intertribal (
intertribal) wrote2010-05-27 01:50 pm
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hope I don't break my arm falling out of the treehouse
Fantasy fans frustrate me sometimes.
Alison Flood (who I often disagree with) writes at The Guardian about her experience reading Conan stories and how turned off she is by the way different races are described, and the way women are described, and the way intersectionality brings the two together into a horrible union: The more lily-white a woman's skin, the more prized she is, says Flood. So she wonders: "Is it ridiculous to criticise Robert E Howard's enjoyably pulpy Conan stories for their 1930s attitudes to women and race?"
The resounding response to this question: of course it is! (And of course Flood responds to all this hysterical defensiveness of Conan with "but I really did enjoy a lot of it, I swear! I promise!" Ugh.)
Man, it is SO AWESOME when "politically correct" is used like this. Geez, thinking that women who are not porcelain white can be attractive is so PC, geez. Gosh, if we were just BEING HONEST... /sarcasm
I get "taking things in context." I really do. I let a lot of classic lit take a pass because of this, and because there are redeeming values in the book. Obviously I am a fan of the Mythos (though one of the lovely things about that is that it is constantly reinvented today without Lovecraft's B.S.), but that doesn't mean I just say "so what" to Lovecraft's racism (and hey, what interesting implications for horror as it pertains to changing social values, eh?). Heart of Darkness is one of my all-time favorite books, although I also think that Achebe's criticisms of the way it depicts Africans are totally valid. I have never read Conan and I don't want to (because epic barbarianism is not my genre), but I suspect if I did I would probably think it was funny in a pathetic way, remember that it is a product of its time, put it back on the shelf, and point and laugh at people who read it. This isn't even about Conan. You can replace Conan with any number of things that now come with the warning, "product of its time."
It's the responses that really get to me, the "who cares if it has that because I had fun reading it when I was an adolescent boy" thing. Does that mean they'd give it to their sons? Probably, yeah. After all, so what? Why not? So Conan lives on, Conan with his lily-white women, Conan who ironically cannot be criticized because he is not to be taken seriously. Whereas classic lit, which is actually, you know, meaningful and interesting and not the equivalent of a Michael Bay movie with half the intelligence, is constantly called out for its outdated bullshit. Which is good, interesting, and ultimately necessary, because we are people living TODAY, analyzing it TODAY. Like my Colonial Encounters class, talking about the way Tin Tin and Babar have been changed over the years, to get rid of the horrific racist cartoons in one and the weird-ass imperialist mindset in the other. Nobody said let's go out and burn all copies of Rin Tin Tin. It's saying, "hey, let's talk about this, look at how norms change over time, look at how embedded colonial narratives were, even in ads for detergent and coffee, did any of you pick up on this as kids?" I wrote a paper on how Peter Pan is an iteration of the Noble Savage myth. I love Peter Pan, but hey, it was an interesting idea. Like this awesome thing I found on Victorian Chromatic Anxiety in Jane Eyre (i.e. "Jane's all white").
And some of the comments on that site did engage with what Flood brought up, suggest other works to try, explain things in a more in-depth way, etc, while still liking Conan stories. There are, of course, Tolkien fights. Which is fine. Engagement and discussion, that's what you want!
But when the response to the idea of a discussion of these issues is a defensive "so what"... damn, it makes me want to break stuff. This is the same thing that people say to defend Enid Blyton, another product of her time - "it doesn't matter, it's just for fun" or "it doesn't matter, it's just for kids".
What the he-ell does that imply, exactly?
I'm not saying no one is allowed to read Conan or what the hell have you. You can even read Enid fucking Blyton for all I care - I don't even want to ban Mein Kampf, so far be it for me to try to disallow literature with psycho ideas and norms. I'm saying this sort of response to criticisms that a book has racist/sexist imagery is really frustrating. Nasty little tidbits tucked in books - especially books for adolescents, especially books for entertainment - do not mean nothing.
ETA: As Lindsey says below, media does not in and of itself cause people to be prejudiced - not in the olden days, not now. If it wasn't a problem in society, it wouldn't be a problem in a book. Obviously it is a problem in society, however.
* Just to note, I don't let romance novels off this hook either.
Alison Flood (who I often disagree with) writes at The Guardian about her experience reading Conan stories and how turned off she is by the way different races are described, and the way women are described, and the way intersectionality brings the two together into a horrible union: The more lily-white a woman's skin, the more prized she is, says Flood. So she wonders: "Is it ridiculous to criticise Robert E Howard's enjoyably pulpy Conan stories for their 1930s attitudes to women and race?"
