. As noted in the previous blog, about 10% of whites fall below the poverty line, and 70% more fall into the middle and lower socioeconomic classes. According to Kendi, these whites have little or no power to create the kind of policy and economic conditions that lead to structural racism, nor can they remedy the problem.

So if these 80% of whites have no power to establish or alleviate racism, why do minority activists continue to attack white men in a group as cause of the racism problem, for example? What are they accomplishing that encourages this behavior? The immediate result of the strategy seems to be an increase in White Nationalism among the powerless lower socioeconomic classes. The American National Election Survey found that unemployed white US residents without a college degree and with an annual income below $30K were more likely to approve of the growing white nationalist movement.

So, activists continue to attack this lower class of powerless and disenfranchised white males, even when it’s well known this increases solidarity in the form of White Nationalism. Do they really want to increase racist rhetoric and White Nationalism? I checked around, and found the answer is apparently “yes.”

In recent history, there have been a number of clearly manufactured racial incidents. As a random example, African American Eddie Curlin was recently found to be behind anti-black graffiti at Eastern Michigan University. In a more notable incident, Jessee Smollet was recently exposed in a scheme to manufacture racism and homophobia. Unable to find enough racism/homophobia in Hollywood to give a bump to his career, Smollet hired a couple of acquaintances to manufacture an incident. However, this was exposed by surveillance cameras, much to the embarrassment of all involved. Just strong activism is a known cause of backlash that results in increased racial rhetoric and activity, including violence. So, how does this strategy work? When White Nationalism and white supremacist rhetoric increases based on attacks against whites, then racial activists can point to it and demand redress as victims.

This strategy is actually recommended in activist literature. For example, here’s one quote on the benefits of backlash: “…hard-right backlash is a critical domestic factor that can help overcome…collective action problems, enabling…rights activists to find resonant frames, build internal solidarity, and win allies.” Here’s another on stroking the backlash: “By promoting and elevating the backlash against your seemingly noble agenda, you heighten the fighting instinct we have as humans, and tap into a feeling of victimization versus a feeling of purpose.”

The only problem is that this manufactured opposition also increases “real” racism, “real” racist incidents, and often gets people hurt or killed. Within the SFF community, it can result in the bullying of minority writers without the benefits of status and name-recognition, who then have a harder time getting published. This suggests the gains made by some minority individuals could well be at the expense of others.

So, should we continue to legitimize this kind of manufactured racism? Should we classify this strategy as a kind of racism itself? Or should we sympathize with activists and reward their behavior just in the interest of progressivism?

Review of Star Wars: The Rise of Skywalker

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This film is Episode IX in the Skywalker saga. It is #3 in the current trilogy of episodes, following The Force Awakens (2015) and The Last Jedi (2017). It was directed by J.J. Abrams, produced by Lucasfilm and Bad Robot and released in December of 2019 by Walt Disney Studios. Stars include Daisy Ridley as Rey, Adam Driver as Ben/Kylo Ren, John Boyega as Finn, and Oscar Isaac as Poe. There are also appearances from Carrie Fisher as Leia, Mark Hamill as Luke, Harrison Ford as Han Solo, Billy Dee Williams as Lando Calrissian, Anthony Daniels as C-3PO, and Joonas Suotamo as Chewbacca. Composer John Williams is featured as Oma Tres. This review contains spoilers.

Emperor Palpatine has returned and is building an armada on the planet Exegol. Kylo Ren captures a Sith wayfinder device that leads him to the Emperor, who demands that he kill Rey. Meanwhile, Rey is training to be a Jedi under Leia Organa. Finn and Poe obtain intel that Palpatine has returned, and a group of Renaissance fighters leaves on the Millennium Falcon in search of a wayfinder device so they can get to Exegol. On Pasaana they encounter Lando Calrissian, who gives them helpful information. Ren locates Rey through their Force bond and arrives on Pasaana, where Rey confronts him and Chewie is taken prisoner. C-3PO has seen the inscription that leads to the wayfinder, but is forbidden by its programming from translating. The group goes on to Kijimi to find a hacker, where Poe encounters an old friend/enemy Zorii. After obtaining the information, they mount an expedition to rescue Chewie from aboard an Imperial battleship. Ren tells Rey she is Emperor Palpatine’s granddaughter, and General Hux reveals himself to be a spy, allowing Chewie, Poe and Finn to escape. The group moves on to Kef Bir, where Rey locates the wayfinder on the remains of a wrecked Deathstar. Ren destroys the device and the two duel. Leia is dying and tries to reach Ren. Rey takes advantage of his distraction dring the duel and deals a killing blow, but then relents and heals him with her own life force. Upset by what she has done, Rey takes his ship to Ahch-To where she means to become a hermit like Luke, but Luke appears and convinces her she is wrong. She takes Luke’s ship and leaves for Exegol, where she expects to face the Emperor in a final battle. Is there any way the Renaissance can win?

