Den politiskt korrekta förvrängningen av historien som pågår inom underhållsindustrin hotar att minska vår förståelse för hur människor levde och tänkte förr. Det skriver historikern Casey Chalk i en essä The American Conservative (26/2 2021):
The blatant disregard for any veracity in historical fiction, and the media’s fawning celebration and normalization of woke ”alt-history,” becomes more absurd by the day. One might object that to complain about the facts of historical fiction is inappropriate and unfair — it is fiction after all. But the descriptor prior to the word “fiction” suggests authors aim for their imagined tales to have some basis in the historical record. Readers, in turn, expect the characters in such books to manifest qualities and inhabit roles that are appropriate to their historical age, and for that age to be described in ways that more-or-less correspond to how things actually were.
It’s not just that reinterpreting the past to suit our pet ideological fetishes results in an erroneous understanding of human history. In its cynicism and chronological snobbery, it also evinces its own unique form of oppression and subjugation, enacted upon our ancestors, whom we effectively silence and coerce to articulate our own words. What they actually believed—say, about family, power, race, gender, or sex — is subordinated to whatever we reimagine them saying, either as forerunners of our woke world (e.g. Samori Touré) or villains worthy of censure and cancellation (e.g. Columbus). As much as book publishers and media outlets celebrate such silliness, perhaps obliged to pay what Kyle Smith at New Criterion calls the “woke tax,” the quality of both our nonfiction and fiction, reduced to so much self-worship, can only decline.
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BILD: Den svarte skådespelaren David Gyasi spelar den grekiske hjälten Akilles i BBC och Netflix teveserie Troy: Fall of a City (2018).