By Gregory Thompson
In light of this instrumental use of the dissident tradition, it is difficult to escape the conclusion that Dreher’s story is finally not about them but about himself and the tribe that he represents. That it is a self-absorbed attempt not to understand and follow these inspiring human beings, but to somehow reflect the light of their inspiration back toward himself, in hopes that we might see him in it. It is, in short, bespoke dissidence, oriented not toward social transformation but toward self-creation. In this respect, even as Dreher decries therapeutic culture, he does so in a book constructed for both the legitimation and actualization of his own dissident identity.