The controversial and overrated UK comics writer was interviewed by Mondo2000, mostly about TV productions he’s been involved with along with the comics, and he bragged and boasted about a new status he’s taking up while pretending he’d been that way long before, and even makes bizarre comments about profanity. He also hints he’s quite pleased with the rise of social justice propaganda while discussing some mishmash called Aeon of Ma’at:
You can easily organize the evidence to suggest that there is an Aeon of Horus occurring now. Where systems are being taken down, where everything’s being questioned and audited, and the past is subject to major revision. So, there’s also some fun to be had in thinking “Ok, if this is actually playing out in some symbolic fashion, then what might the Aeon of Ma’at look like, artistically?’
And to me it looks like the rise of marginalized voices, it looks like more women coming into the discourse. It looks like trans people coming into the discourse. It looks like all the opportunities for groups who were disempowered by the Patriarchy, who couldn’t speak before to have their say.
It’s not a matter of women coming into specific discourse that’s concerning here, but rather, radical feminists who are. To the point they have no issue with “transsexual” men hijacking positions they supposedly consider important. Those are apparently the “marginalized” voices he speaks of, but don’t expect him to admit it’s the left-wing “patriarchy” that “disempowered” people of different skin color, along with women, and bases support for them conditionally according to whether they uphold their specific politics, and despises anybody who thinks for themselves. Morrison’s comment implies he’s a male feminist, but the following suggests even that could be in question:
Adding on the to the notion of words and symbols being charged with magic, they have also been charged through the increasing amounts of propaganda over the course of the 20th Century and into today. Isn’t that something that RAW is constantly reminding readers, that propaganda is real, and lots of it feeds off your base emotions, like anger and fear. Most people don’t recognize that cuz they haven’t seen the FNORDS!
GM: It’s more like people’s sense of the immense energy compressed into certain words. It’s not the word itself – as Wilson reminds us ‘fuck’ is a ‘bad’ word but it doesn’t sound much different from ‘folk’, a ‘good’ word, and it means the same as ‘coitus’, another ‘good’ word. So where exactly does the wickedness and dirtiness of ‘fuck’ reside?
Words become fetishized for reasons good or bad and the more fetishized they are, the more taboo they become, which confers an aura of outlaw sexiness that attracts some people to them.
Lenny Bruce, George Carlin, Bob Wilson himself, all made a point of saying that words should not be given this kind of power because once they have this power, they can become fetishized and weaponized. If you de-power a word then it can’t be used to trigger other people in the same reliable way, but we’re just not in that phase, with the dislocated politics of culture right now. I think people got it right to take down some of these structures right now and perhaps it’s okay to retire certain radioactive, abusive terms as long as we make sure we’re creating new words in other areas.
As a for instance, when I was a kid there were no words to describe certain aspects of my own experience. I’ve been non-binary, cross-dressing, ‘gender queer’ since I was 10 years old, but the available terms for what I was doing and how I felt were few and far between. We had ‘transsexual’ and ‘transvestite’ both of which sounded like DSM classifications rather than lifestyle choices! I didn’t want to be labelled as medical aberration because that’s not how it felt, nor was it something cut-and-dried and done. I didn’t want to ‘transition’ or embody my ‘female’ side exclusively, so I had no idea where I fit in.
Terms like ‘genderqueer’ and ‘non-binary’ only came into vogue in the mid-90s. So kids like me had very limited ways of describing our attraction to drag and sexual ambiguity. Nowadays there’s this whole new vocabulary, allowing kids to figure out exactly where they sit on the ‘color wheel’ of gender and sexuality, so I think it’s OK to lose a few contentious words when you are creating new ones that offer a more finely-grained approach to experience.
When we make the jump to a non-Roman-alphabet-based emoji language for purposes of radio telepathic communication, things will change once more.
If he’s trying to normalize obscene profanity, I’m not laughing. The f-bomb is a corruption of the whole meaning of sex, and it’s a very crude way of talking about it too that gives sex a bad name. It’s not funny how he’s normalizing all this LGBT propaganda either, and acting like some kind of genius when it comes to the whole stupid “non-binary” identity politics that have become a sad staple among quite a few on the left these days, who don’t even consider these notions a choice, but rather, an obligation.
Granted, it is interesting how he may not be that politically correct when bringing up words like “transsexual”, since there’s those on the left who absolutely don’t want to hear it spoken these days, if only because that makes for a perfect Orwellian form of censorship (in the past, some leftists may have even claimed the slang “queer” is inappropriate, even though it was common in the UK, and actually is otherwise in use today too). But it doesn’t excuse his suggestion he considers all this propaganda suitable for children, despite the harm it’s doing today. He even said the following:
What advice do you have for the magicians out there who have a story to tell and want to storm the reality studio?
GM: Tell a different story. Tell a fresh story that speaks to its times and the people around you. A story that offers possibilities, exit strategies, rather than apocalypse and ruin. I can’t see that there’s anything else…
In the Wonder Woman book I’m doing, for instance, I’ve actively avoided writing the boy hero story that’s so ubiquitous as to seem inescapable — the familiar story of the One, the champion, the Joseph Campbell monomyth thing that drives so many Hollywood movies and YA stories. We’ve seen it. The Lion King. The callow youth loses mom or dad, or his comfortable place in the tribe, and he has to fight his way back to save the kingdom from its corrupt old leader, before claiming the captive princess and becoming the new king and… ad infinitum. The Circle of Life if it only applied to boys. I thought, where is the mythic heroine’s story? In Ishtar Rising, Wilson talks about the myth of Inanna, and how she goes down into Hell and has to give up everything of herself to gain the wisdom and experience she can bring back to her tribe. Privileging the network rather than the sovereign individual.
