Recently, a New York Times article HERE wrote about "racist science fiction novels", among them "The Turner Diaries" and "Hold Back This Day", among others. Since then, the author of the NYT article has written and produced a play called, "How To Win A Race War", divided into three parts (the play runs over 3 hours) with the first set in the antebellum South, part II based on William Pierce's, "The Turner Diaries", and part III based on Ward Kendall's, "Hold Back This Day". Below is an excerpt of two theater reviews (both bad) from just the kind of left-wing scum who should've praised it. Their objection? The play was "too racist" in its depiction of racists. Yep, you heard right. Anyway, a final question: is there anyone in the DC area who could go see this play and let us know just what the hell was said on that stage? Unfortunately, a ticket runs 25 bux, so there might not be many takers...

Review by Karim Doumar: "How To Win a Race War—a whopping 3-hour, 15-minute ordeal—indulges in the world of white supremacy, wheels and deals in astoundingly racist and horrifying caricature, and expects a pat on the back for doing so. Its all-white, all-male cast performs a master class in racism, homophobia, sexism, and anti-semitism.

Written and directed by Klunch Artistic Director Ian Allen, How to Win a Race War brings to life Black characters who are only violent, animalistic and completely motivated by carnal instincts, Jewish characters who are solely motivated by money and power, and bereft of any soul or empathy, and female characters who lack agency and intellect and only exist as sideshows. This is not the stuff of microaggressions. It’s blatant, horrifying stereotyping that nobody should have agreed to create.

Here’s how Anderson Wells, the assistant director and music producer justifies it: In a Q&A with DC Theater Scene, he says the play is framed as a parody of white supremacist literature, and he feels the show is acting for the public good, helping increase understanding of white supremacist inspirations and rhetoric. The actors are not being racist themselves, but playing racists who are acting.

What rubbish."

READ MORE

Review by John Stoltenberg: "The three parts of How to Win a Race War take place in three epochs—during slavery (Get the Guns!), in the 1990s (Kill All Infidels!), and in a sci-fi future (Rinse and Repeat). They begin the same way: with an assortment of white-nationalist books arrayed on stage as if for sale by a street vendor. Before each play, the display is cleared away. This presumably should remind us that Allen’s fantasia on race wars in America riffs on actual source material that he doesn’t himself endorse but has processed into parody. Once the plays begin, though, that crucial frame of reference falters.

For parody to work on stage, an audience needs some familiarity with what is being parodied. We need to be in on the joke; we can’t be guessing what’s being joked about. With How to Win a Race War—unless we ourselves have read the hate literature as avidly as Allen—we have to keep inferring what his satirist’s gloss is referencing. And this puts us in the awkwardly untenable position of having to see as funny what Allen sees as funny while all the time knowing full well the source material he’s working with is hateful.

Ultimately the experience becomes an exhausting and numbing ordeal."

READ MORE

Scenes from "How To Win A Race War"