Social Justice Warrior don't want to be be confused by the facts because facts are not necessary when implementing Social Justice Warrior policies and programs.This Social Justice Warrior narrative is designed to cover up the falsehood of the first and second narratives. This is the way liberals work.., serving up propaganda intended to benefit Social Justice Warrior, but which in its absurdity repels people grounded in reality
Tuesday, March 7, 2017
Feminists Don't Have to be Ideologically Pure to be Radical
A
friend of mine has a favorite question. A local union organizer, he
poses this question when he encounters people who won’t participate in
the labor movement for reasons of ideological purity. They can’t go to
the march, or sign the petition, or talk to their fellow workers, they
will explain, because the movement doesn’t perfectly reflect all of
their political beliefs, all of the time. In these instances, my friend
asks: “Do you want to feel good about yourself, or do you want to win?” I found myself wanting to put this question to Jessa Crispin many times while reading her perceptive and impassioned new book, Why I Am Not a Feminist: A Feminist Manifesto.
A critique of contemporary feminism, the book began, as so many books
do, one drunken night in New York City. Crispin spent an evening ranting
to the publishers of Melville House about how feminism had lost its
way. It was now either entirely toothless, or fixated on the wrong
problems: “safe spaces,” “outrage culture,” and “lean-in culture,” as
she would later tell Vulture.
Self-proclaimed feminists were so worried about learning how to
negotiate raises and project confidence that they weren’t willing to
challenge oppression in any meaningful way. Instead, they took to
Twitter to police speech and to commiserate over their so-called
“wounds.” They cared more about a joke made in poor taste than they did
about sweatshops or deforestation.
At its
best, the resulting manifesto serves as a useful skewering of feminism’s
worst tendencies. In her introduction, Crispin rejects the “feminist
label” because it has become almost meaningless. In a chapter titled
“Women Do Not Have to Be Feminists,” Crispin pokes holes in the ideal of
female independence, correctly pointing out how often it leaves women
stranded, overworked, and underpaid. Moreover, as she laments, the term
“feminist” has come to be used so broadly that it can apply merely to
any prominent, successful woman, rather than one who consciously
questions the patriarchy. We now measure feminism’s success by the
triumphs of female CEOs and self-declared feminist pop stars.
Over
the course of the book, it becomes clear that Crispin is denouncing a
particular strain of contemporary feminism: what she alternately calls
“surface-level feminism” and “universal feminism.” We might also call it
“neoliberal feminism.” This is a feminism preoccupied with workplace success and
equal earnings, a feminism that abets global capitalism rather than
challenging it. To many feminists, neoliberal feminism is a kind of
“faux feminism”: It represents the interests of the top 1 percent of
women while ignoring, or even exacerbating, the challenges most women
face. As the political theorist Nancy Fraser has argued,
a woman working in the corporate world can “lean in” only if she can
also “lean on” low-wage workers—usually women of color—who will care for
her children, clean her home, and cook her food.
rispin warns, too, of the ways that feminism and
capitalism can be mutually reinforcing. Early in her book, she makes
clear that she will not be part of any feminist movement that is not
about “the full destruction of corporate culture.” She calls her
feminism a “cleansing fire.” She doesn’t want to infiltrate the halls of
power; she wants to burn the very buildings to the ground. The more
people pour into the movement, the more Crispin wants to retreat. “If
feminism is universal,” she writes, “if it is something that all women
and men can ‘get on board’ with, then it is not for me.” Crispin has long positioned herself as an outsider. In 2002, she founded one of the first online literary reviews, Bookslut,
in an effort to cover idiosyncratic and innovative writers who rarely
garnered mainstream critical attention. The result was a wider range of
reviews and, often, more honest reviewing. Her first book, The Dead Ladies Project,
was a travel memoir in which she visited European cities—Berlin,
Galway, Sarajevo—and mused on the work of writers such as William James
and Rebecca West.
Many of these figures served as foils to the author herself: Jean Rhys
was needy, but Crispin is independent; West was unselfconscious, but
Crispin is self-aware. She wouldn’t make the same mistakes. https://newrepublic.com/article/140934/yes-women
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