Posts Tagged ‘Charles Vess’

Kevin Logan on Milo Yiannopolis’ Editor’s Notes

December 29, 2017

I’ve been avoiding talking too much about politics this week as I simply haven’t had the strength to tackle the issues in as much detail as they deserve. Quite apart from the fact that the issues that have been raised in the media this week – the continuing running down of the NHS, the growth of food banks, homelessness and grinding poverty, all to make the poor poorer and inflate the already bloated incomes of the Tory elite, all make me absolutely furious. I’ve been feeling so under the weather that, quite simply, I couldn’t face blogging about them and making myself feel worse mentally as well as physically.

But this is slightly different.

Slate has published a piece about the guidance notes Alt-Right Trumpist cheerleader Milo Yiannopolis has got from his publishers at Simon and Schuster. In this short video, scourge of anti-feminists, racists and general Nazis Kevin Logan goes through the notes, and it’s hilarious.

There are pages and pages of them. And the more you read, the funnier it gets.

You remember Milo Yiannopolis? He was one of the rising stars of the Alt-Right. He’s anti-feminist, anti-immigration and in many peoples’ eyes, racist, although he’s denied that he actually has any Nazi connections. All this despite the fact that he was filmed in a bar getting Hitler salutes from a party of Alt-Right fans.

He was the IT correspondent for Breitbart, many of whose founders, managers and leading staff are racists, and have been described as such by the anti-racism, anti-religious extremism organisation and site Hope Not Hate. Yiannopolis has constantly denied that he’s racist or bigoted by playing the race and sexuality card. He’s half-Jewish, gay, and his partner is Black. And so he argues that he can’t possibly be prejudiced against people of different ethnicities and gays. Well, possibly. But he has said some extremely bigoted, racist and homophobic comments, quite apart from his anti-feminism.

He describes himself as ‘a virtuous troll’. Others just call him a troll. That’s all he is. He’s only good at writing deliberately offensive material, but is otherwise completely unremarkable. But he’s British public school elite, and so Americans, who should know much better, assume that somehow he’s more cultured, knowledgeable, better educated and insightful than he actually is. Sam Seder commented on Yiannopolis that if he wasn’t British, nobody would take any notice of him. I think it’s a fair comment. But it does show the snobbery that goes with class and accent. Incidentally, when I was a kid reading comics, my favourite characters were the Thing in the Fantastic Four, and Powerman, in Powerman and Iron Fist. And it was partly because of their accents. Stan Lee has a terrible memory, and to help him remember which character said what, he used to give them different voices, sometimes based on who was in the media at the time. He made the Thing talk like Jimmy Durante. He was a space pilot, but his speech was that of New York working class. I liked him because he was kind of a blue-collar joe, like my family.

The same with Powerman. He was a Black superhero, real name Luke Cage, who had been subjected to unethical medical experiments to create a superman by a corrupt prison governor after being wrongly convicted. I didn’t understand the racial politics around the strip, but liked the character because he was another lower class character with a working class voice. He also had the same direct approach as the Thing in dealing with supervillains. Whereas Mr. Fantastic, the leader of the Fantastic Four, and Cage’s martial artist partner in fighting crime, Iron Fist would debate philosophically how to deal with the latest threat to the world and the cosmos, according to the demands of reason and science in the case of Mr. Fantastic, and ancient Chinese mystical traditions, in Iron Fists’, the Thing and Powerman simply saw another megalomaniac, who needed to be hit hard until they cried for mercy and stopped trying to take over the world or the universe.

But I digress. Back to Milo. Milo was due to have a book published, but this fell through after he appeared on Joe Rogan’s show defending child abuse. Yiannopolis had been sexually abused himself by a paedophile Roman Catholic priest, but believed that he had been the predator in that situation. From what I understand, the victims of sexual abuse often unfairly blame themselves for their assault, so I’m quite prepared to believe that something like that happened to Yiannopolis. What was unusual – and revolting – was that Yiannopolis appeared to feel no guilt and regret at all about the incident.

Very, very many people were rightly disgust. He got sacked from Breitbart, along with a lot of other companies, his speaking tour had to be cancelled, and the book deal he had managed to finagle fell through.

Well, as Sergeant Major Shut Up used to say on It Ain’t ‘Alf Hot, Mum, ‘Oh, dear. How sad. Never mind.’ It couldn’t happen to a nicer bloke, and Yiannopolis got a taste of the kind invective and vitriol he poured on the ‘SJWs’ and the Left.

He appeared later on to ‘clarify’ his statement – not an apology – saying that he now knew he was the victim of child abuse, and stating that he didn’t promote or approve of the sexual abuse of children. But the damage was done.

Now it seems Yiannopolis’ book deal is back on, though Simon and Schuster really aren’t happy with the manuscript.

