“I talk in the book about the special kind of sado-masochism it takes to spend six years reading alarmist literature that imagines people like me to be a genetic nightmare and cultural failure. Yet I find the complexes and psychoses that afflict white supremacists as they contemplate Eurabians both interesting and funny, if I can use that word about something so serious. You never know when porn studies methodology will come in handy, but it does again and again: literature that imagines the Great Replacement can most easily be likened to a snuff film, in which erotic pleasure occurs at the death of the Other. This is why I talk in the book about the erotics of ethnic horror, a literary genre that best fits Great Replacement literature.”
I think hard times are coming, when we will be wanting the voices of writers who can see alternatives to how we live now, and can see through our fear-stricken society and its obsessive technologies, to other ways of being. And even imagine some real grounds for hope. We will need writers who can remember freedom: poets, visionaries— the realists of a larger reality . Right now, I think we need writers who know the difference between production of a market commodity and the practice of an art. The profit motive is often in conflict with the aims of art. We live in capitalism. Its power seems inescapable; so did the divine right of kings. … Power can be resisted and changed by human beings; resistance and change often begin in art, and very often in our art—the art of words. I’ve had a long career and a good one, in good company, and here, at the end of it, I really don’t want to watch American literature get sold down the river. ... The name of our beautiful reward is ...
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