Caitlin Flanagan’s acerbic remarks about ‘justice critics’

‘Truth stands independently of social opinion,’ Robert Pirsig wrote: and that’s one reason ‘social justice’ is an oxymoron.

Caitlin Flanagan: 

The justice critics, the ones who want to count up every movie’s sins against approved sensibilities, say that the film is nostalgic, a term intended to damage it. Only another artist would understand the way that Tarantino has deployed that potent force. Guillermo del Toro tweeted that the movie was “[chock-full] of yearning,” that it was “a tale of another time that probably never was but feels like a memory.”

The justice critics aren’t interested in fictions that feel like memories. They want movies that adhere to their vision of the way the world should be. To them, the movie is too white, too violent toward women, and too uninterested in Margot Robbie, whose Sharon Tate has few lines. The New Yorker’s Richard Brody reviled the picture, calling it “ridiculously white.” But Charles Manson was a white supremacist, a fact that does tend to put a lot of white people in a movie.

The justice critics want to subject art to ‘constraints and considerations extraneous’ to it. [The phrase comes from Classicist Mary Lefkowitz, who once declared, “Academic freedom is the freedom to profess a discipline according to its recognized content and procedures, free from constraints and considerations extraneous to that discipline.”]

Unaesthetic philistines telling art what to do is nothing new, from the boy-meets-tractor diktat of Soviet Commissars to Plato’s condemnation of Graeco-Roman mythology for showing the gods chasing each other’s wives.

Kudos to Flanagan for daring to critique puritanical dictatorship-of-virtue justice critics and the boring bowdlerized didactic art they would foist on us. Ars grātiā artis