Angela Nagle - Kill All Normies: Online Culture Wars From 4Chan and Tumblr to Trump and the Alt-Right

What people are saying about

Kill All Normies

Amidst the chaos of our times, it is a relief to have a brilliant and fearless critic like Angela Nagle to turn to. Unwilling to stomach the liberal shibboleths that fail to adequately explain the emergence and significance of right-wing subculture, shes the only one willing to descend into the grimiest of Internet grottos and give us the benefit of her incisive and cool-headed analysis. (And thank god too, because Im sure as hell not doing it.)

Amber ALee Frost, Chapo Trap House

Angela Nagle is one of the few writers anywhere who has consistently refused to hold a double standard for virulent racism and misogyny even when it came in edgy countercultural packaging. Kill All Normies is a brilliant expos of the new faces of online nihilism and fascism, which can no longer be explained away as doing it for the lulz.

David Golumbia, Author of The Politics of Bitcoin: Software as Right-Wing Extremism

With a liberal left dangerously lost in the stormy waters of middle class self-flagellation, Angela Nagle is the lighthouse keeper showing us the way out. Her writing is unsparing in its diagnosis but never cruel. Unlike much of the Left whove grown far too accustomed to marginalization and defeat, Nagle still believes in politics as the only way of changing an increasingly brutal world. She is the writer and social critic Ive been waiting for.

Connor Kilpatrick, Jacobin magazine

First published by Zero Books, 2017

Zero Books is an imprint of John Hunt Publishing Ltd., Laurel House, Station Approach, Alresford, Hants, SO24 9JH, UK

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Text copyright: Angela Nagle 2017

ISBN: 978 1 78535 543 1

978 1 78535 544 8 (ebook)

Library of Congress Control Number: 2017934035

All rights reserved. Except for brief quotations in critical articles or reviews, no part of this book may be reproduced in any manner without prior written permission from the publishers.

The rights of Angela Nagle as author have been asserted in accordance with the Copyright, Designs and Patents Act 1988.

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Design: Stuart Davies

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In the lead-up to the election of Barak Obama in 2008, his message of hope was publicly and with great earnestness shared by vast numbers of liberals online, eager to show their love for the first black president, ecstatic to be part of what felt like a positive mass-cultural moment. After George W. Bush, who had waged wars in Iraq and Afghanistan, and embarrassed educated people with his Southern style, and his regular gaffs and grammatical mistakes or Bushisms, the feeling of shame among US liberals was captured at the time by books like Michael Moores Stupid White Men.

In stark contrast Obama was articulate, sophisticated, erudite and cosmopolitan. In the media spectacle of his election Oprah cried, Beyonc sang and crowds of young, adoring fans rejoiced. Even some of the icy hearts of those significantly to the left of the Democratic Party were temporarily melted in what felt like a mass outpouring of positivity and hope, an egalitarian dream realized.

Hillary Clinton tried to repeat this formula in 2016 by dancing on The Ellen DeGeneres Show, drafting in Beyonc once again, assuring listeners of her penchant for hot sauce and attracting feminist celebrities like Lena Dunham with the Im With Her slogan. However, instead, she became a source of comedy and ridicule among large online audiences from right across the political spectrum. When she solemnly condemned a new Internet age right-wing movement as part of Trumps basket of deplorables, the massed online ranks of the target of her comments collectively erupted in memes, mockery and celebration.

How did we get from those earnest hopeful days broadcast across the media mainstream to where we are now? This book covers this period from the perspective of Internet-culture and subcultures, tracing the online culture wars that have raged on below the line and below the radar of mainstream media throughout the period over feminism, sexuality, gender identity, racism, free speech and political correctness. This was unlike the culture wars of the 60s or the 90s, in which a typically older age cohort of moral and cultural conservatives fought against a tide of cultural secularization and liberalism among the young. This online backlash was able to mobilize a strange vanguard of teenage gamers, pseudonymous swastika-posting anime lovers, ironic South Park conservatives, anti-feminist pranksters, nerdish harassers and meme-making trolls whose dark humor and love of transgression for its own sake made it hard to know what political views were genuinely held and what were merely, as they used to say, for the lulz. What seemed to hold them all together in their obscurity was a love of mocking the earnestness and moral self-flattery of what felt like a tired liberal intellectual conformity running right through from establishment liberal politics to the more militant enforcers of new sensitivities from the wackiest corners of Tumblr to campus politics.

Through this period we can also see the death of what remained of a mass culture sensibility, in which there was still a mainstream media arena and a mainstream sense of culture and the public. The triumph of the Trumpians was also a win in the war against this mainstream media, which is now held in contempt by many average voters and the weird ironyladen Internet subcultures from right and left, who equally set themselves apart from this hated mainstream. It is a career disaster now to signal your left-behind cluelessness as a basic bitch, a normie or a member of the corrupt media mainstream in any way. Instead, we see online the emergence of a new kind of anti-establishment sensibility expressing itself in the kind of DIY culture of memes and user-generated content that cyberutopian true believers have evangelized about for many years but had not imagined taking on this particular political form.

Compare the first election won by Obama, in which social media devotees reproduced the iconic but official blue-and-red stylized stencil portrait of the new president with HOPE printed across the bottom, a portrait created by artist Shepard Fairey and approved by the official Obama campaign, to the bursting forth of irreverent mainstream-baffling meme culture during the last race, in which the Bernies Dank Meme Stash Facebook page and The Donald subreddit defined the tone of the race for a young and newly politicized generation, with the mainstream media desperately trying to catch up with a subcultural in-joke style to suit two emergent anti-establishment waves of the right and left. Writers like Manuel Castells and numerous commentators in the Wired magazine milieu told us of the coming of a networked society, in which old hierarchical models of business and culture would be replaced by the wisdom of crowds, the swarm, the hive mind, citizen journalism and user-generated content. They got their wish, but its not quite the utopian vision they were hoping for.