I felt like she was writing to her contemporary audience. It really was about trying to really make her themes and her artistic attack and the things she was concerned about more vivid to us. Jacobs-Jenkins spoke to TIME about Kindred, the hidden gems of Butler’s archive, and how we’re all connected. The sensationalism of physical violence often upstages the myriad ways in which slavery was actually far more insidious it was a daily violence.” “And I would say that I have a very strong belief that you should not aestheticize this violence. “I come from the theater and I’ve done a lot of work on slavery in some ways, it’s been the material of my life,” he continues. “I always say, again and again,” Jacobs-Jenkins says, “nothing has done more harm to our understanding of that time period than film and television.” Butler’s science fiction has often been interpreted as an allegory for slavery, despite the fact that she candidly told an interviewer in 1996 that, “The only places I am writing about slavery is where I actually say so.” In Kindred, though, Butler is clearly saying so: Dana finds herself on a Maryland plantation, which is inextricably linked to her family history.īoth the novel and the TV show veer away from Hollywood’s overwrought tropes about slavery and more toward a depiction of how the evils of the system pervaded daily life-not limited to the auction block or the whipping post.
0 Comments
Leave a Reply. |