The other day, I read something that essentially said that modern writers shouldn’t try to emulate H.P. Lovecraft (or, for those who aren’t familiar with his work, the guy who invented Cthulhu), because in real life, the dude was a massive racist.
Now, I’m not necessarily the biggest fan of Lovecraft, but I respect his work. I find that his greatest writing weakness (from a contemporary standpoint) is also his greatest writing strength, which is that he has inspired so many later writers, such as Stephen King and Robert Bloch. At this point, his work feels a little bit predictable, but that’s only because he created so many of the conventions that we see in modern horror and fantasy. In fact, it’s almost a little difficult to write in those genres without drawing a little bit of influence from Lovecraft.
So perhaps that’s part of the reason why I find this statement interesting (after all, how do you contribute to a genre that has roots that you might have a genuine reason to disagree with). But, more than that, this just seems to be part of a larger discussion that we have been having lately.
In 2017, a librarian at Cambridgeport School refused to accept Melania Trump’s gift of Dr. Seuss books, stating that Dr. Seuss was a racist and that his illustrations are “steeped in racist propaganda, caricatures, and harmful stereotypes”. This response drew both support and criticism, the latter coming from people who called Dr. Seuss a“product of his time” and claimed that his racism does not necessarily come across in the texts themselves.
And, personally, I have read countless stories from authors that were incredibly racist. Sometimes this came across in the texts themselves (Edgar Allan Poe’s “The Narrative of Arthur Gordon Pym of Nantucket” is literally about evil black people) and sometimes they didn’t (if you only read L. Frank Baum’s “The Wizard of Oz”, you might not even know that he wrote anti-Native editorials as well).
Even today, problematic people still produce highly respected works. Orson Scott Card’s “Enders Game” is considered a modern sci-fi classic, even spawning a movie adaption in 2013, and yet his homophobia andpolitical views have been a subject of great debate amongst confused readers for years now.
So, what do we do with this information? Can we continue to respect the works of people who might not necessarily deserve respect themselves?
Now, keep in mind, from hereon out, I am merely going to be stating my personal opinion. This is not a definitive answer; all I am trying to do is facilitate discussion.
And, personally, I believe that it is possible to respect the work, even if you don’t respect the artist.
Now, obviously, there are circumstances that make this issue a little bit more complicated. For example, I will go out and spend money on a work from H.P. Lovecraft, but I won’t do the same for Orson Scott Card, primarily because as a consumer, I do not want my money going toward someone who I know is still alive and still actively spreading a message that I do not agree with. Lovecraft, Poe, Baum, Dr. Seuss – all of these men are dead and of a different time period, which doesn’t excuse their beliefs and doesn’t make it okay, but it does put a little bit of distance between me and their political views.
The works that I have mentioned here are all highly influential, and I don’t necessarily think that that should be ignored. Many of these are artists who changed the genre they were working in – that changed storytelling, to a certain extent. I think that that is something that is worthy of respect, even if their political views weren’t.
But even as I say this, there is another layer that needs to be added – their political views shouldn’t be erased or ignored either.
These writers are not heroes. They did not transcend humanity, and they were not above hatred. We need to remember that. We need to respect the people that they hurt with their hate speech. And if we don’t talk about the ways that they failed, just as much as we talk about the ways that they succeeded, then we run the risk of forgetting it. We privilege the good that they did over the bad that they did.
As a result, I don’t think that this is an all-or-nothing scenario. We can’t forget the impact that these writers had on literature, so I disagree when their books are banned from spaces on principal. But we also can’t forget the impact that these writers on society, so I disagree when people take a very “get over it” attitude to the matter.
End of day, I think that the choice to read these works or emulate these writers should come down to the informed individual. It is possible to respect the writing that they produced, but not the person themselves. But if the writer and their political views turns the reader off too much, then that is totally understandable.
Published by Ciara Hall