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He is simply told to refine his defense and create distance between his actions and their consequences. Later, the editor adds “Both the white nationalists and the neo-Nazis took over this ill-defined term ‘alt-right,’ and soon the initial people who enjoyed the label were being accused of sins they did not commit” to “clarify that the movement was invaded.” The movement itself cannot be blamed the neo-Nazis who found a home there must be instead. His editor moves “Why the Alt-Right Hates Me” to the beginning of the book, explaining that “it’s important to put this chapter up front.” Once the reader understands that Milo rejects, and his rejected by, the alt-right, that which follows may seem less offensive. When Milo casually brings the incident up another time, he highlights the reference and notes “When you discuss Leslie Jones in this book-AND YOU MUST-don’t resort to jokes about her looks.”Ĭontinually, Milo is told to distance himself from more odious figures. The editor insists that it must be addressed, coherently, in a single instance. The major issue with the Leslie Jones story is that it is presented in piecemeal throughout the book. When Milo refers to the bigoted trolls as “harmless memesters,” he is scolded, “if the memesters sent the Harambe pictures, they were not ‘harmless.’” But this isn’t the point of the note: “WHO DID WHAT must be made clear in your INITIAL explanation of the Leslie Jones story.” The results of Milo’s antagonism cannot be disputed who is directly responsible for those results, however, can. Instead of urging him to accept responsibility for this, the notes nudge him towards a new narrative, one in which he is blameless. This led, in turn, to Milo’s account being deleted. Milo rose to prominence for inciting a group of trolls to mock Leslie Jones the trolling became so unbearable that she decided to delete her Twitter. To remedy this, his editor adds, “trolling must have a purpose the difference between trolling and cruelty is that cruelty has no purpose except to hurt someone.” In the notes accompanying the sentence, he explains that it is necessary “since most accusations against you point to the harm they claim you’ve done.” While he suggests there is a higher purpose to his attacks, he doesn’t say it outright. In the prologue, “The Art of the Troll,” Milo makes a case that his postings are a vital form of truth telling. The note goes on to lay out exactly how Milo can argue that his speech is defensible: The very first note left by Milo’s editor urges him to “Make the point that in each and every chapter of this book, what you intend to show is the stifling of speech.” With the exception of the final chapter (“Why My College Tour Is So Awesome”), each one is devoted to a specific source of resentment towards Milo: Why Black Lives Matter Hates Me, Why Muslims Hate Me, Why Establishment Gays (originally “Other Gay People”) Hate Me, etc. To this end, Milo was encouraged to repeat the bad-faith argument that his trolling is an issue of freedom of speech, an argument that hides blatant misogyny, racism, and other forms of hate speech beneath the veneer of protected speech. More to the point, people felt vindicated by the editor’s attacks on the book’s bigotry.īut there’s something deeply disconcerting about the fact these editorial comments represent the efforts of a major publisher to make the vitriolic ramblings of an alt-right troll more palatable.
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There is certainly pleasure to be found in reading Milo’s frustrated editor call him out on things ranging from his narcissism to his ignorance of Shakespeare. Yesterday, the internet delighted in the scathing editorial notes ripping Milo Yiannopoulos’s manuscript for Dangerous to shreds.