‘There was NO blood, NO semen and there was NO Satanism’: Read The Scathing Editor's Notes on Milo's Killed Book

By Katherine Krueger  |  December 28, 2017 | 5:20pm
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Remember Milo Yiannopoulos? The alt-right “provocateur” and former Breitbart columnist who toured the country on his “Dangerous Faggot Tour” while declaring “feminism is cancer” and whom every conservative idiot wanted a piece of before he appeared to condone pedophila?

Before his untimely downfall, Yiannopoulos was in contract to deliver his memoir, Dangerous, to the publisher Simon & Schuster. But they canceled the book last summer after video surfaced of Yiannopoulos speaking positively about relationships between young boys and much older men on a podcast, and he responded with a $10 million lawsuit. As the case has proceeded, we’ve been gifted the true bounty of the Dangerous manuscript, complete with all the comments by Yiannopoulos’ bewildered Simon & Schuster editor, which were filed December 21 as part the publishing house’s response to the civil lawsuit, filed in New York State Supreme Court.

Taken together, editor Mitchell Ivers’ comments are an illuminating look at his efforts to mold an unruly mass of fat lesbian feminist jokes and anonymous Reddit comments into the next conservative polemic—and to make Yiannopoulos’ brand of white supremacy lite more palatable to the masses.

They also contain some extremely sick burns and provide a pretty good summary of a book the world will (hopefully) never be subjected to. Here are some of the best.

‘There was NO blood, NO semen and there was NO Satanism.’

‘This is not the time or place for another black-dick joke’

‘Delete irrelevant and superfluous ethnic joke’

‘I will not accept a manuscript that labels an entire class of people “mentally ill”’

‘You can’t say ugly people are drawn to the left. Have you ever seen the people at a Trump rally?’

‘We paid you an advance’

‘Beauty regime moved…after Nietsche section’

You can read the manuscript with the editor’s comments here, which are publicly available as an exhibit in Simon & Schuster’s response, here:

 
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