Over the past few weeks, I’ve been reading a bunch of young adult literature. No, it’s not really art, but in most cases, that’s acceptable, as it has no pretense to anything higher than functional and didactic storytelling for kids. The plots are simple, the symbolism obvious, the moralizing heavy-handed, and the purpose, clear. Students learn something (although it has little to do with English) and, in the hands of a creative instructor, can be forced to think about it in radical ways, beyond the scope of the typically insipid ‘lessons’ such books offer. All of this makes me wonder about the intrinsic value of books like Kindred, which is essentially a kid’s book disguised as a serious work of art. In brief, it’s not a good novel, but it at least ensures good criticism, for it attempts many things and does them badly — a hallmark, I suspect, of teen books in general. Trash like Gayl Jones’s The Healing, for example, are so utterly devoid of art or idea, maundering around banal, plotless, and lazy, all-describing inner thought, that detailed criticism is gratuitous, while Kindred is, by comparison, a failure with some good ideas lost to poor execution. It’s more instructive to look at these well-intentioned failures as there’s something to learn here.
A very obvious problem is the treatment of ideas. Butler handles her themes so didactically and without nuance that Kindred simply can’t be real literature, only functional, moralizing prose. All it says of slavery, relationships, and racism is not only unoriginal, but banal and expected, as if it’s a text designed to socialize the reader into mainstream thinking on these topics. Again, think kids’ lit. A novel of sci-fi aspirations, it really isn’t, since the mechanism of nor reason for its only sci-fi element, time travel, isn’t explained, nor serves any real logical purpose, except, perhaps, as an excuse for the story. It’s a minor flaw, one that even great works could have, but given all the other problems here, it’s difficult to overlook. The plot revolves around a black woman free of personality named Dana, her obliviously white writer-husband Kevin, and Rufus, a stupid, one-dimensional white boy from the antebellum South whom Dana repeatedly saves from death. Dana, a struggling writer in the 1970s, disappears into the South for hours, days, or months every time Rufus is in danger, while her body, in this world, is unconscious for no more than several minutes at a time. She returns to her apartment precisely when her own life is threatened. Sometimes, she’s able to take Kevin with her by holding on to him once the dizziness sets in. She is disappointed every time, however, as Rufus, with whom she develops a motherly (but mostly unexplored) relationship, didactically grows into a violent, insensitive product of his era. Note the rich potential in these ideas and how a talented writer can shape them into profound art. Butler is not that writer, at … Continue reading →