And so, as I thought about the differences between the hero’s and the heroine’s journey, it gave me a bunch of different modes to work in. Finding ways to avoid telling the boy hero story again was quite liberating. It just gave me a bunch of new ideas, an interesting new way of telling stories that didn’t rely on the framework of the hero’s journey that Campbell talks about.
Oh, for heaven’s sake. If you know where to look, you’ll find plenty of stories where a princess-like figure must wage a similar battle, and in comicdom, a standout example I know of is Amethyst: Princess of Gemworld, from the mid-1980s. I’m sure there’s more, but he doesn’t seem interested in citing any. And he’s not being helpful by implying that “boy hero” stories is something tired.
Surprisingly enough, however, he seems to make an argument against identity politics, which is unlikely to endear him to the social justice crowd regardless of his ludicrous comments about non-binary business:
Playing the devil’s advocate here. Today there is a lot of fervor around identity, and there is one strong of thought that people can never truly understand what it is like walking in the shoes of others. Some may ask why a white man would seek to tell the story of a woman, from her perspective, instead of just sticking to what he knows, being a man.
How authentically real is that character or story, etc.?
GM: It’s important to air these feelings for debate. I must admit, with all respect, that I completely disagree with the idea that we cannot understand one another.
Firstly, there’s a major obvious problem about coming at things from this perspective — if fundamentally, we cannot truly know or have any meaningful opinion on what it feels like to be X, then we may as well stop listening to anything anyone else has to say about their personal experience, on the basis that it can only be irrelevant to our specific lives!
If I can never truly understand you without walking in your shoes and vice versa, what’s the point of listening or talking to anyone about our experience? What’s the point of writing stories, or protesting, or making art if experience cannot by its nature be communicated and understood by anyone who has not shared the experience of the artist, or the writer?
Of course, maybe it’s because he decided to grab everyone’s attention by claiming non-binary status that he thinks could shield him from the liberal backlash that’s bound to come, but in an atmosphere built around “outrage culture”, taking offense out of obsession rather than altruism, it’s never so simple. So, it’ll remain to be seen if he becomes the latest leftist to experience cancel culture, courtesy of SJWs who never really worshiped him to start with. That said, he at least makes a valid point that the whole notion one cannot understand the other is ridiculous, because there’s such a thing as scientific and psychological research, exactly why many SJWs are out of touch with science.
However, he later says:
GM: Well, this is part of the boiling process. Capitalist consumer culture has clearly reached its limits and we either advance to a more efficient, stable, less suicidal and aggressive engagement with other people and our environment or we go extinct as a species, taking all the whales and tigers and gorillas with us, before we even figured out how to talk to them and hear their stories! There are few options remaining.
If this is an assault on capitalism, he’s become galling again, but I wouldn’t expect any less from somebody who is, for the most part, a leftist ideologue.
Comic Years, a clearly SJW-pandering site themselves, proclaimed this “great news” for the industry, and stated:
Just the other day, we reported that the new Flash would be genderfluid (which is not the same as non-binary, regardless of how many media outlets think the two terms are interchangeable!). We’ve also spotlighted books like The Bride Was a Boy, a transgender love story/memoir. But for the comics world, Grant Morrison is a titan, so coming out as non-binary is a big deal. It would be like Peter Jackson or George Lucas, or Christopher Nolan coming out as genderqueer. Morrison is a pillar in graphic literature.
In fact, Grant Morrison comics are non-binary themselves. They aren’t flat out criticisms of the superhero genre, like most of Alan Moore’s work. Nor are they straight up celebrations of superheroes, like Peter David. Their work is neither, and both, and somewhere in-between. The very fact that they now felt able to come out shows how the industry is changing. And in a roundabout way, Grant Morrison paved the way for Morrison to come out as non-binary.
Of course he did. This is actually another way of hinting that the problem with Grant Morrison’s work is that it’s all about Grant Morrison, and not enough about the other people who’re assisting him in realizing it. As for that line about a genderfluid Flash, I wonder if they’re really alluding to the atrocious news about a non-binary variation on Jesse Quick, daughter of Johnny Quick and Liberty Belle, who’s turning up in DC’s Future State crossover, all as another excuse to cater to social justice mentality. Oh wait, they are! They just don’t have what it takes to be unambiguous about it. CY continues with this:
Morrison’s work, one way or another, has inspired countless comic book writers and artists, especially queer creators. Their work always has queer aspects. Sometimes, they are right out there, and sometimes very subtle. Especially works like Doom Patrol and New X-Men. As we said before, their work is a bit transcendent—and that work led to writers like Vita Ayala. Ayala is a fast-rising star in comics. They are taking over New Mutants after X of Swords, and they’re working at DC on some of their Future State comics. Ayala, and many other writers in the industry, are openly genderqueer. Writers like Ayala set the stage for Grant Morrison to come out as non-binary.
Well, I suppose we can guess how showbiz got flooded with all this recent LGBT propaganda – Morrison was an early example of somebody pushing it, subtly or otherwise, and his Doom Patrol/New X-Men stories were just the icing on the cake. And now, years later, we’ve reached a point where only so many of these obsessed ideologues have ruined both mainstream and indie comics with their negative touch that turns gold into straw, and will eventually lead to the sad collapse of comicdom because that’s all they’re interested in, pushing their ideology to the forefront, at the expense of anything more perceptive and palatable than their embarrassingly bad ideas. And Morrison clearly couldn’t care less. But, as Andy Warhol once said, everyone will be famous for 15 minutes, and Morrison hasn’t exactly been very big for over a decade now, so if SJWs decide, then as mentioned before, they’ll reject him for anything he said that doesn’t meet their PC standards.
Originally published here.