Failure and the American Dream

00:00 Seymour Krim (1922-1989)
02:00 Krimstatic,
04:00 “For My Brothers and Sisters in the Failure Business” by Seymour Krim,
1:00:20 Dr. David Starkey: I Was Cancelled but I Won’t be Silenced for Speaking Objective Truth,

00:00 Dr. David Starkey: I Was Cancelled but I Won’t be Silenced for Speaking Objective Truth,
03:00 Tom Wolfe, Stalking the Billion Footed Beast,
14:00 Niall Ferguson and the perils of playing to your audience,
18:00 Pick a title for Niall Ferguson’s next book!,
21:00 Going meta on Niall Ferguson,
24:00 Andrew Gelman on Niall Ferguson,
29:00 The Real Problem with Niall Ferguson’s Letter to the 1%,
32:00 Niall Ferguson, the John Yoo line, and the paradox of influence,
33:00 The John Yoo line,
37:00 Greg Conte and the National Justice Party,
56:00 How Philanthropy Is Fueling American Division,
1:12:00 Suspected FedEx shooter was part of My Little Pony ‘brony’ subculture,
1:16:00 Interview with Greg Conte: Part Two,
1:21:00 Propaganda,
1:34:00 A Critique of Ron Unz’s Article “The Myth of American Meritocracy”,
1:36:00 Janet Mertz on Ron Unz’s “Meritocracy”,
2:00:00 The dirty tricks and shady tactics of Adam Curtis,

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When novels still mattered (4-17-21)

Bellow: A Biography by James Atlas:
Where Do Journalists Come From?

The American Novel Made Us

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American Insurrection (4-16-21)

00:00 PBS Frontline: American Insurrection,
03:00 Dooovid joins
05:00 Why did Tucker Carlson talk about Israeli immigration policy? What you need to know about the white supremacist ‘open borders for Israel’ meme.
15:00 Tucker Carlson: The truth about demographic change and why Democrats want it,
22:00 ADL CEO under fire for partnering with Sharpton in advocating Facebook boycott,
26:00 Leo Frank,
30:00 The American Jewish Philanthropic Complex: The History of a Multibillion-Dollar Institution,
44:00 Weiser refuses call by UM regents to resign, saying he ‘won’t be canceled,
56:00 Sam Hyde predicts Brooklyn Center Police shooting weeks before it occurred
1:50:00 Boogaloo — the key to all mythologies
2:43:00 Michael Fumento on Covid
2:45:00 Death by Covid,
2:53:00 How sex surrogates are helping injured Israeli soldiers,
2:55:00 Effective Communication Skills,
2:59:00 Eric Weinstein’s error,
3:06:00 Slaughter at FedEx,

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A Former Alt-Right YouTuber Explains His Methods (4-15-21)

00:00 Caolan Robertson: Walking Away from Extremism,
02:00 Feeding Hate With Video: A Former Alt-Right YouTuber Explains His Methods,
33:00 Victor Davis Hanson: Lots of us are tired of the virtue-signaling
38:00 Philip Roth Was His Own Favorite Subject. What’s Left for a Biographer?,
42:00 Ezra Levant: Blackmail: Setting the record straight,
58:00 The inconsistent Christianity of John Updike reminds me of fake religiosity in the DR,
1:15:50 Vaush: Tucker Carlson Admits – Plainly – That He Plans To Support Fascism,
1:21:50 REDBAR – Self-help guru Andrew Tate gets questioned about Mikhaila Peterson’s $600 Meat Scheme,
1:30:30 Millennial Matt Takes TIM POOL’s hat off!,
1:55:50 Ron Unz on anti-semitism,
1:58:00 Andrew Gelman: That claim that Harvard admissions discriminate in favor of Jews? After seeing the statistics, I don’t see it.
2:15:00 Jason Unruhe: Vaush fans are a special kind of creepy,
2:20:00 WP: Tucker Carlson villainizes journalists on his top-rated show. Then the threats pour in.,
2:37:00 “Stick To the Thigh High Boots!” Tucker RUTHLESSLY TRIGGERS Teen Vogue Feminist Lauren Duca,
2:39:00 Just a closer walk with thee,