In general this went very well. The actors have grown into their roles since the first film of this series, bringing a dignity and authority to their characters. It’s a fairly long movie at 1 hr. 22 min., but the plot keeps everybody moving, jumping from planet to planet in a quest to find the Emperor’s hidden stronghold. We encounter various colorful characters along the way while Rey and Ren keep up their personal conflict from within the Force. An interesting symbolism emerged when Rey was revealed as the Emperor’s granddaughter. She and Ren/Ben are a dyad within the Force, two sides of the same creature, presumably, we expect, representing good and evil. They grapple with love and hate and swing first one way and then the other, seeking for balance. Besides this excellent screenplay, Abrams has produced a visually artistic movie using both the live and CGI elements. He’s also made amends to the older fans, bringing back characters from the previous films, including Leia Organa, Han Solo, Lando Calrissian, Luke Skywalker and a host of others, through various glimpses and voices. The story ends, as it began, on Tatooine.

I was mostly pleased with this. On the not so positive side, the action sometimes seems a bit frantic; there were no quiet moments of reflection/decision, and it skips from world to world like driving down the street. Supposedly the Emperor’s battle fleet is docked within the planet’s atmosphere, but I wondered about action on the wing of one of the battleships. Shouldn’t the air be a little thin for that? Can’t the people inside the ship get out there to deal with things? And why do people keep disappearing? I know they’re supposed to be absorbed into the Force, but it still irks me.

Controversies: Others weren’t quite so happy with the screenplay. Social media producer Klaudia Amenabar complained on Twitter about Rey needing men to help her succeed when she should have been powerful enough to do it on her own. Joonas Suotamo (a.k.a. Chewie) replied, calling this toxic fandom, and a squabble ensued. See a summary article about it here. Also, I’ve seen some comments about this installment generating the widest split between fan and critic ratings of any of the Star Wars films: 86% to 54% positive at Rotten Tomatoes. This is a gap of 32 points, apparently for catering to the masses.

Although this film didn’t quite pack the sense of wonder the first Star Wars movie did, it’s a very satisfactory ending to the series. Highly recommended.

Five stars.

Wrap-up of the Forward Series Reviews

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This series is an interesting idea, and you have to give Blake Couch credit for self-actualization, as he’s apparently pitched the idea to Amazon, worked as its editor, and at the same time created an opportunity to feature his own work in the series. The writers are all prominent in one way or the other, and I expect they’ve written these stories by invitation.

Here’s the authors diversity count, as far as I can tell: 4 men, 2 women, 1 African American, 1 LGBTQ. That means it serves as an apparent vehicle for white men (who may need it, after all, in the current climate). This also comes across as something of a vanity project. For one thing, it features the editor’s story, and the whole series looks to provide a publicity appearance for other writers who are already prominent or up and coming so their prominence can rub off on one another. Jemisin and Towles came through with thoughtful pieces, and Weir wrote something entertaining for hard SF geeks, but I didn’t quite understand the point of the others, which seemed low on substance—maybe just a guaranteed sale that didn’t require much thought. On the bright side, this series advances science fiction as a genre, and novelettes as an art form. It also allows at least one hard SF writer (Weir) an opportunity for promotion of his work–always a good thing.

Novelettes seem to be underserved as an art form. I expect it’s an awkward length for some reason, too long to fit in to a magazine or anthology and too short to make a profit as a solo publication. Whatever, I predict Jemisin’s “Emergency Skin” will feature in next year’s awards cycle.

This provides light, quick reads for anyone looking to broaden their reading horizons and sample new authors.

Review of “You Have Arrived at Your Destination” by Amor Towles

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This is a science fiction novelette published by Amazon Original Stories in September of 2019, part of the Forward Collection edited by Blake Crouch. Towles is the author of the New York Times bestsellers Rules of Civility and A Gentleman in Moscow. The story runs 46 pages. This review contains major spoilers.

Sam and his wife Annie are investigating the possibility of conceiving a child with the help of Vitek, a fertility lab. Sam has an appointment with Dr. Gerhardt, who explains how the firm’s genetic engineering options might influence the life of the couple’s projected son. With the help of Sam’s wife, Gerhardt’s staff has prepared three possible scenarios of how their child might live out his life. Disturbed after the appointment, Sam begins to reconsider the way he’s lived his own life. Instead of meeting Annie, he stops at a bar, The Glass Half Full, where he gets drunk and confides what’s going on to the bartender Nick and his new friend Beezer. Beezer thinks Vitek is a division of Raytheon (the defense contractor). Sam has already provided a sample for Vitek, and he’s two hours late and now he’s really in trouble. He tries to reach Annie, but he can’t, so he goes back to Vitek and bangs on the door. Can he get his sample back?

There’s a certain amount of symbolism in this work, and some social commentary. It jumps around quite a bit, like it doesn’t know quite what it wants to accomplish, from Gerhardt explaining how conforming to societal expectations is so important, to the disturbing life scenarios, to Sam looking back and rating his own and his father’s lives, to his growing remoteness from Annie, and finally to the revelation that Vitek might not be just a fertility clinic. The story has been marking time to get to that point, but when it gets there, it feels profound.

