What David Mamet “meant” to say with his controversial drama Oleanna is irrelevant, for the purposes here. Divorce the frustrating artist from this powerful work, and you have a compelling artistic rendition of the amorphous concept of “privilege.” Oleanna in its visceral effect on certain audiences is much more interesting than whatever milquetoast political point its author may (or may not) have been trying to make. This disclaimer is necessary because I am not even passingly interested in defending Mamet or Oleanna as a piece of historical/political commentary.
Privilege is often employed in debate as a way to explain why a particular individual or group of individuals thinks or acts the way they do. But it is rarely sufficiently detailed to create a picture of the social relations at play. Being skeptical of the concept of the “privilege,” as I am, is not the same as saying privilege (male privilege, race privilege, heteronormativity) does not exist. It is more skepticism of its power as an explanatory phenomenon in social dynamics.
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