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The Power Of Flannery O’Connor

Frederick Crews writes:

O’Connor had no cause to disprize university writing programs, for she herself, despite the marked individuality of her work, was the first prominent American author to have been significantly shaped by one. Scholars who examine her early manuscripts, housed at what is now called simply Georgia College, are always taken aback by their awkwardness. As she freely acknowledged, she came into her own as an artist only after undergoing a full New Critical initiation at the University of Iowa’s Writer’s Workshop under the tutelage of Paul Engle and Andrew Lytle, with Brooks and Warren’s then ubiquitous Understanding Fiction providing the models.

Like so many college-trained writers who have succeeded her, O’Connor never wrote without a sense of the critics looking over her shoulder. Nor, in her shorter fiction at least, did she ever stray from the regnant Creative Writing mode. Even the most impressive and original of her stories adhere to the classroom formula of her day: show, don’t tell; keep the narrative voice distinct from those of your characters; cultivate understatement; develop a central image or symbol to convey your theme “objectively”; and point everything toward one neatly sprung ironic reversal. No one has ever put it all together with greater deftness.

A cynic might say, then, that in lionizing O’Connor the American university has not so much acknowledged a literary genius as bestowed a posthumous laurel on its most diligent student. Whatever the reason, O’Connor now holds a niche in the anthologies nearly as secure-looking as Hemingway’s or Faulkner’s and more so than those of, say, Anderson, Fitzgerald, Lewis, and Dos Passos. Virtually every American survey course sets aside a day for one of her crystalline, eminently teachable stories such as “Revelation,” “A Good Man Is Hard to Find,” or “Good Country People.” The violence of action and freakishness of portraiture that troubled many of her earliest readers scarcely raise an eyebrow today, while the ironies, paradoxes, Doppelgängers, and image patterns that she so painstakingly implanted in her texts stand available for moralized “close reading” of exactly the sort that she herself mastered at Iowa four decades ago.

* Connor’s sensibility, as she well knew, was maladapted to the incremental, circumstantial, untranscendent development that typically sustains a novel between its moments of peak signification. Her two quirky novels, Wise Blood and The Violent Bear It Away, are considerably alike in theme and structure if not in texture. Both of them, especially Wise Blood, are top-heavy with obvious symbols. More damagingly, neither succeeds in enlisting most readers’ sympathy with, or even their credence in, the final turn toward salvation that the author imposes on her spasmodic, one-dimensional, Christfleeing protagonist. And even the individually dazzling stories, once we have been alerted to the world view that animates them, can all be seen to be performing the same religious maneuver—namely, a humbling of secular egoism to make way for a sudden infusion of God’s grace. That is not, one would think, a device with a great deal of literary mileage left in it, either inside or beyond the university.

* In the entire body of Flannery O’Connor’s available statements, both public and private, one finds not a whisper of dissent from the central teachings of Roman Catholicism—from the Incarnation, the Resurrection, and the reality of heaven, Satan, and the angels to the belief that the Church is God’s sole medium for dispensing both redemption and divine truth. The literally present body and blood of Christ in the Eucharist, she declared, “is the center of existence for me; all the rest of life is expendable.” Nor did she experience her hereditary faith—she was a fourth-generation Georgia Catholic—as inhibiting her art in any way. On the contrary, she considered Christian dogma at once “an instrument for penetrating reality” and a preventative against the relativism that was threatening, she felt, to leave modern fiction insipid and directionless.

* O’Connor’s real reason for writing, she said more than once, was simply that she was good at it. In her view, a writer could only follow her imagination wherever it led and then hope to exert some ethical control over the result.

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