Secretary of State Antony Blinken seems more interested in language violations these days than advising on U.S. foreign policy. As reported recently, new york postpurpose of the internal meeting on February 5th memo he”DEIA modeling [Diversity, Equity, Inclusion and Accessibility]: Gender Identity Best Practices.” is 'to Deepen your understanding of gender identity and provide guidance on gender identity language and best practices that support inclusive work environments. ”

In the memo, the secretary cautioned employees against using gender-neutral terms such as “mother/father,” “son/daughter,” and “husband/wife,” and instead used “parent,” “child,” etc. ” and “spouse or partner.” Of course, the word “manpower” should be banned and replaced with the kinder and more inclusive “labor force.” Blinken said observing co-workers' preferred pronouns is also essential, since a person's gender identity has a gender identity.It may or may not match the gender assigned at birth. ”

Curiously, Secretary Blinken's actions as language czar are not on the list. 14 bullet points listed on U.S. government website explanation Public responsibilities of the secretary. For example, the first bullet point states that the Secretary “serves as the principal advisor to the President on United States foreign policy.” Nowhere is there any mention of banning the phrase “you guys,” and not a single word about encouraging the use of personal pronouns. The founders definitely thought “to each their own Jill.”

The secretary is so obsessed with calling out the word in passing that, as a sincere approval of his efforts, the following updated synopsis of the hit musical “Fiddler on the Roof'' appears on Playbill. I would like to suggest it as something that may be published in . It was written by Secretary Blinken or one of his staff members, avoiding exclusionary language. Perhaps the secretary wants to extend her linguistic tentacles into the cultural realm as well.

Synopsis of Fiddler on the Roof (authorized by the government):

In Anatevka, a town in a non-NATO country in Eastern Europe, Tevye, a milkman who uses the pronouns “he/him,” struggles to make a living. He is supported by his long-time partner Gold, whose preferred pronouns are “she/her”. They have five children who identify as female and are referred to as “she”, just like their birth parents. Tevye, who is a strong believer in tradition, sings about tradition in the opening song performed by all of the show's workers. (Note: This song contains disturbing propaganda based on gender-assigned roles of “daddy” and “mommy.” Parents of children attending the performance should be aware of these controversial You should discuss the idea with your children in advance.)

As the story unfolds, Tevye's views are tested as he is forced to confront a changing political and cultural landscape. One of his female offspring accepts a marriage proposal from Mottel, a tailor's worker, than the much older but financially secure Lazar Wolf (he/him). is also an economically inferior choice. The three children of the dairy workers gradually ignore the wishes of them and of the village matchmaker Yente (she/they), and each stubbornly decides for themselves the outcome of the marriage. (Note: The matchmaker tradition espoused in this musical takes important cohabitation decisions away from inexperienced participants who tend to be blinded by love, leaving them in the hands of experts with the community's best interests in mind.) has the full approval of the U.S. government.)

After an unfortunate song with an enviable theme, “If I Were a One Percenter,” Tevye's control over his beloved tradition disappears as the female-identified offspring rebel against the wishes of their birth parents' spouses. I slowly watch it go by. Ultimately, the dairy workers learn a bitter but important lesson about clinging to tradition and outdated social preconceptions.

Perhaps next month, Secretary Blinken's office is expected to release a DEIA-friendly synopsis of “The Wizard of Oz.” This musical is about a city-ignorant teenager (who she identifies as herself) who is taken from a rural elevated wilderness into an unfamiliar environment. Abnormal climate change catastrophe.

Greg Opelka is a musical theater composer and lyricist.