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sebold

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The article argues that Alice Sebold, author of The Lovely Bones and Lucky, has been exposed as a liar in court, and therefore, nothing she has ever said should be believed. The author points to inconsistencies in sebold’s account of a 1981 rape at Syracuse University, suggesting she misstated her age at the time. A black man was convicted of this crime and later exonerated after a judge ruled that police and sebold conspired against him, despite her inability to identify him. This man is now suing sebold, the police, and her publisher. The author questions the credibility of sebold’s entire career, particularly her book The Lovely Bones, which is also about rape. This situation reportedly unraveled on the set of a new movie based on her work, which has been scrapped. Executive producer Tim Mucciante reportedly discovered discrepancies in sebold’s story. The author also critiques sebold’s writing, calling it “flabby description” and “bad prose cut up into lines for no reason.”

The article then delves into the backgrounds of several writers, suggesting they are part of a connected, often Jewish, elite who promote each other’s work. The author claims sebold was recruited at Syracuse University by teachers like Tess Gallagher, Raymond Carver, Tobias Wolff, and Hayden Carruth. Gallagher is criticized for her poetry, which the author deems unpoetic and poorly written. The author investigates Gallagher’s familial connections, linking her to Hiram Bond and the Vanderbilts through her maternal line, and notes that computer searches yield no verifiable information about her. Similarly, sebold’s background is questioned, with the author suggesting a hidden familial connection to Gallagher and noting inconsistencies in her stated birth year and digital footprint.

The author expresses extreme animosity towards these writers and their perceived literary projects, viewing their work as part of a conspiracy (“Men-are-Pigs project,” “Project Chaos volcano”) designed to suppress and marginalize non-elite individuals, particularly for the financial gain of “top Jewish families.” The author dismisses the prevalence of rape statistics and the idea that women should always be believed, calling such narratives manufactured by “Intelligence” to create division and fear.

The article then scrutinizes Tobias Wolff, questioning his claims of not knowing his father was Jewish and linking him to the Loftus family, who are connected to English peerage. Wolff’s education at the Hill School and his academic background at Oxford are also presented as suspicious, suggesting he is a “spook” or involved in clandestine activities. The author dismisses Wolff’s assessment of a “renaissance” of the short story, arguing that the art form has been in decline since the late 1950s, intentionally “obliterated” as part of “Modernism.”

Raymond Carver is also targeted, with the author questioning his humble origins and suggesting he is connected to wealth and prestigious families, possibly the Clevelands. The author finds inconsistencies in Carver’s educational and publication timeline, implying his early success was fabricated. Carver’s relationships with Gordon Lish, who is described as having CIA ties, and his work at Science Research Associates, a supposed CIA front, are presented as evidence that Carver was a CIA project. The author criticizes Carver’s poetry and short stories, particularly “Fat” and “Where I’m Calling From,” deeming them unpoetic, pointless, and deliberately bad. The article concludes by suggesting that this poor quality of writing is characteristic of Modernism, which the author views as an intentional “dark age” designed to waste talent and promote mediocrity, controlled by “corrupt families.”

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