The resounding response to this question: of course it is! (And of course Flood responds to all this hysterical defensiveness of Conan with "but I really did enjoy a lot of it, I swear! I promise!" Ugh.)
- so what...take it in context. Do you critique sub-Saharan African or Oriental literature for its focus on particular races?
personally, as soon as you say Oriental you are docked like 1,000 points in my book.
- attempting to over-analyse them is the wrong way to approach them.
- its like dissing Harlequin romance novels for heaving breasts, wimpy heroines saved by manly men, and schmaltz writing.* Conan was always the romance novels for teenage boys.
- Oh, on the matter of political correctness or whatever you want to call it, I don't think it's all that bad. It's reconstructed, perhaps, and there's some stuff sitting between noble savage paternalism and popular xenophobia, but they are by no means Nazi screeds or something. I'm a pretty wishy-washy PC sort of a guy, but I don't see that as a big failing in the Conan stories, particularly if you consider the times and - more so - the men's adventure writing genre.
- No, you couldn't get away with writing like that today but so what? They're still good tales. The racism jarred? Just as well you didn't read the Del Ray editions which are the definitive texts, unlike your edition which was based on texts edited in the 1970's to make them more politically correct.
personally, as soon as you say Oriental you are docked like 1,000 points in my book.
- attempting to over-analyse them is the wrong way to approach them.
- its like dissing Harlequin romance novels for heaving breasts, wimpy heroines saved by manly men, and schmaltz writing.* Conan was always the romance novels for teenage boys.
- Oh, on the matter of political correctness or whatever you want to call it, I don't think it's all that bad. It's reconstructed, perhaps, and there's some stuff sitting between noble savage paternalism and popular xenophobia, but they are by no means Nazi screeds or something. I'm a pretty wishy-washy PC sort of a guy, but I don't see that as a big failing in the Conan stories, particularly if you consider the times and - more so - the men's adventure writing genre.
- No, you couldn't get away with writing like that today but so what? They're still good tales. The racism jarred? Just as well you didn't read the Del Ray editions which are the definitive texts, unlike your edition which was based on texts edited in the 1970's to make them more politically correct.
Man, it is SO AWESOME when "politically correct" is used like this. Geez, thinking that women who are not porcelain white can be attractive is so PC, geez. Gosh, if we were just BEING HONEST... /sarcasm
I get "taking things in context." I really do. I let a lot of classic lit take a pass because of this, and because there are redeeming values in the book. Obviously I am a fan of the Mythos (though one of the lovely things about that is that it is constantly reinvented today without Lovecraft's B.S.), but that doesn't mean I just say "so what" to Lovecraft's racism (and hey, what interesting implications for horror as it pertains to changing social values, eh?). Heart of Darkness is one of my all-time favorite books, although I also think that Achebe's criticisms of the way it depicts Africans are totally valid. I have never read Conan and I don't want to (because epic barbarianism is not my genre), but I suspect if I did I would probably think it was funny in a pathetic way, remember that it is a product of its time, put it back on the shelf, and point and laugh at people who read it. This isn't even about Conan. You can replace Conan with any number of things that now come with the warning, "product of its time."
It's the responses that really get to me, the "who cares if it has that because I had fun reading it when I was an adolescent boy" thing. Does that mean they'd give it to their sons? Probably, yeah. After all, so what? Why not? So Conan lives on, Conan with his lily-white women, Conan who ironically cannot be criticized because he is not to be taken seriously. Whereas classic lit, which is actually, you know, meaningful and interesting and not the equivalent of a Michael Bay movie with half the intelligence, is constantly called out for its outdated bullshit. Which is good, interesting, and ultimately necessary, because we are people living TODAY, analyzing it TODAY. Like my Colonial Encounters class, talking about the way Tin Tin and Babar have been changed over the years, to get rid of the horrific racist cartoons in one and the weird-ass imperialist mindset in the other. Nobody said let's go out and burn all copies of Rin Tin Tin. It's saying, "hey, let's talk about this, look at how norms change over time, look at how embedded colonial narratives were, even in ads for detergent and coffee, did any of you pick up on this as kids?" I wrote a paper on how Peter Pan is an iteration of the Noble Savage myth. I love Peter Pan, but hey, it was an interesting idea. Like this awesome thing I found on Victorian Chromatic Anxiety in Jane Eyre (i.e. "Jane's all white").
