When is a monster justified?

A Lovecraftian Slap

When first introduced to the works of H.P. Lovecraft, the reader is submerged into a world of macabre lifestyles, characters who are pushed to the brink of insanity and beings who defy rational thought and understanding. The worlds that the author writes seem to feel at times like an induced fever dream that doesn’t want to let go of the reader of the poor unsuspecting reader, much like the Venus fly trap lies in wait to consume any unlucky creature that gets near its gapping maw. However fantastical and terrifying it is to fall in the worlds created by the acclaimed author, one also has to question the way he views people from other ethnical backgrounds. Why is it that all of his cults, the more often than not antagonistic forces that  trigger the cosmic horror elements that take place during the story. One would argue that the Afro Caribbean culture does have its fair share of religious practices that would shock those who are not accustomed to it such as the paleros and voodoo practices. And yet no matter the story, Lovecraft keeps them in the same antagonistic role, only changing at times to make them more subservient or simple-minded. One such horror show is how he writes about the minorities in New York in his short story “The horror at Red Hook” where he barely describes them as humans and more so goes into a  more animalistic portrayal which only secures his racist remarks for future generations when they read this work of fiction. Which is why the juxtaposition is so vibrant when one reads the brilliant reimagining by Victor LaValle in his novel “The ballad of Black Tom”. Being an African American author, who was born and raised in New York, he took to right the literary wrongs done to the communities in Lovecraft’s story. First he would shift the perspective by showing us the point of view of an African American man who has been through much suffering. Then give a reason to all the madness that ensues when he is thrust into a world both terrifying and wonderful when introduced to it by a wealthy yet foolish old man. Just to sadly be pushed over the edge when “Tom” finds out that his father was murdered in cold blood for the crime of simply being black and unlucky; and then be willingly able to go through the door that would grant “Tom” the abilities needed to summon a great unspeakable force. Another interesting point of view is when the original protagonist, Malone is cast as a sensitive man who happens to see or feel phenomena because of his Celtic heritage. Through his eyes we are able to see the damage that “Black Tom” has done across the city. Only to paint him as a villain that is more sympathetic than the tragic hero Malone thinks himself to be. What is most interesting about LaValle’s writing in this novel is how he empowers the minorities that were mistreated in Lovecraft’s’ original vision, and makes them the true “heroes” who were just trying to survive in the horrors of New York. By making the true tragic hero of this story so nigh omnipotent, it would in a sense create an urban legend that would resonate in the streets and give hope for the minorities and nightmares to those who would keep them down simply because of the color of their skin. The way “Black Tom” accepts his new identity as the monster who can traverse dimensions and raze entire houses into the nothing and also converse with one of the Great Old Ones is nothing short of fantastic. His usage of Malcolm X teachings by fusing the supreme alphabet and making it a almost mystical tool illustrates the superb way of blending reality with fiction that makes the novel such a pleasure to read.