{"id":1112,"date":"2026-07-23T05:38:03","date_gmt":"2026-07-23T05:38:03","guid":{"rendered":"https:\/\/nationallogisticspost.com\/?p=1112"},"modified":"2026-07-23T05:38:03","modified_gmt":"2026-07-23T05:38:03","slug":"stories-staring-into-the-american-abyss","status":"publish","type":"post","link":"https:\/\/nationallogisticspost.com\/?p=1112","title":{"rendered":"Stories Staring Into the American Abyss"},"content":{"rendered":"

Utter Goodness<\/strong><\/em>\n<\/b>By Audrey Lee\n<\/b>Farthest Heaven, 120 pages, $17<\/strong><\/p>

A Prisoner\u2019s Cinema<\/em>\n<\/b>By Justin Lee\n<\/b>Passage Press, 264 pages, $30<\/strong><\/p>

As a child, I spent an inordinate amount of time watching survival shows. I Shouldn\u2019t Be Alive<\/em> was the one that stuck with me the most. What fascinated me about them was how much they contrasted with my own life: I could watch a convincing reenactment of some poor sod struggling for his life on the top of a mountain or the bottom of a crevasse or deep in the jungle, all from the comfort of my warm blankets, often past my bedtime (sorry, Mom and Dad).<\/span><\/p>

Read more The Spectacle Ep. 443: Trump\u2019s Election Integrity Speech That No Boomer Heard<\/a><\/p>

This article is from The American Spectator<\/em>\u2019s summer 2026 print magazine. Subscribe to\u00a0The American Spectator<\/em> to receive the magazine.<\/strong><\/p><\/blockquote><\/div>

My curiosity also led me to learn some not-quite-fun facts. For example, if you\u2019re ever buried by an avalanche, the best thing you can do is to spit. You\u2019re going to be tossed and turned every which way by the force of the snow slide. You\u2019re going to be trapped in a small pocket with very limited air, and you\u2019re not going to know which way is up. You won\u2019t know which way to dig, all while knowing that if you choose wrong, you\u2019ll suffocate. That\u2019s why spitting is useful: gravity always works, even under the snow. <\/span><\/p>

In other words, to know which way is up, you need to know which way is down. To seek the light, you need to know the darkness. And if you want to know which path you ought to take, you need to know which others are available to you. One of the advantages of stories is that you can, in some terribly impoverished way, experience the lives and struggles of others. <\/span><\/p>

I\u2019ve found that conservative works often fail to measure up in this regard. In their (correct) assessment that stories should seek to inspire rather than deconstruct, they\u2019ve allowed their righteousness to blur the line between is and ought. Without mortal danger, after all, one cannot truly have life-or-death stakes. The Sound of Freedom<\/em>, a critically acclaimed movie by many on the right, is the ultimate example of that. While nobody can doubt the nobility of the cause of ending child trafficking, one can certainly doubt the nobility of the characters portrayed in the movie. These are people with families and children of their own, casually embarking on a mission that could easily see them killed, or worse, on behalf of people they don\u2019t even know. That\u2019s heroic, but it\u2019s also unearned. Why do these people value their lives so little in comparison to others? It\u2019s not that one cannot come up with a compelling answer; it\u2019s that the movie largely doesn\u2019t try. The characters are not people as such; they\u2019re idealized moral avatars of a cause. <\/span><\/p>

I don\u2019t know many idealized moral avatars, but it seems tautological that they don\u2019t require any further inspiration. <\/span><\/p>

In other words, The Sound of Freedom<\/em>, like most conservative stories, was focused so much on being a conservative story, or frankly, a non-liberal story, that it lost focus on trying to be a good<\/em> story.<\/span><\/p>

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Subscribe to <\/em>The American Spectator to receive our summer 2026 print magazine.<\/em><\/p><\/div>

Two conservative short story collections, refreshingly, are a change from the usual tedium. These are Audrey Lee\u2019s Utter Goodness<\/em> (Farthest Heaven, 2026), the shorter and sweeter of the two, and Justin Lee\u2019s (no relation, to my knowledge) A Prisoner\u2019s Cinema<\/em> (Passage Press, 2025). <\/span><\/p>

