Jew World Order

Literary agencies house the agents, and the agents hold the keys to your literary career. Not all wish to self-publish and so you must send manuscripts of all varieties to the literary agent gatekeepers. Only if the agent likes your work, or rather, if they like you, will they send your novel or cookbook or whatever you have written to the publisher, while taking a large piece of the profit for themselves. So how do the agents, these veritable strangers who are nothing more than an email address on an agency website, perhaps with a small photo, who will soon decide whether one has a career or not, select the work that they send to the publisher? Surprisingly, they do not base their decision merely on the quality of the work. One would think that an agent would take all submissions, read them, then pick out the best in terms of writing, plot, pacing, character development, etc, and send only those manuscripts to the publisher. That process, however, is too sensible in the current political climate.

After completing my gothic novel, full of fantasy and romance and nothing at all political, I sent a manuscript to a few agents. I received two responses. One was only concerned with the racial group that I self-identified as and did not wish to read the work until I responded as they were focused only upon particular racial and sexual groups. When I sent the manuscript, I purposefully did not state my race, sex, sexual preferences, or any political or religious affiliation. I wished that my work be judged solely on its own merit with no regard to any politicised attributes of the author. So I simply sent my work, nothing else. But that won’t do in a world where bias and agendas are considered tolerance and diversity. Where being racist against a particular group is said to be combating racism. And selecting quality work is less important than the colour or sexual habits of the author. Naturally, I did not respond to this agent.

Another agent did apparently read some of my manuscript. She did not comment on character development, my dialogue system, or any reasonable characteristic of a novel. Instead she admonished me, about a gothic novel mind, in a Victorian setting, of having a female character be seen as unusual for wearing trousers in the city rather than a gown. Certainly in the Victorian era, both before it and after, a woman in a city in strange trousers would be considered heresy. Similar to seeing a gentleman without his hat. This innocent remark in my novel apparently caused some distress in the agent. Perhaps it would have been more acceptable to show those modelled after the Victorians as non-Europeans listening to pop music as they discuss to the crowds their preferred pronouns and what they self-identify as. A Victorian era novel such as that would be hailed as being brave and as smashing the oppressive past! After these two ridiculous encounters with agents I thought it best to thoroughly research the literary agencies before accidentally submitting my work to any more, shall we say, Marxist agents who are masquerading as saviours of the free world.

Books! The written word. That which has lifted us out of our primitive savagery and set us on a course which would soon include poetry, philosophy, mathematics, science, and which is now sending us to the stars. Nothing is more important than language. If the electricity fails, so does almost everything else. But not books. Not language. Our most important and pivotal discovery shall always remain as long as we do and even long after we are gone. But what do the gatekeepers to the publishers say about books? Those few who decide what the public will be allowed to read should be the paragon of fairness and integrity, yet oddly, they say quite little about books. In my research into the literary agencies I found that they mostly speak of racial identities and sexual preferences and some go beyond even that.

Red Sofa Literary had an agent on their website who stated that they wanted stories with “No white dudes”.

Other agents were interested only in “The Left”, “leftism”, “race”, and “marginalised authors”.

One agent wants to see stories “that set up shop in the many divides, dangers, and inequities of late capitalism”, and states that he is not the right agent for “stories of privileged people”, or stories of “police or other types of officers as protagonists; benevolent rich people”.

Red Sofa Literary is just one of many agencies with agents who seemingly discriminate against white men, straight people, Christians, and police being shown as heroes. Donald Maass Literary Agency, Frances Goldin, Jaberwocky, Jennifer Di Chiara, Writers House, and others have agents who state that they are looking for “poc” or “persons of color” authors, or that LGBT authors or characters are preferred, or say “no Christian fiction”, or that they are looking for works that, “dissect the right wing”, and a Transatlantic Agency agent stated that, “If you are comfortable, please include your social and cultural identities in your bio, especially if you self-identify as a person of color”. She says “especially if” you identify as a person of colour. Does that mean those who aren’t persons of colour are treated differently? Is giving preference to an author with a particular skin tone moral or even legal? Why do these agents care more about the author’s skin colour and sexual preference rather than the quality of their work? We already know the answer.

