‘You reap what you sow’. After spending years feeding the progressive beast, JK Rowling has finally learned the meaning of this proverb. 

How? Just like with any social media mob, it started when Rowling was caught espousing views that are out of date. This time, it was the view that the biological binary of sex exists.

This view, while previously seen as virtuous when coupled with the assertion that such a binary is seperate from gender, has since become heterodox to the progressive canon. As such, espousing the view is now heretical, and warrants nothing but excommunication. 

Stripped of any social credit she had left, the creator of Harry Potter was branded a TERF, a term used to slander boomer feminists who have not adhered to new doctrine. Many expressed their virulent hatred of the woman, even exclaiming that she had lost any right she once had to her fictional creation.

You see, Harry Potter is very important to these people. Since they lack any religious or philosophical grounding, these progressives are forced to latch on to media franchises to give their lives meaning. While things like Marvel and Star Wars are both often used for this purpose, Harry Potter is the main mythology-replacement of choice for the childless millennial progressive.

Harry Potter itself is built for this purpose. It is overly simplistic, painting its characters in broad strokes of good and evil. Harry himself is a paragon of virtue that borders on being a Gary Stu, while Voldemort is an evil ‘pure-bloods-only’ racist that wants nothing but to hurt people and be evil. 

This simplicity, while negatively affecting the literary value of the series, lends itself greatly to its use as pseudo-mythology. The progressive millennial struggles to find identity in their world, and as such uses the pseudo-myth to cling to a fantastical wizarding identity. 

Instead of just being another sexless, genderless consumer, these millenials tattoo themselves with joint-smoking Hufflepuffs, or drape their rooms with revolutionary Ravenclaw banners, or perhaps wear a sweatshop t-shirt with the insignia of deviant house Slytherin. Through Harry Potter, these people can be sold an identity on which they can subsist.

Since the author of this mythology is now a TERF-munching troglodyte, the franchise must be reclaimed. While the progressives cannot do this legally, they can at least try to do it socially. Just as Pepe was seized from his creator through memes, progressive Twitter now lays claim to Harry Potter through cringy memes, endless fan-fiction and god-awful drawings. JK Rowling has lost control of her own work. 

Despite all this though, I do not cry for her. She chose her fate a long time ago by siding with the progressive Twitter hegemony. If you train a rabid dog to hunt down innocents, you cannot complain when it finally turns on you.

However, I do cry for the world Rowling helped create. The industry for Young-Adult fiction has suffered immensely under progressive hegemony for the last number of years. It has even gotten to the point where the industry now has its own Twitter Stasi, who are so brutal that even the likes of Buzzfeed have become wary of their actions.

2019 has seen more literary controversies than one could count. Starting off the year, the YA novel ‘Blood Heir’ was pulled for being written by someone of the wrong ethnicity, and hence being racist as a result. The story centred around slavery, and since the author was a Chinese immigrant and not black, the novel itself was a form of cultural appropriation.

This idea that people can only write about their own heritage came about due to a progressive campaign for diversity. Titled ‘#OwnVoices’, it was a moral crusade targeted at anyone who dared write about groups they weren’t a part of. The non-conformists were deemed hateful evil racists who deserved to be burnt at the stake, or at the very least be flogged in the Twitter town-square. 

As usual, left-wing Twitter were to be the judge, jury, and executioner for the court of #OwnVoices. Men like Kosoko Jackson led the charge against the dog-whistling cryptonazis amongst them, stating stunningly and bravely on Twitter:

However, as I said before, you reap what you sow, and boy did Jackson reap. When the time came for Jackson himself to get a book deal and try to publish something, guess what happened?

Jackson had made the same fatal error that he had so often charged people with. His novel ‘A Place For Wolves’ was set during the Kosovo War, and as such was a story to be written by a Muslim not a gay black man. As you can expect, the book was pulled.

This cancel culture has since began to leak into mainstream fiction. Author of The Boy in the Striped Pajamas soon found himself on the chopping block with his book My Brother’s Name is Jessica. The author, obviously expecting to be praised for adopting this new trans-agenda, instead was lambasted for stealing a story from ‘trans’ writers.

The destruction of written fiction by the progressive virus is worrying, not only because of the sheer extent of the destruction, but also because of how important the industry is. Children are shaped by the stories they read, and while I detest those who view art as mere propaganda, one cannot dismiss the persuasiveness of a novel.

Well-written fiction conveys ideas better than any philosophical treatise ever could. This truth was understood by the wisest among us, with even the likes of Plato and Berkeley framing their philosophy in narrative prose. Stories shape our understanding of the world around us, and not always in a way that is positive.

There is no better place to see this truth than Twitter. The modern progressive was raised on Harry Potter, and to this day they cling to its narrative of a cosmopolitan dichotomy. The world is made up of good and evil, and the progressive millennials believe they are the good guys. This is why they are so smugly self-righteous.

We must create a new fiction to counter this narrative. While the Millenials were reared on the simplistic concept of good versus evil, we must raise our children to understand the complexities of our world. In order to do this, we must give them a new mythology, a new fiction, that recognizes this complexity. Only through this can we raise a better generation of kids, a generation who will be able to tackle the cancerous utopianism of the millennial progressive. Only through this, can fiction be saved.

Posted by Daithí O'Duibhne

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