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An illiterate and morbidly obese 16 year old Black girl scrambles out of KFC with a stolen bucket of fried chicken, then races to the waiting room of a special school for delinquents. While in the waiting room, she lurches forward and vomits into the garbage can because she’s pregnant with her second child. The father of the child is her own HIV Positive father, who viciously rapes her while her mother looks the other way and plots to use the additional offspring to get more welfare money.

No, you’re not trapped in one of Bill White’s darkest fever dreams. You’re watching Hollywood’s latest “racially charged” drama, Precious. The movie, directed by a Black homosexual, is based on the novel Push, which was written by a Black lesbian. It is part of a general paradigm shift that has occurred within the last couple years in which Hollywood has eased up on exploiting White Guilt for a spell in favor of exploiting an even deeper reserve: White Pity.

Precious, the titular monstrosity, fantasizes about being a blonde White woman, has a crush on her White math teacher, and is eventually rescued from a cast of literally and figuratively dark characters by White, nearly White, and very light heroines. White and light social workers, like guardian angels, are offering salvation, but the dark forces of Black culture try to pull her away from the heavenly glow of literacy, employment, independence, and Whiteness.

This inversion of the role of Whites isn’t part of some realization by Hollywood that it has been too hard on us. With White Pity films, we’re encouraged to perceive ourselves as noble protectors of our inferiors. In Gran Torino [1], Clint Eastwood turns his back on his own ungrateful White family to take pity on a Hmong girl who’s been raped and terrorized by Hmong gangsters. In The Blind Side, a suburban White family welcomes a homeless and muscular Black buck to live in the same home as their very young teenage girl.

It’s a bit refreshing to see more accurate portrayals of the poverty and depravity of America’s ethnic ghettos, but it’s the same product with a different pitch. Whites must transfer their resources to minorities. We have a moral obligation to give what we have to them. The new movies continue to promote our ongoing cuckolding on a civilizational scale, but accommodate the fact derived from focus groups that Whites are getting a bit desensitized to the guilt shtick.

Frankly, and this may be even more heretical than “racism,” the problem I saw was that there really wasn’t any hope . . . at all. If you’re not literate by 16, then encouraging you to try to study until you can get into college is preposterous. At one point, the teacher tells Precious that getting educated is more important than raising her child. I tried to picture these characters performing any kind of job whatsoever and was incapable of it. For all the conservative nonsense about “workfare,” proposing that Precious’s mom could become independent if she tried is preposterous. Pretending that illiterate Third World couch potatoes infesting the collapsing ruins of Western Civilization would be capable of achieving first world educational, occupational, and social goals is a kind of abuse.

It’s like telling a paralyzed kid that he could walk again if he would only try harder.

From Occidental Dissent, December 19, 2009