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The New York Times vs. David Mamet | FrontPage Magazine
By Andrew Klavan On April 19, 2013
The New York Times is very good at what it does — which nowadays involves a lot of lying in service to a leftist agenda. There are the outright lies (such as the paper’s recent distortion of a police bias trial to make the NYPD appear racist), the lies of omission (such as its lack of full reporting on the Obama administration’s fatal acts of malfeasance and dishonesty in, say, the Benghazi and Fast and Furious scandals), and the atmospheric lies (such as its rose-colored reporting on the disastrous economy in bluer-than-blue California). Altogether, these lies combine to make the paper something like the Matrix: a plausible imitation of reality intended to deceive people so that their substance may be milked to feed an overweening state.
As in the 1999 sci-fi film that begat that metaphor, rebellion against the illusion results in swift retribution. And nowhere does the Times rush to punish resistance so quickly as in the arts. Times reviewers consistently give sympathetic treatment to leftist cultural works while attacking those of a conservative bent, often regardless of quality.
Which brings me to David Mamet.
One of the most important American playwrights of the last 40 years, Mamet, in 2008, at the age of 60, broke from the near-universal leftist conformity of the theater community and declared in an essay in the Village Voice that he was “no longer a brain-dead liberal.” He followed this up in 2012 with a book entitledThe Secret Knowledge: On the Dismantling of American Culture, which was nothing less than a conservative manifesto.
For the Times’ culture writers — and anyone else interested in preserving the left’s near-monopoly on our arts — Mamet’s political conversion presented a problem. The Pulitzer-winner’s credentials could hardly be any more impressive. He’s written mainstays of the modern theater like Glengarry Glen Ross and American Buffalo, and screenplays for such terrific films as The Untouchables and The Verdict. His original mix of American tough-guy vernacular and Pinteresque allusion had a huge effect on stage writing throughout the last third of the 20th century. He is an American master.
So the Times set out to destroy him.
-go to link-
As in the 1999 sci-fi film that begat that metaphor, rebellion against the illusion results in swift retribution. And nowhere does the Times rush to punish resistance so quickly as in the arts. Times reviewers consistently give sympathetic treatment to leftist cultural works while attacking those of a conservative bent, often regardless of quality.
Which brings me to David Mamet.
One of the most important American playwrights of the last 40 years, Mamet, in 2008, at the age of 60, broke from the near-universal leftist conformity of the theater community and declared in an essay in the Village Voice that he was “no longer a brain-dead liberal.” He followed this up in 2012 with a book entitledThe Secret Knowledge: On the Dismantling of American Culture, which was nothing less than a conservative manifesto.
For the Times’ culture writers — and anyone else interested in preserving the left’s near-monopoly on our arts — Mamet’s political conversion presented a problem. The Pulitzer-winner’s credentials could hardly be any more impressive. He’s written mainstays of the modern theater like Glengarry Glen Ross and American Buffalo, and screenplays for such terrific films as The Untouchables and The Verdict. His original mix of American tough-guy vernacular and Pinteresque allusion had a huge effect on stage writing throughout the last third of the 20th century. He is an American master.
So the Times set out to destroy him.
-go to link-
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