Comments include recommendations that he remove the jokes about Black men’s willies, doesn’t call people ‘cucks’, and stop sneering at ugly people. One of these is particularly hilarious, as his editor writes that you can’t claim that ugly people are attracted to the Left. ‘Have you seen the crowd at a Trump rally?’ Quite. I saw the front row of the crowd at BBC coverage of the Tory party convention one year, and they were positively horrific. It seemed to be full of old school country squire types, as drawn by Gerald Scarfe at his most splenetic.

The guidance goes on with comments like ‘No, I will not tolerate you describing a whole class of people as mentally retarded’, and then factual corrections. Like ‘This never happened’. ‘This never happened too.’ ‘No, you’re repeating fake news. There was no Satanism, no blood and no semen’. At one point the editor demands that an entire chapter be excised because it’s just off-topic and offensive.

Here’s the video.

There probably isn’t anything unusual in the amount of editing that Simon and Schuster require. Mainstream publishing houses often request changes or alteration to the manuscript. It happens to the best writers and academics. Years ago I read an interview with the editors of some of the authors of the world’s most influential books. One of them was Germaine Greer’s. Greer had sent in a manuscript about cross-dressing in Shakespeare. A fair enough subject, as there’s a lot of female characters disguising themselves as boys in the Bard’s plays. But she had the insight that Greer was far more interested in gender roles, and suggested she write about that instead. And the result was The Female Eunuch.

At a much lower level of literature, Private Eye had a good chortle about one of ‘Master Storyteller’ Jeffrey Archer’s tawdry epics. Apparently the gossip was that it went through seven rewrites. Ian Fleming’s editor for the Bond books, according to one TV documentary, was a gay man with a keen interest in dressing well. Which is why some of the sex in Bond was less explicit than Fleming intended, but also why Bond became suave, stylish dresser fighting supervillains in impeccably cut dinner suits.

No shame in any of this, then. But what makes it funny is that it’s happened to Yiannopolis, who seems to have been too much of an egotist to think that anything like it could ever really happen to him. Looking through the comments, it’s also clear that the editor really doesn’t like his bigotry, and the invective he spews against racial minorities and the disadvantaged. I got the impression that he or she really didn’t want to have anything to do with book, but has presumably been told they had to work with Yiannopolis because the publishers were going to put it out anyway, no matter what anyone else in the company felt.

And the editor’s clear dislike of his bigotry is a problem for Yiannopolis, because he’s a troll, and that’s just about all he does: pour out sneers, scorn and abuse, like a male version of Anne Coulter, another right-winger, who’s far less intelligent than she thinks she is. And I know that grammatically standards are a bit looser now than they were a few years ago, but when you have the comment ‘This is not a sentence’, it’s clear that Yiannopolis is failing at one of the basic demands of any writer from the editors of small press magazines to the biggest publishing houses and newspapers and magazines. They all insist that you should write properly in grammatically correct sentences. But Yiannopolis has shown that he can’t do that either.

As for the kind of literary snobbery that used to look down very hard on comics and graphic novels, while promoting opinionated bigots like Yiannopolis as ‘serious’ writers, my recommendation is that if you’re given a choice between going to comics convention or seeing Milo, go to the comics convention. You’ll be with nicer people, the comics creators on the panels are very good speakers, and themselves often very literate and cultured. I can remember seeing Charles Vess at the UKCAC Convention in Reading in 1990. Vess is a comics artist, but he’s also produced cover art for SF novels. He gave a fascinating talk about the great artists that have influenced him with slides. And one of the highlights was listening to the publisher of DC, Roy Kanigher, who was very broad New York. Didn’t matter. He was genuinely funny, to the point where the interviewer lost control of the proceedings and Kanigher had the crowd behind him all the way.

Which shows what a lot of people really know already: just because someone’s got a British public school accent, does not make them a genius, or that they’re capable of producing anything worth reading. Comics at their best can be brilliant. They open up children’s and adults’ imaginations, the art can be frankly amazing and quite often the deal with difficult, complex issues in imaginative ways. Think of Neil Gaiman, who started off as one of the writers at 2000 AD before writing the Sandman strip for DC. Or Alan Moore.

Yiannopolis is the opposite. All he does is preach hate, trying to get us to hate our Black, Asian and Latin brothers and sisters, despise the poor, and tell women to know their place. He has no more right to be published, regardless of his notoriety, than anyone else. And the editor’s demand for amendments show it.

Oh, and as regarding publishing fake news, he’d have had far less sympathy from Mike, if by some misfortune Mike had found himself as Yiannopolis’ editor. Proper journalists are expected to check their facts, which Mike was always very keen on. It was he was respected by the people he actually dealt when he was working as a journalist. The problem often comes higher up, at the level of the newspaper editors and publishers. In the case of Rupert Murdoch, I’ve read account of his behaviour at meetings with his legal staff that shows that Murdoch actually doesn’t care about publishing libellous material, if the amount of the fine will be lower than the number of extra copies of the paper the fake news will sale. Fortunately it appears that Simon and Schusters’ editors don’t quite have that attitude. But who knows for how long this will last under Trump. The man is determined to single-handedly destroy everything genuinely great and noble in American culture.