Did a feminist use the Internet to inflict her violent revenge fantasies on the public? Probably. To understand why and how, you first must understand the role played by the Internet in today’s social justice movement.
Black Lives Matter thugs, feminist censors, progressive fascists and other would-be totalitarians – the people who want to tell you what you can say, what you can think and what you are allowed to do with your life – could not exist without the Internet to further their movement. In person, as we’ve seen at recent Trump rallies, these libs almost immediately resort to violence. They are not capable of defending their ideas, and in their frustration, they lash out physically. Given that the people they are violently assaulting are much better trained and versed in the tools and methods of self-defense than the activists are at mob assault, this is not a battle the social justice whiners can win. This is why they always return to their Internet safe-spaces.
Today’s Internet is awash in such bias. The management of the average blog service is happy to purge conservative thought while leaving liberal ravings intact. Twitter and Facebook are notorious for their censorship of conservatives and libertarians. Twitter appointed noted feminist sensors like Anita Sarkeesian to its “Trust and Safety” council and regularly bans conservatives simply for being conservative. Facebook’s own employees admitted that the site censors news items sympathetic to constitutional views while deleting the accounts of the conservatives expressing those views. Tumblr as a blog site is practically a punch line, catering as it does to the delusions of social justice whiners. The list goes on and on.
Recently, one such social justice activist used the Internet – specifically, the website XOJane – to promulgate her violent, grrl-power fueled tale of revenge for sexual assault. The only problem is that this propaganda about female empowerment is almost certainly made up.
Not long ago, contributor Emily Eveland painted the lurid picture of having been raped. That is sadly unremarkable, had the story ended there. But Eveland’s tale gets much stranger. Dismissing out of hand any thought of going to the police, she claims she turned immediately to vigilante action. “I called my ex-boyfriend, a relative, and a friend, told them I had been raped, and asked the three of them to come to [Western New York],” she writes. “They didn’t ask questions. My ex hopped a train from Indiana to Rochester and the others came in from Chicago. Over the next three days, we held private discussions in my bedroom, met up with Sean’s roommates, and talked to his friends. The consensus was that our plan was fair.”
Eveland claims that she and her posse of ski-mask-wearing rapist-beaters arrive at Sean’s house a grand total of two weeks after Eveland was raped. When Sean answered the door, they punched him, “threw him into a glass coffee table,” and screamed at him not to rape people as Eveland beat him with a “sock-in-lock.” This is presumably a padlock in a sock (a “slock”), probably because Emily Eveland has seen “Orange is the New Black.”
“Sean said nothing throughout the attack,” Eveland claims, “just looked at the ceiling. Maybe he knew he deserved it. … As the others headed for the front door, I turned around once more and screamed ‘[expletive] YOU’ in my own voice – the voice Sean had tried to take away from me. I lifted my weapon and whipped it hard into his stomach.” Eveland then describes how she had a very empowering tattoo with the slogan “Burn It To The Ground” inked on her chest. She characterizes her gang assault on her rapist as “controversial” and says that, five years after the assault, she “stands by” her decision to beat her rapist.
The only problem is that every part of her story is made up.
The piece is straight from Feminist Central Casting. I don’t for a minute believe that this incredibly vivid story, replete with so much trite feminist iconography, happened as described. I don’t believe the victim of such a home invasion would silently allow himself to be beaten, then never report the crime. And I don’t believe any group of friends or exes would simply agree to this plan without question, traveling hours in some cases in order to perpetrate the act. Who commands that sort of loyalty? And why, among all the friends, relatives, exes, friends’ roommates and uncle’s cousin’s brother’s former car-pool members did nobody say, “Hey, committing a home invasion and battery seems like a great way to get arrested or shot in the face”?
If Emily Eveland was so traumatized by being raped that she was willing to commit vigilante violence, why does she also describe a bizarre sequence in which she and her ex rap along with Tupac on their way to commit the crime? Why the tattoo? Why the final, triumphant strike with the slock, to prove that this odious man could not “rob her of her voice”? None of it sounds like real life. It reads like the pornographic revenge fiction of a woman who wants to feel powerful. And that’s just who Eveland is. On her website, she warns us to fear her “feminine rage.”
“I’m that [expletive] in the moshpit throwing elbows at the dudes who untie my dress, who touch my [expletive], who grab my waist, and ask where my boyfriend is,” she writes. “I’m the [expletive] who put the 6-foot-something bro in a headlock after I found him choking a young girl. I’m the [expletive] who screamed ‘you touch her again, I’ll destroy you.’ I’m the [expletive] with the pepper spray pointed at the man who put a hammer through [a friend’s] window two weeks ago. I’m the [expletive] who outs rapists on Facebook. I’m the [expletive] who punched the dude harassing my friend in the stomach. I’m the [expletive] with the knife in my purse. I’m the [expletive] in your Krav Maga class. I’m the [expletive] with the master lock.”
Except that Emily Eveland is none of these things. She is just another unhinged social justice whiner who cannot commit in real life the violent acts she imagines. She is just another angry young girl – who is using the Internet to force her deranged fantasies on the public.
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