Dinesh D'Souza

The presidential contest is not simply an election about who rules America; it is also an election about which set of principles defines American politics. For the past two and a half decades, conservatism has set the agenda. Is the left making a comeback?

I don't think so. Notice that Democrats avoid terms like "the left" and even "liberalism" like the plague, while Republicans routinely associate themselves with the "right" and the "conservative" label. Also the left is now defined by shrieking demagogues like Michael Moore, while intelligent people are keeping their distance or moving out of this menagerie.

In this connection, the case of David Mamet is a revealing one. It has now been six months since playwright David Mamet declared himself an admirer of America and the Constitution, and bid farewell to what he called the "brain dead left." Our left-leaning literary and cultural intelligentsia is still in shock.

The relevance of Mamet’s conversion is not that a solitary New York playwright has moved right. After all, most figures in film and the arts remain resolutely and even fanatically liberal. Mamet does little by himself to shift the balance. On the other hand Mamet has been widely regarded as one of the wittiest and most cerebral of American playwrights. He is a kind of thinking man’s artist. Consequently his political views count for a lot more than, say, those of actor Sean Penn or playwright Tony Kushner.

The New Statesman warned that Mamet was embracing a "Hobbesian strain of conservatism." The folks at the Daily Kos website feigned indifference: "Who really cares?" But until this time Mamet was regarded as a virtual demigod of American high culture. Now we can expect the accolades to stop.

So what turned Mamet around? Well, it's been a change coming for some time now, and presumably it's not the kind of change that Barack Obama is looking for. Consider this piece of dialog from Mamet's play Bobby Gould in Hell. When Bobby echoes the old liberal nostrum, "Nothing's black and white," he receives this sharp response: "Nothing's black and white? What about a panda?"

Then there was a play that I saw several years ago on Broadway, Mamet's Oleanna. While Mamet disclaimed any political motives, you only had to see the play to recognize that it was about the feminist witch-hunt. Basically a female student (somewhat reminiscent of a young Hillary Clinton at Wellesley) makes false allegations of sexual harassment against a well-meaning but incautious liberal professor. In the name of the sisterhood, she destroys the poor man's career. I think resistance to political correctness played a big role in showing Mamet the exit out of liberalism.


Dinesh D'Souza

Dinesh D'Souza's new book Life After Death: The Evidence is published by Regnery.