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M. A. Istvan Jr.'s avatar

"Squatter" is a provocative satire that radicalizes the common activist slogan “No one is illegal on stolen land” by extending its logic into the domain of private property and domestic space. The piece functions as an ideological stress test, mapping an extreme consistency onto an anti-border worldview to reveal what it sees as latent hypocrisies in progressive political discourse. By applying the principle behind open borders—namely, that sovereignty is invalid because the land was acquired through colonial theft—to the interior threshold of the home, the piece exposes what it suggests is a convenient limit to progressive inclusivity: the front door. If the legitimacy of national borders is undermined by settler-colonial history, the argument goes, so too is the legitimacy of your deed, your house key, your “no trespassing” sign, and your right to exclude someone from your own bedroom. If the nation has no legal claim to keep out undocumented migrants, you have no moral authority to remove a squatter from your living room, no matter what they do once inside.

This satirical framework becomes especially pointed when it highlights the contradiction between moral posturing and practical boundaries. The narrator mocks the liberal homeowner who claims solidarity with undocumented migrants and Indigenous sovereignty while still locking their doors and vetting guests. Even the charitable act of welcoming refugees is subjected to critique: if you “allow” someone into your home, you are still implicitly claiming a right to grant or deny access. That, the piece argues, is itself an authoritarian gesture that replicates the logic of border control. Worse still, by setting conditions for those you welcome—requiring good behavior, tests of loyalty, or probationary periods—you reinforce the framework that distinguishes citizen from alien, guest from intruder. The satire asks: if “no one is illegal” truly means no one is illegal, does that apply to a man who kicks in your window and refuses to leave? To someone who harms your family? Even to those who commit monstrous acts, the narrator insists, your moral framework forbids exclusion. It is a chilling provocation: a worldview that sacrifices all thresholds in the name of justice may ultimately dissolve the concept of safety itself.

The piece gains further intensity by introducing a racial analysis, one that asserts the permanent illegitimacy of white presence in North America. The narrator argues that any attempt to object to property violations—especially from white homeowners—is rendered null by the legacy of colonialism. Racial identity, not law or principle, becomes the determinant of who may exclude and who may not. The critique escalates until it becomes indistinguishable from parody: whiteness is described as an incurable disease, a logic-virus that infects even the oppressed, and one that negates moral standing regardless of individual conduct. Here, the satire mirrors and magnifies the most essentialist dimensions of racialized decolonial discourse, where guilt is not tied to acts but to identity, and where accountability is defined by inverse hierarchy. The speaker proposes that any “no” uttered by a white person carries the taint of structural violence and must therefore be disregarded as invalid. The very concept of consent—so foundational to modern ethics—is destabilized, reframed as a privilege afforded only to the historically oppressed. What emerges is a world in which justice is retributive, not distributive: a world where equity means inversion, not equality.

The extremity of the satire is what gives the piece its critical force. By refusing to allow the reader a place to dismount—to say, “But that’s too far”—the piece insists on examining the political rhetoric of border abolition and racial equity at the level of lived consequence. What does it mean, really, to deny the legitimacy of territorial sovereignty? What does it mean to say no one is a trespasser? The satire refuses to resolve these questions neatly. Instead, it pushes the reader to confront how selective most applications of radical slogans really are. The very people who protest the border wall still draw clear lines around their neighborhoods, their fences, their bedrooms. They say “no human is illegal,” but call the police when someone uninvited refuses to leave their porch. By transplanting national dilemmas into domestic spaces, the piece foregrounds the dissonance between public virtue and private behavior. It forces a reckoning with the practical implications of moral absolutism and the limits of rhetorical consistency. In so doing, “Squatter” reveals both the utopian seduction and the dystopian consequences of living as if borders do not exist.

satire, political extremism, open borders, property rights, anti-colonialism, whiteness, decolonization, immigration, racial equity, private space, consent, moral consistency, identity politics, no one is illegal, performative progressivism, retributive justice, rhetorical radicalism, domestic intrusion.

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