And some of the comments on that site did engage with what Flood brought up, suggest other works to try, explain things in a more in-depth way, etc, while still liking Conan stories. There are, of course, Tolkien fights. Which is fine. Engagement and discussion, that's what you want!
But when the response to the idea of a discussion of these issues is a defensive "so what"... damn, it makes me want to break stuff. This is the same thing that people say to defend Enid Blyton, another product of her time - "it doesn't matter, it's just for fun" or "it doesn't matter, it's just for kids".
What the he-ell does that imply, exactly?
I'm not saying no one is allowed to read Conan or what the hell have you. You can even read Enid fucking Blyton for all I care - I don't even want to ban Mein Kampf, so far be it for me to try to disallow literature with psycho ideas and norms. I'm saying this sort of response to criticisms that a book has racist/sexist imagery is really frustrating. Nasty little tidbits tucked in books - especially books for adolescents, especially books for entertainment - do not mean nothing.
ETA: As Lindsey says below, media does not in and of itself cause people to be prejudiced - not in the olden days, not now. If it wasn't a problem in society, it wouldn't be a problem in a book. Obviously it is a problem in society, however.
* Just to note, I don't let romance novels off this hook either.
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"Forget Stalinization or Logic 101-level equivocations, though. There's a grosser irony about Politically Correct English. This is that PCE purports to be the dialect of progressive reform but is in fact--in its Orwellian substitution of the euphemisms of social equality for equality itself--of vastly more help to conservatives and the US status quo than traditional SNOOT prescriptions [which is 'correct' (prescriptions = prescriptions of correctness, b/c in actuality it's pretty arbitrary) English usage, which is actually a dialect of English that is basically middle or upper class, white, written English] ever were. Were I, for instance, a political conservative who opposed using taxation as a means of redistributing national wealth, I would be delighted to watch PC progressives spend their time and energy arguing over whether a poor person should be described as 'low-income' or 'economically disadvantaged' or pre-prosperous' rather than constructing effective public arguments for redistributive legislation or higher marginal tax rates. (Not to mention that strict codes of egalitarian euphemism serve to burke the sorts of painful, unpretty, and sometimes offensive discourse that in a pluralistic democracy lead to actual political change rather than symbolic political change. In other words, PCE acts as a form of censorship, and censorship always serves the status quo.)
"As a practical matter, I strongly doubt whether a guy who has four small kids and makes $12,000 a year feels more empowered or less ill-used by a society that carefully refers to him as 'economically disadvantaged' rather than 'poor.' Were I he, in fact, I'd probably find the PCE term insulting--not just because it's patronizing (which it is) but because it's hypocritical and self-serving in a way that oft-patronized people tend to have really good subliminal antennae for. The basic hypocrisy about usages like 'economically disadvantaged' and 'differently abled' is that PCE advocates believe the beneficiaries of these terms' compassion and generosity to be poor people and people in wheelchairs, which again omits something that everyone knows but nobody except the scary vocabulary-tape ads' [ads for improving your vocab to sound like an elite college grad] announcer ever mentions--that part of any speaker's motive for using a certain vocabulary is always the desire to communicate stuff about himself. Like many forms of Vogue Usage, PCE functions primarily to signal and congratulate certain virtues in the speaker--scrupulous egalitarianism, concern for the dignity of all people, sophistication about the political implications of language--and so serves the self-regarding interests of PC far more than it serves any of the persons or groups renamed."
-DFW
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Also, the reference to 'Stalinization' here was to this part:
"Although it's common to make jokes about PCE (referring to ugly people as "aesthetically challenged" and so on), be advised that Politically Correct English's various pre- and proscriptions are taken very seriously indeed by colleges and corporations and government agencies, whose institutional dialects now evolved under the beady scrutiny of a whole new kind of Language Police.
"From one perspective, the rise of PCE evinces a kind of Lenin-to_Stalinesque irony. That is, the same ideological principles that informed the original Descriptivist revolution--namely, the rejection of traditional authority (born of Vietnam) and of traditional inequality (born of the civil rights movement)--have now actually produced a far more inflexible Prescriptivism, one largely unencumbered by tradition or complexity and backed by the treat of real-world sanctions (termination, litigation) for those who fail to conform. This is funny in a dark way, maybe, and it's true that most criticisms of PCE seem to consist in making fun of its trendiness or vapidity. This reviewer's own opinion is that prescriptive PCE is not just silly but ideologically confused and harmful to its own cause."
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