The plot is a bit jumbled, and I didn’t get a good feel for either the setting or the characters—but, the whole thing seems to be about ideas. When we start trusting some corporation to genetically engineer our children, what are we really going to end up with?

Four stars.

Review of “Randomize” by Andy Weir

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This is a hard SF novelette published by Amazon Original Stories in September of 2019, part of the Forward Collection edited by Blake Crouch. Weir is an award-winning writer, best known for The Martian. The novelette runs 28 pages, and this review contains spoilers.

Edwin Rutledge owns the Babylon Hotel and Casino in Las Vegas, and he finds his IT guy Nick Chen has shut down the keno game. This is costing the casino millions of dollars, but Chen explains that the rollout of the Model 707 quantum computer has made it possible to analyze the pseudo random number system of the current game. Rutledge agrees to buy a new quantum computing system to counter this possibility, and sales rep Prashant Singh arrives to see to its installation. It should make the casino’s game foolproof, but Singh’s wife Sumi has a plan to crack the system. Can she carry it off?

On the positive side, this has a really solid hard SF core. Weir spends some time going through the issue of random number generation for the game and how this would change, given a really powerful computing system that could generate actual random numbers. It also illustrates characteristics of quantum particles that make for the creative plan the ultra-bright Sumi comes up with. It has a slight, humorous feel as the characters maneuver through the game, with something of a surprise twist at the end.

On the not so positive side, the personalities here are a little flat. There’s good description and color, but we don’t get much about their past or what’s going on in their heads, so they don’t really take on a lot of life. This might have been better at novella length so we could get to know the characters better, especially Sumi.

Recommended for geeks.

Three and a half stars.

Review of “The Last Conversation” by Paul Tremblay

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This is a science fiction novelette published by Amazon Original Stories in September of 2019, part of the Forward Collection edited by Blake Crouch. Tremblay is a Stoker Award winner. The story runs 56 pages, and this review contains spoilers.

You wake up in a room, feeling pain. You’ve been semi-awake for a long time, in and out of consciousness, and have memories about a house with a yellow room. A voice named Dr. Anne Kuhn tells you your immune system is compromised, and promises to take care of you. Function comes to you slowly, and Kuhn gives you a series of tasks to build up strength and muscle coordination. She reveals that in the past you were partners working at this biomedical facility, and takes you to a model of the house you remember. You get sick, and it seems you’re dying of a virus that originated at the facility. Dr. Kuhn wants you to give her permission to clone you and bring you back to life when you die. You say no, and you wake up in a room, feeling pain.

This story is circular, of course, and probably repeated numerous times. It’s written from the point of view of the ungendered subject/lab rat and so is very short on information. Kuhn says there aren’t many “blanks” left, and two other of her co-workers who survived have left the facility, but she doesn’t know what happened to them. This suggests a virus has escaped to the outside world, and Kuhn is obsessively working alone in the facility, trying to bring back someone who is important to her.

There’s not much plot or world-building here, and not much of an action line. It’s mostly experiential, as the subject/lab rat slowly progresses through Kuhn’s animation and rehab process. We get vague revelations at the end about what’s going on, but all of it remains unclear. There’s an undercurrent of tragedy, but it’s not fully expressed. I’m wondering about the point. If this is the apocalypse, why does Kuhn need any blank’s permission to clone their DNA? Who’s left to sanction her? I don’t get it.

Two and a half stars.

Review of “Ark” by Veronica Roth

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This is a science fiction novelette published by Amazon Original Stories in September of 2019, part of the Forward Collection edited by Blake Crouch. Roth is best known as the #1 New York Times bestselling author of the Divergent trilogy. The story runs 39 pages, and this review contains spoilers.

An asteroid named Finis is on the way to strike the Earth. Scientists have known this for a long time, so Earth has been evacuated. All that’s left are two Arks based at the northern and southern hemisphere seed banks, where crews of scientists are trying to catalog and preserve as many unique plant samples as possible before leaving. Samantha works at the north seed bank in Svalbard. As she works, she remembers her father. Nils Hagen has a greenhouse on the site where he cultivates orchids, and Samantha strikes up a relationship. Nils isn’t planning to evacuate, and eventually Samantha makes that same decision. But meanwhile, has she found a new species of orchid?

This is mostly experiential. As far as I can tell, it’s joy in the endless variety of plant life on earth, and how poor humans are at appreciating and recording it. There’s not much plot or world building in the story, and only Samantha seems well-defined as a character. There’s not really an action line, either, as it rambles from Samantha’s work to her memories of the past to her encounters with Hagen. I’m left with questions including: How did they manage the evacuation? Did they take all the animals with them? I gather I’m supposed to appreciate that Samantha has made a human connection in the last days of the Earth, and that the two of them share the joy of finding a new plant, but this just didn’t strike me. It feels more like a vignette than a story.

Two and a half stars.

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