I don’t read the New York Times much anymore because I find it actually sucks information out of my head, making me less informed than I was when I started. But I’m in New York, and my hotel leaves it on my doorstep for free… If I stay here much longer I’ll actually know nothing.
Monday’s edition included a review of a play now open in Los Angeles called The Female of the Species. The play, by Joanna Murray-Smith and starring Annette Bening, is “anti-feminist” according to reviewer Charles Isherwood. But that’s the only good thing he says about it. Other than that it’s “rancid” and may, like one of those drugs you see on TV, cause “severe headaches, dizziness, nausea,” etc.
Now I believe feminism is an almost wholly destructive force – if by feminism we mean not the extension of American individualism to include women – a positive development made possible by modern technology and medicine - but that specie of politics meant to coerce women into behaving in a way that might make feminists feel less bad about being female while at the same time trying to bully the world into being more “fair” than it actually is. You know what I’m talking about.
Any threat to this hump-backed, hateful and snarling philosophy is routinely greeted by our mainstream media with hysterical, harpy-like shrieks of derision, so I can’t help wondering if Murray-Smith’s play has been the victim of a hit job. I mean, I suppose it’s possible there’s a bad anti-feminist play, but it doesn’t seem likely. Anyway, I’m three thousand miles away so I can’t go see the show and find out for sure, but I’d love to hear from anyone who has.
This sort of “political” review is one of the scourges of the art world. It pretends to attack the work on matters of quality but it’s all about the politics always. It’s a very, very powerful tool for enforcing lockstep conformity to leftist doctrine in novels, movies and plays. It should be exposed wherever it’s found. If anyone gets a chance to see this play, let me know if it’s any good. If I can see it before it closes March 14th, I’d be delighted to respond to Isherwood in the press.
Andrew has reached an agreement with publisher Thomas Nelson to write three more young adult novels after completing the four book Homelanders series. The new YA’s will be stand-alone thrillers. The first book scheduled is Schizophrenia, which will tell the story of a young man wrongly accused of murder who joins forces with an institutionalized girl, though he’s unsure whether her visions are prophecy or madness.
An article up at Spero News describes me as being “rather like a one-man media empire.” I wish they’d added, “but better looking.” No such luck. Here’s how it begins:
“Andrew Klavan is already the author of several crime novels. Turned into Hollywood movies,“True Crime” and “Don’t Say a Word” featured Clint Eastwood and Michael Douglas, respectively, and featured Klavan’s celebrated storytelling skills. He was also the screenwriter for a Michael Caine thriller, “A Shock to the System.” His latest novel for adults is the political thriller ‘Empire of Lies.’ Rather like a one-man media empire, he writes op-eds on religion, culture and politics for leading newspapers such as the Wall Street Journal, serves as a contributing editor of the City Journal of the Manhattan Institute, and appears on video at PJTV.com.”
And the rest is here.
Daniell Crandall posts a glowing review for The Long Way Home with our friends at The American Culture.
“Andrew Klavan’s latest grabs you at the opening, with a life or death knife fight in a public library’s bathroom, and never lets go. With this book, Andrew goes head to head with video games for kids’, and probably some adults’, attention and comes out on top.”
Read the whole thing here. And hit the book title to go to Amazon.
The Wire is one of the best television shows I ever saw, that anyone ever saw. Created by David Simon, who wrote the sensational true crime book Homicide: A Year On The Killing Streets, it’s a cops and robbers show about the mean streets of Baltimore so realistic it’ll make your teeth ache. It’s also brilliantly written with some excellent contributions from the likes of Dennis Lehane and George Pelicanos.
All that said, however, the show does suffer from a political disability. Although every single politician in it is a Democrat, whenever it can, it still manages to blame Republicans, conservatism or just politics in general for the degraded state of the city. I don’t know this for sure but I strongly suspect Simon is a liberal who can’t quite grasp the nettle of “Oh, I get it – we did this to the city!” despite the evidence in front of his eyes. I know the feeling.
For most of the show, this doesn’t create a problem because, as I say, the Democrats are onscreen doing that destructive thing they do. But the show’s second season deals with a system called Compstat and gets it wrong. If you want to know the truth about Compstat (or just about anything else involving the police) you have to go to City Journal‘s fabulous Heather Mac Donald, specifically this recent piece:
“The crime analysis and accountability system known as Compstat, developed by the New York Police Department in 1994, is the most revolutionary public-sector achievement of the last quarter-century. Since its inception, Compstat has driven crime in New York down an astounding 77 percent; veterans of the Compstat-era NYPD who have gone on to run police departments elsewhere have replicated its successes. Other government agencies, both in New York and nationally, have applied the Compstat model to their own operations, using minutely analyzed data to hold managers accountable for everything from improvements in public health to decreases in welfare dependency to road repairs.”
Read the rest here, and then compare how The Wire’s second season wrongly tows the New York Times’ anti-Compstat line.