Two years ago there was a big kerfuffle at the Brisbane Writers Festival (BWF) when writer Lionel Shriver gave a talk asserting the right of all authors to write about “marginalized”—or any—groups, which is a violation of many who cry “cultural appropriation” at that stuff. As I wrote at the time,

Not long ago Yasmin Abdel-Magied, a Sudanese/Australian/Muslim writer, described in the Guardian how offended she became when author Lionel Shriver, speaking at the Brisbane Writers Festival, defended the right of authors to write fiction about “marginalized” characters (i.e., people of color and others seen as oppressed). Abdel-Magied, who came off as someone unable to tolerate even the mildest contradictions of her views, stalked out of Shriver’s talk in tears, virtually accusing the speaker of perpetuating racism by appropriating other cultures in her writing.

Not long after, Shriver published her full talk online, also in the Guardian,  and it turned out to be passionate, eloquent, and thoughtful, but not at all offensive—except to the overly tender ears of someone like Abdel-Magied. Read it for yourself. But I had no idea that, as Shriver describes in a new New York Times piece, “Will the Left survive the Millennials?“, that the ostracism of Shriver extended farther than the kvetching of Abdel-Magied. It did.

The Festival authorities publicly disavowed Shriver’s speech and quickly organized a counter-conference to rebut Shriver’s assertions. That of course is fine, but was done only for Shriver’s talk, and was done post facto, as a sort of official announcement of Shriver’s demonization.  It shows that the BWF is simply caving in to those who claim that writers must not culturally appropriate.

Since then Shriver has been further demonized, and has asserted even more strongly her and others’ right to write about what they want. But now, in a further effort to censor authors, the BWF has disinvited two more writers: Germaine Greer and Bob Carr, the former premier of New South Wales.  As the Guardian reported on July 25, the issues were Carr’s views on immigration and other political issues, which apparently did not align with the BWF’s control-Leftism, and, presumably, Greer’s views on transexual women, whom she doesn’t accept as fully “woman-ish” as she does biological women. For that Greer has repeatedly been called a transphobe, and has been deplatformed several times.

Carr told Guardian Australia he was “surprised” by the festival’s response to his new political memoir, Run for Your Life.

“I thought writers’ festivals embraced controversy,” [Carr] said, adding he understood his book didn’t “accord with [the festival’s] values” particularly because it argued for lower immigration, discussed the recent “China panic” in the Australian media and “my encounters with the pro-Israel lobby”.

The festival issued a statement on Wednesday, saying: “Brisbane writers’ festival does not shy away from controversy or challenging ideas, but as all festival organisers know, it’s invariably difficult to choose between the many authors currently promoting books and the need to provide engaging choices for our audience along a curatorial theme. In trying to achieve that balance, we decided in early June not to proceed with including Bob Carr on this year’s program and MUP were advised at that time.”

Those are just disingenuous weasel words, and, in fact, lies. The Guardian‘s report continues:

The Brisbane writers’ festival acting chief executive, Ann McLean, told the Australian there were concerns Carr would not keep discussion to the topic he had been programmed to discuss.

Referring to Greer, the festival’s statement said: “Germaine had not been invited to take part in this year’s program – we’d been asked by a local bookstore to assist with the marketing of an event planned by them for within the dates of the festival. However, when the bookstore decided not to proceed we decided not to host the event alone as it was being held offsite away from the festival hub and (more importantly) it did not fit within the rest of the program.”

Referring to Greer, the festival’s statement said: “Germaine had not been invited to take part in this year’s program – we’d been asked by a local bookstore to assist with the marketing of an event planned by them for within the dates of the festival. However, when the bookstore decided not to proceed we decided not to host the event alone as it was being held offsite away from the festival hub and (more importantly) it did not fit within the rest of the program.”

Greer, who is lauded for her early feminist writing but has fallen out of favour with the left in recent years, in part for her inflammatory comments about trans women and her recent comments on rape, told the Australian: “The Brisbane writers’ festival is very hard work. So, to be uninvited to what is possibly the dreariest literary festival in the world, with zero hospitality and no fun at all, is a great relief.”

The Guardian then published a critique of the BWF’s actions written by Australian novelist Richard Flanagan, a Booker Prize winner. Click on the screenshot to read his essay:

First, Flanagan discusses the withdrawal of novelist Junot Diaz from the Sydney Writers’ festival after social media allegations that he forcibly kissed a woman “some years before” as well as that he bullied and displayed demeaning behavior towards other women. Because of these accusations on social media, MIT, where Diaz works, investigated his behavior and found no grounds to punish him. The same held true for The Boston Review, who also refrained from punishment. But the social media demonization was so loud that Diaz withdrew from both Sydney and an Australian tour. You may differ on the rightness of that, but if two investigations found him in the clear, at least the Sydney Writers’ Festival shouldn’t have issued a mealymouthed statement criticized by Flanagan:

None of this proves Diaz is a good person. But nor does it prove he is a bad one. There were allegations, and there remain allegations. Diaz may be a monster, or he may not. But the allegations remain, and they remain allegations.

So on what grounds was the Sydney Writers’ festival justified in passing judgment on a writer about things the truth of which was not established?

The festival, in its statement announcing his departure, referred to Diaz’s essay The Silence: The Legacy of Childhood Trauma published a few months earlier in which Diaz revealed that he had been raped as a child.