Cultural Marxism is unfortunately alive and well. These agencies choose agents who will specifically employ non-white, non-straight authors to further their agenda. The question is, however, do we have a right to discriminate against authors? If the answer is yes, then a literary agent should be allowed to say “no black dudes” or “no Islamic fiction”. What would the reaction be then? Certainly rioting would be involved if a black queer self-identifying female was discriminated against based on her attributes, but if a white straight male is, well then, that’s just the new normal. If using the physical or sexual characteristics of a person are in anyway used to determine if an author should be represented then that standard applies to both sides, or it applies to no sides in which case these agents and their agencies which permit this non-inclusive, racist, and intolerant behaviour have lots to answer for.

Imaging trying, in this world of smart phones, and tv streaming, to make books and literary agency discrimination seem important or worthy of discussion. If you’re still reading then thank you. You are wise to believe in the fundamental precept that all knowledge and all viewpoints are to be open to everyone at all times without censorship or agendas. Are books really any less important than a social media company discriminating? I’d say books are more important than any other cultural discrimination. Books are our foundation, yet they are being funnelled through leftist literary agencies who control what you read and who are ultimately trying to control what you are allowed think. So how do we combat this issue? First, we must make more people care about books. I’m going to say something now that only a few have ever thought. Books are sexy! That’s right! Books are sexy! Not just foundational, not only important, not triumphantly the cornerstone of civilisation, but just plain sexy!

Ever see a girl sitting on a bench reading one of the Brontë sisters, or going on a Verne adventure? There is no other word to describe such a scene besides sexy. For you ladies, ever see a guy in a suit and waistcoat reading Dickens? You marry that guy. Engineering, mathematics, gothic romance, or sci-fi adventures, it matters not. Books and those reading them are sexy. Books are our past and our future. The stories found within stay with you longer than any film, portrait, or piece of music. Our books, like most everything else under Marxist assault, are being suppressed or censored and we must not allow this to happen. Favouring authors or their characters based upon racial attributes, sexual preferences, or self-identities is not acceptable. In fact, it’s cowardly. Do non-white, non-straight authors not have the talent to compete with straight white male authors? Shouldn’t an agent read all books without looking at biological characteristics and simply accept the best? We all have access to paper and pencils, even computers and smart phones, libraries are free and the internet is available to all. There is no excuse. We all have the same resources. All should be competing equally with only the best winning. That is nature’s way, that is the only fair way, and certainly that is the only non-Marxist way which is why it isn’t currently in fashion.

The purpose of writing this isn’t to target specific literary agents or agencies. It’s simply to bring awareness to the depressing fact that we have to monitor for cultural Marxism and all its tentacles in all walks of life. Authors need to have agents available who either specifically cater to straight white conservative males, or if that is deemed unacceptable as the left would violently point out, the leftist agencies must stop their discrimination against white straight males and therefore have agents who cover the full spectrum, or better yet, have agents who only read the work and do not even look at the racial or sexual preferences of the author. In this political climate, despite the focus on equality, fairness is apparently too much to ask for.

As a response to the blatant discrimination, I wrote a dystopian novella which I am giving away free, available below, as a way to bring attention to the literary bias and to myself as an author. I won’t stay silent in the face of cultural Marxist bias, but rather I will challenge those who only find success based on their race or sexual preferences to pit their work against mine. Having seen the Marxist anti-white sentiment that has infiltrated most literary agencies, I now have every intention of writing only pro-European, pro-white, and pro-family novels, and I would hope that many others in the literary, film, and music fields will follow suit. Thank you.

– Ritter Sieggraf
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Our Struggle
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