But the convenience of the threshold philosophy of storytelling is kindred with the nonpolitical philosophy of storytelling: it’s how a story about a violent white middle-class Austrian gets to be reviewed as a largely existential drama, not also a political one—how Loser’s long history of violence is obscured, and his major crime transmuted into an overarching story about the universal condition of mankind; the literary version of a headline that describes a white rapist as an upstanding athlete.
