For all the predictable speechifying about “diversity” that I heard at
cocktail parties and literary events, I became struck by just how
politically monolithic this scene really is. It’s not just that writers
and editors have to be PC when it comes to their books and their public
pronouncements: There also seems to be a crushing uniformity in regard
to their privately held viewpoints.
An agent (who, to his credit, read my manuscript off the slush pile)
scolded me for “bigotry” because the imagined world of 2036 has
witnessed a successful Muslim insurrection in France. Another accused me
of “misogyny” because the self-absorbed Henri has become less attracted
to his aging wife. A third told me that The Absolved was a
“terrific read,” but that she couldn’t represent the book because of its
“distinctively male voice.”
In The Absolved, my protagonist, Henri, states: “Sometimes,
when I’m made to suffer through someone parroting the drivel that has
become the zeitgeist, I wonder if I should disappear into the desert,
silence surely being preferable not only to stupidity but unanimity, as
well.”I’m not going to take Henri’s advice, as I still think the search for
truth is a path worth taking. But if you’re wondering why so many of
the literary books that are now being published cater to just one narrow
sliver of the market, I think my experience over the last two years
qualifies as instructive.
A Glimpse Into the Ideological Monoculture of Literary New York – Quillette
