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How the culture wars killed free expression

"Shinn’s play is set on the eve of a presidential election. The Democrats are on the point of victory when news breaks out, via political blogs, that the would-be new president’s homosexual son, John, has gone to a party dressed as the prophet Mohammed and his friend as the gay-baiting evangelist Pastor Bob.

As footage of the party circulates around the globe, sparking riots in the Muslim world, John is under immense pressure from presidential advisers to make a public apology. While John insists on the importance of free expression, and also that he was attending a private party, his friend Matt points out that he could be responsible for deaths around the world. Principle and pragmatism collide to fascinating effect. Staged in real-time, Now or Later carefully explores the anguish and arguments of this very contemporary concern...

Shinn says that in Now or Later he is exploring conflicts and clashes between the West and Islam. As he puts it: ‘With Islam, it is perceived that the current administration is responsible for suffering in the Muslim world’, says Shinn, ‘and therefore there can be no criticising of that world or how Muslims might experience that. The end result is to limit the conversations that Muslims can have about that themselves.’

Nevertheless, Shinn’s well-crafted central protagonist in Now or Later, John, is motivated just as much by exposing the censorious nature of Ivy League students, as attacking Muslims in and of themselves. Surely, I ask him, the problem of censorship has its roots within the liberal left rather than any external threat to ‘Western values’? ‘Yeah, I think you’re right,’ says Shinn. ‘I think in many ways American campuses are a distorted and extreme way of dealing with problems in US culture. The left-wing ideology in these campuses doesn’t seem to be related to the way the world is. The antics on campus almost have a feeling of play acting, as it’s so divorced from people’s lives. Nevertheless, the Ivy League students are the future politicians and opinion leaders so it’s worth examining how they’re getting a distorted picture of how the world is working.’

As a left-wing champion of free speech, and a fan and reader of spiked, Shinn is exasperated that it is often the left who are now the loudest advocates of blue pens and artistic clampdowns. He reckons that there was a sea change in universities back in the 1990s that has now become politically mainstream.

‘As a gay man, I found the left’s fight for free expression very beneficial’, he says, ‘but that crossed over into identity politics. From there it was important to privilege the subjectivity of people who had previously been oppressed and marginalised. But instead of this emphasis on a diversity of voices, there became an unspoken rule whereby only people who experienced something, whether as a gay man or black woman, were allowed to speak about it directly. This created a real fracture where these oppressed groups, rather than finding commonality, separated out. These different groups ended up in these retreats which itself created paranoia and bad blood.’"