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Alien Horrors
(2022)
H. P. Lovecraft’s oeuvre abounds with stereotypes of the racialized poor. As scholars have noted, Lovecraft’s work turns those he viewed as ‘Others’ into ‘aliens.’ Poor people of color (as opposed to the orderly White rural population and White working class) in Lovecraft’s stories are foreign, diseased, and criminal, and they threaten social and cosmic orders as they are in league with a nebulous entity that waits to wreak indescribable havoc. This chapter analyzes three ‘Lovecraftian’ novels published in 2016 - Cassandra Khaw’s Hammers on Bone,Victor LaValle’s The Ballad of Black Tom, and Matt Ruff’s Lovecraft Country. These works elucidate the connection of Trump’s 2016 rhetoric in campaign and presidential speeches and the White supremacist imagery used by Lovecraft. In these novels, the racialized poor have a special connection to an astronomical, evil entity à la Lovecraft. As carriers of numinous genes or parasitic entities (literally having ‘an alien within’) they become empowered. They thus occupy a pivotal position in forestalling or bringing about the destruction of societal order; that is, of White supremacy. Exploring the alleged risk posed by this ‘underclass,’ these works seem to foretell current representations of protesters as ‘riotous mobs’ that threaten the body politic Trump sought to make great (and White) again.
This article discusses how Alex Garland’s The Beach (1996) engages with conceptions of utopian islands, nation, and colonialism in modernity and how it, from this basis, develops a different spatiality that reflects on a more deterritorialized form of imperial domination within late twentieth-century globalization, as exercised by the United States. The novel is shown to subvert, but not to abolish, two spatial formations that originated in early modernity: nation and utopia. Building on Jean Baudrillard’s elaborations regarding simulation and simulacra, the article argues that The Beach creates a hyperreal narrative that does away with the idea of isolated, bounded spaces and that in form and content corresponds with the worldwide dominance of the United States at the end of the twentieth century.
While W.E.B. Du Bois’s first novel, The Quest of the Silver Fleece (1911), is set squarely in the USA, his second work of fiction, Dark Princess: A Romance (1928), abandons this national framework, depicting the treatment of African Americans in the USA as embedded into an international system of economic exploitation based on racial categories. Ultimately, the political visions offered in the novels differ starkly, but both employ a Western literary canon – so-called ‘classics’ from Greek, German, English, French, and US American literature. With this, Du Bois attempts to create a new space for African Americans in the world (literature) of the 20th century. Weary of the traditions of this ‘world literature’, the novels complicate and begin to decenter the canon that they draw on. This reading traces what I interpret as subtle signs of frustration over the limits set by the literature that underlies Dark Princess, while its predecessor had been more optimistic in its appropriation of Eurocentric fiction for its propagandist aims.