Beware, though: these are not age-appropriate stories, and they are not for the prudish or faint of heart. This is because they speak to the human condition in ways other conservative works simply don\u2019t. Right-wing art often shies away from portraying life as it is. To show depravity, the thinking goes, is to endorse it. <\/span><\/p>

Many on the right are now thinking better of that. For example, Evie Magazine<\/em>, a conservative women\u2019s publication, recently published its \u201cSex Edition,\u201d which covers exactly what you would expect. That it did so was panned by some social conservatives, but the wisdom of it was plain. The right, in essentially giving up talking about Eros beyond simple platitudes, had ceded commentary on a massive part of the human experience to the left. The results were both disastrous and predictable. <\/span><\/p>

Art can have many purposes: to inspire, to condemn, to illuminate. But to do anything, it first has to relate. To make people think of their lives as they ought to be, it needs to first reach them as they are. If conservatism is true \u2014 that is, if it speaks to the underlying nature of human beings and reality itself \u2014 it cannot be utopian. It cannot be clean and pure, because the world isn\u2019t. <\/span><\/p>

Short stories are one of the oldest forms of narrative. The appeal is simple: unlike a novel, a short story can be read, or told, in one sitting. The tradeoff is that they must be, well, short. And yet at their best, their brevity can say quite a bit. One of my favorite details from my favorite short story, Fyodor Dostoyevsky\u2019s White Nights<\/em>, is that you never learn the narrator\u2019s name. So obsessed is he with his limerence, Nastenka, that he never thinks of himself. And she thinks so little of him that she never says his name, either. A longer narrative would almost certainly demand it at some point, but the short story facilitates the creative choice, which says so much about both of the characters. <\/span><\/p>

Utter Goodnes<\/em>s is the more grounded of the two works. There\u2019s nothing magical or fantastical about it, although it certainly has its share of allegories. The best single word to describe it is Americana. Lee puts you in the shoes of different Americans as they face all sorts of modern trials and tribulations. These range from a fitness instructor to a cult member to a battered wife to a horse to even, perhaps worst of all, a journalist. <\/span><\/p>

The most evocative, to me, was \u201cAmerican Girlfriend.\u201d The title is deliberately euphemistic \u2014 the character and her entourage are, at best, gold diggers. And yet, it\u2019s also a human story \u2014 of how the point-of-view character ended up there, her feelings toward the man who became her benefactor, and so on. It\u2019s not something she intended; it just kind of happened. Despite the distinctly unrelatable subject matter, it was a very relatable feeling. It\u2019s the easiest thing in the world to just go along with something, to take the path of least resistance. Because of that, it\u2019s worth remembering that doing so is often perilous. <\/span><\/p>

Some of Utter Goodness<\/em>\u2019s stories are short even by short story standards \u2014 not even three pages. But they all evoke, in the positive, intended way, the question every author wants his or her audience asking: what does that mean? It\u2019s a fair question, and sometimes it seems like there might not be an answer. <\/span><\/p>

Read more The Anti-Communist Counterattack Begins on Screen<\/a><\/p>

The answer, if there is one, is likely to be found in the form of a Hunter S. Thompson quote before the beginning of the first story: \u201cIt\u2019s our country,\u201d he says. \u201c[I]n a democracy, you have to be a player.\u201d Though Lee\u2019s characters include the virtuous and the vile alike, they all feel human. Yes, even the horse. <\/span><\/p>

A Prisoner\u2019s Cinema<\/em> is without question the darker book. That epithet is evoked by the title: prisoner\u2019s cinema refers to a phenomenon in which a person kept in prolonged darkness will begin experiencing colorful, brilliant hallucinations. <\/span><\/p>

In a roundabout way, that\u2019s what the book is. The characters of A Prisoner\u2019s Cinema<\/em>, to one extent or another, have their souls shrouded in darkness. All of them have something: addiction, resentment, narcissism, grief, or cynicism. All of them are haunted by it in grotesque, esoteric ways that explore the more ugly parts of human nature that are nevertheless all too human. <\/span><\/p>

