“You should be more conscious,” says she.

The young intellectual quoted above – Denisse Moreno Melchor, the one apparently having some kind of episode – can also be seen here. On Twitter, Ms Melchor describes herself as a “Brown Magic Womxn.” Her pronouns, should you care, are “they/elle/she/ella.”

What’s interesting isn’t the content of the rote psychodrama so much as the dynamic, which is one we’ve seen before. Faced with a seemingly demented woman, one from a Designated Victim Group, other students attempt to appease and accommodate, only to be met with more psychodrama and overtly racial animosity. The targets of this abuse then back away, understandably, as interactions with demented people rarely go well. And so, again, ground is ceded, both symbolically and literally. Until the invited speakers, there to give careers advice, are followed to their cars and shooed from campus.

And, emboldened, the bedlamite claims victory.

Struggling with unfamiliar pronunciation is a “racist practice,” apparently.

Please update your files and lifestyles accordingly.

Listening to the broadcast, the dogmatic vanities are hard to miss, and the ladies appear oblivious to how they might seem. At least beyond the circle of the severely educated.

It’s also interesting how the grievances of the recreationally indignant – these self-regarding young women who wear victimhood like jewellery and complain about the emotional travails of ordering coffee – so often read as an assertion of class status. As if a modestly-paid coffee-shop worker, with whom they interact for a few seconds, and whose own name they don’t share, or presumably recall, should somehow automatically divine the unobvious pronunciation of an unfamiliar name, and then remember it, forever, despite interacting with hundreds of people every day, and having a life and priorities of their own.

We’ve been here before, of course.

Update, via the comments: 

While invoking Alex Haley’s slavery novel Roots as a guide to their own suffering, the ladies insist that, if you aren’t instantly sure how to pronounce Ms Ali’s Somalian first name, or Ms Roy’s Indian first name, then you’re a “vehicle of racism” and are “damaging” their “self-worth and sense of confidence,” and should, one assumes, prostrate yourself at the nearest Temple of Woke Sorrows. Given this kabuki of the implausibly downtrodden, it occurs to me that the charming lady who runs the local Chinese takeaway, and for whom English is at best a second language, has struggled to pronounce my surname for close to two decades. Presumably, I should storm in there one evening and publicly berate her for oppressing me and invalidating my personhood. Delicate flower that I am.

In the comments, Daniel Ream notes,

Teenagers gonna teenage, but for some reason we’ve decided to grant ignorant adolescents whose brains haven’t fully formed yet bizarrely elevated status and moral authority.

Readers may wish to ponder why it is that modern leftism dovetails so neatly with the psychological shortcomings of adolescents.

Being a “queer feminist poet” schooled in “critical race theory,” Ms Alison Whittaker is, of course, unhappy:

We’re in the midst of a renaissance in First Nations literature. I should be elated… So why do I feel this restlessness? 

Appearing as a headline guest at Australia’s recent Stella Prize longlist party, “a celebration of women’s writing,” Ms Whittaker felt a need to air her “itching discontent” and “confront” the “majority white audience” for the sin of pretentious enthusiasm – namely, their enthusiasm for works by people such as herself:

I talked about the “endless, patronising praise” I got from white audiences, and how I salve it with the frank reading of Indigenous women who “do you the dignity of taking you seriously.”

Fun night. We must do this again.

We’re told that being a “coloured” or “Indigenous” writer is fraught with “structural oppression,” on account of being “marginalised” – as when being invited to literary award parties and then swooned over by pretentious pale-skinned lefties. “Whiteness” and “white men” are particular burdens to Ms Whittaker and her peers, whose suffering – their “collective plight” – is seemingly endless and endlessly fascinating, at least among those for whom such woes are currency. As Ms Whittaker’s world is one of practised self-involvement, her point is at times unobvious. However, our unhappy poet appears to be annoyed both by “underwhelming responses” to her own writing and by insufficiently convincing displays of approval. All that “endless patronising praise.”

At which point, the words high maintenance spring to mind.

Dr Deborah Cohan is a self-described “dancing doctor” and mistress of “embodied medicine,” the aim of which is to “bring compassionate presence to healing encounters” via “a collective experience of dance.” Being, as she is, so in touch with the rhythms of her innards, the doctor’s statements of hard-won profundity are varied and numerous, including:

I am inviting myself to live at the speed of one second per second.

And,

There’s something edible inside incredible.

And,

A tree is never alone in the forest.

And,

Imagine new-born babies teaching medical students how to dance and touch empathetically.

Given the above, these fruits of “shamanic healing,” readers may not be entirely surprised to hear that Dr Cohan is also entranced by the potential of woke theatre. And so we turn to the New England Journal of Medicine – specifically, an article titled Racist Like Me — A Call to Self-Reflection and Action for White Physicians – in which our dancing doctor tells us many things. We begin, as is the custom, with a lengthy, somewhat tedious, confession of pallor, and therefore inherent wrongness:

I am racist. I would love to believe otherwise and can find evidence that I am not — my career dedicated to caring for underserved women of colour, my support of colleagues and trainees who are people of colour, my score on the implicit-association test.

That would be this test. The one in which the random positioning of a chair can be construed as damning evidence of racial antipathy.

For newcomers, more items from the archives.

You Look Like You Need Some Art. 

In which we thrill to the creative eruptions of Ms Sandrine Schaefer.

The pretence of intellectual heft and critical discernment is quite funny, given the unspoken rules of pretend artists and their pretend art. Like practically all of her fellow hustlers, Ms Schaefer tells us that she “investigates” and “questions” things, and presumably interrogates them; but despite this allegedly relentless curiosity, I doubt that any specific insight or profundity is ever conveyed to her audience, such as it is, via the art, such as it is. And of course, we’re not supposed to notice this, or notice the comical mismatch of arch rhetoric and inept flummery. And so, in order to feign discernment, one has to not discern any number of really obvious things.

Don’t Oppress My People With Your Big Hooped Earrings. 

On the woes of radical accessorising at Pitzer College, Claremont, California.

It does, I think, take a particular chutzpah to publicly claim to be oppressed - by other people’s earrings – while spending more than the median household income at a glorified holiday resort.

Fashionable Malice. 

Woke educators attempt to inculcate dishonesty, bemoan pockets of resistance. 

“White fragility” is the unremarkable fact that people by and large don’t like being slandered as racists and then assigned with some pretentious collective guilt, the supposed atonement for which requires deference to actual racists and predatory hokum merchants.