“In his recent New Yorker essay, Mr Diaz wrote, ‘Eventually the past finds you’. As for so many in positions of power, the moment to reckon with the consequences of past behaviour has arrived.

“Sydney Writers’ festival is a platform for the sharing of powerful stories: urgent, necessary and sometimes difficult. Such conversations have never been more timely.

“We remain committed to ensuring they occur in a supportive and safe environment for our authors and audiences alike.”

We may ask what on earth was supportive and safe for Diaz in those words? Who had the power at that moment – the writer, who had publicly confessed to being raped as a child only a few months before, or the festival?

The Wheeler Centre, meanwhile, emailed ticket holders to announce that Diaz had also cancelled a scheduled appearance in Melbourne with similarly self-serving cant:

“We always take seriously our responsibility to ensure that our platform and our spaces are safe for our guests and audiences alike,” its statement said. “The Wheeler Centre is inspired by the bravery of those sharing their stories and is committed to an accountable and responsive literary community for everyone.”

None of this is to argue for or against Junot Diaz. But is it to be the case that Australian writers’ festivals will abandon any writer once social media turns against them? And what if the mob have it wrong?

The judgments against Greer and Carr are more clearly misguided, and completely inimical to the freedom of discussion that should attend a literary festival. Flanagan is particularly acerbic in his criticism of the BWF’s disinvitation of these two. I’ll give some quotes, which I agree with completely. Note first, though, that Flanagan himself says that he “[doesn’t] overly care for the recent thoughts of either, and I am confident they would feel the same about me.” I am with Flanagan on this, too. But he adds, “And surely that is the point—that other people’s thoughts are worth listening to.”

Flanagan:

If the BWF is a writers’ festival concerned not to get publicity they are unique on this earth. And perhaps they are, because McLean, in a moment of clarifying folly, says that Bob Carr’s invitation was being withdrawn in “consideration for the brand alignment of several sponsors we are securing for the festival”.

Does this mean money chooses which writers you hear – and don’t hear – at the BWF? Exactly when did the Brisbane Writers festival become the Brisbane Corporate festival? And since when did writing in Australia answer to corporate dictate?

There are questions that should be answered by the BWF. Why were Carr and Greer blackballed? And by whom? When did the BWF stop seeing its role as supporting writers ahead of corporations? Is Greer being dropped because her views on rape are not those of the prevailing orthodoxy? Is Carr being dropped because of his views on Israel or population?

This is not an article I wanted to write. But as forums for public debate and discussion vanish throughout the country, in a week when Nine has announced the takeover of Fairfax, the importance of community events like writers’ festivals only grows in importance. They should not answer either to the mob or to corporations. They should be there for writers and writing, and all that these represent: tolerance, debate, difference.

Ponder all that we now know about how social media is manipulated by power, both national and corporate. Why, with that knowledge, would a writers’ festival ban writers because of fear of a social media backlash?

Beneath their determined, if dreary, attempts at funkiness and fashion, beyond the latest New Yorker sensation imported for our provincial enlightenment, past the wearying social media feeds with their ersatz excitement, writers’ festivals now run the risk of running with dogma, with orthodoxy, with the mob – with fear, in other words – and with money. It’s the new Victorian age wearing a hipster beard.

Indeed: I see this in my local bookstore: 57th Street Books, once a great bookstore but now largely dedicated, at least in the books they push, to Control-Leftist dogma. I of course agree largely with their position on the political spectrum, but why do they refuse to call attention to other points of view? I’ve never seen a book by a conservative advertised in their window; everything is devoted to literature by purportedly oppressed minorities. The Kingdom of Words is rapidly being balkanized. And the balkanization is largely due to social media, which functions at once to create tribalism and to demonize those whose points of view differ from yours.

I see no point in rewriting Flanagan’s eloquent words in my own style, so I’ll finish with a few other bits from his essay:

Of course, not all writers’ festivals are like this. But the large ones are increasingly becoming that way. If they were to rename themselves “Festival of Safe Ideas”, or “Celebration of Conventional Thinking”, or “Festival Approved by Twitter Bots” I wouldn’t mind. But having dropped two writers because, it would seem, of what they have written, for Brisbane to call itself a writers’ festival smacks of false advertising.

The individual examples of Shriver, Diaz, Carr and Greer, all point to a larger, more disturbing trend. Writers’ festivals, like other aspects of the literary establishment such as prizes, have in recent years become less and less about books and more and more about using their considerable institutional power to enforce the new orthodoxies, to prosecute social and political agendas through reward and punishment.

. . .McLean is quoted in the Australian as saying the BWF was “fully prepared to embrace controversy”.

What nonsense. The BWF embraces conformity, and two who threaten that conformity it punishes by banning. In doing so, it’s an enforcer, not an enabler; a punisher, and not a promoter.

. . . now, more than ever, we need places and forums where we can listen, reflect and discuss different perspectives and ideas that are not our own. This is not to suggest promoting propagandists and provocateurs to an equal footing with serious writers – but it is to argue that writing worthy of the name is not always comforting or reassuring, but that it does matter. The alternative is a Trumpian world of mindless Milo Yiannopoulos provocations on one side, and conformist clap trap on the other, both serving only to deliver power to those who would destroy us.

As this kind of banning and deplatforming spreads, nearly always promulgated by the Left, I find myself no longer surprised at the kind of censorhip and demonization practiced against those whose ideas are deemed ideologically impure. This is what religions like Islam and Catholicism do; it should not be the practice of writers and literary festivals.