It\u2019s also highly introspective: intermixed with the stories are no fewer than three chapters of the author discussing the meaning of the book, as well as his own character and motivations, with a stand-in for Satan. <\/span><\/p>

If Audrey Lee\u2019s book will make you cringe, Justin Lee\u2019s will make your soul recoil. In particular, the titular story, \u201cA Prisoner\u2019s Cinema,\u201d evoked Crime and Punishment<\/em> in a more modern, depraved, and horrifying way. The story follows the stream of consciousness of a murderous pedophile, Cal, as he\u2019s being executed. It also features the nonproverbial devil on his shoulder, who\u2019s been egging him along to where he now finds himself. The character is given a surprisingly humane and believable story. This is not a person who was soulless or without a conscience, which makes his monstrousness all the more disturbing. And as with Raskolnikov, one couldn\u2019t help but feel complicit in what the point-of-view character had done. While excellently written, I was relieved when that story ended and I could go back to being somebody who isn\u2019t a murderer. <\/span><\/p>

And yet, I came away from this feeling like I learned something \u2014 about morality, about human beings, and even about myself. The obvious impulse is that this person is a moral monster and should be killed immediately. He is and he should, but that\u2019s not interesting or informative. What we learn is that Cal did not become a monster overnight. He became a monster through small, repeated acts that accumulated until he had been twisted beyond recognition. <\/span><\/p>

A Prisoner\u2019s Cinema<\/em> is a scary book, but more importantly, it\u2019s a horrifying one. The distinction is important. The first horror movie I ever watched was Halloween. While without a doubt it was very frightening to the 10-year-old me, it was only surface-deep. The horror in A Prisoner\u2019s Cinema<\/em> is internal, within the mind of the characters and, by extension, ourselves. You can\u2019t just shoot it and make it go away. Well, I suppose you could, but that would be\u2026 counterproductive. <\/span><\/p>

The through-line between the two stories is the presence of religion and shame. While both works are neck-deep in characters who sin, especially sexual sin, this is always descriptive, not prescriptive. While we often understand them, sympathize with them, and see ourselves in them, it\u2019s plain that they are violating a preexisting moral order and are suffering because of it. <\/span><\/p>

These characters, all of them, also have flashes of humanity. Of knowing what they should be doing and, all too often, failing to discharge it. That\u2019s precisely what makes them feel relatable and human, and it\u2019s what allows these works to credibly examine the darker aspects of human nature.<\/span><\/p>

Conservatives have long struggled in the arts. Those artists who are conservatives have therefore had to deal with significant hurdles in producing anything of national prominence. The talent pool is smaller, the means of distribution narrower, and the incentive structure weaker. That\u2019s to say nothing of the financial difficulties: conservative donors, for whatever reason, seem to have less interest in the arts outside of narrow passion projects. <\/span><\/p>

The cultural zeitgeist on that may, at last, be changing. New conservative book publishers are publishing new conservative books that are aimed at popular audiences and are not ideological screeds. The rise of AI, combined with social media, portends the possibility of bypassing the institutional and financial gatekeepers to conservative film and animation. <\/span><\/p>

The latter Lee\u2019s book might be especially relevant to the modern political moment because, just like his characters, the conservative movement has found itself in a rather dark place and is psychologically tearing itself apart in rounds of inwardly directed recriminations, infighting, petty feuds, and conspiracy theories that have failed to cease even after the murder of conservative activist Charlie Kirk. <\/span><\/p>

It\u2019s unlikely any conservative art, regardless of its quality, will make an immediate impact on the prospects of the second Trump administration and the MAGA movement. But just like the art found in the ruins of Rome inspired the Renaissance, so too might this conservative cultural capital, created in a perhaps fleeting moment of hegemony, inspire whatever form the American right takes after Trump.<\/span><\/p>

Read more When Homer Meets Hollywood<\/a><\/p>

READ MORE from Stephan Kapustka:<\/strong><\/p>

One and a Half Cheers for the Empire State Building Daredevils<\/strong><\/p>

Why Go to Mars? Let\u2019s Count the Reasons.<\/strong><\/p>

Why JD Vance Told Me to Run for President<\/strong><\/p><\/div><\/div>","protected":false},"excerpt":{"rendered":"

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