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Matt Ruff's Lovecraft Country is an episodic novel centred on the experiences, both mundane and supernatural, of a black family - Atticus Turner, his father Montrose Turner and his uncle George Berry - and their immediate circle of friends in mid-50s America. The family is based in Chicago, where George publishes The Safe Negro Traveling Guide, a fictional version of the historical Negro Motorist Green Book, an annual publication that listed businesses that served black travellers - gas stations, restaurants, hotels, private homes that rented rooms.

The novel begins with Atticus, a veteran of the recently concluded Korean War, driving north from Florida to Chicago in response to a strange letter from his estranged father Montrose. While the letter draws them into true Lovecraft country and a dangerous confrontation with supernatural powers, Atticus, Montrose, George and family friend Letitia handle these terrors with aplomb. What poses the greatest risk to them is the racism they encounter wherever they travel - from violent police and sundown counties to garages that refuse to even sell a new tire to a black man stranded on the road.

The Lovecraftian connection is firmly established in this first episode, as Atticus, George and Letitia trace the missing Montrose to a mysterious New England town called Ardham, where the woods are full of shadowy, threatening creatures and the town itself is a feudal fiefdom dominated by the scions of the powerful - and white - Braithwaite family, hereditary leaders of a cult of sorcerers. The connections between the Braithwaites and the Turners, central to this episode, surface again in the later stories.

The further adventures of Atticus and his family and friends in Lovecraft Country are varied, but as in the first narrative, the danger posed by the supernatural and horror elements they encounter pales in comparison to the repeated aggressions perpetrated by the white people around them.

Reading this as a white person, I was deeply struck by how fully Ruff portrays what I imagine the experience of being black in a world that oozes white supremacy and hatred of difference from every pore. From Letitia's experience in 'pioneering' - being the first black person to buy property in a white part of town - to Montrose's memories as a child survivor of the Tulsa riot, the litany of offenses underscores the message of Lovecraft Country, that the greatest horror is not the imaginary creatures that can spring from the mind of an author such as Lovecraft, but the fear and hatred that grows in the hearts of white America, a fear and hatred that Lovecraft also stands as an exemplar of.

Ruff makes the white reader think about the history of race-based contempt, humiliation and violence perpetrated on blacks in America. One chilling moment among many comes during the description of an ancestor's Book of Days - a ledger drawn up after the Civil War and freedom of what her firmer owner owed her. In addition to the cost of her stolen labour, Adah's ledger includes financial penalties assessed for violence suffered.

"For the penalties, Adah consulted her Bible. She charged twenty-seven dollars and twenty-six cents for each whipping, 27:26 being the verse in Matthew’s Gospel where the Savior was flogged. Her price for the most common of the “other” insults, twenty-two dollars and a quarter, was based in Deuteronomy."

I stopped reading to check the verse, knowing ahead of time what I'd find, hoping against hope to be wrong - but of course I wasn't.

As a white reader viewing black experiences through the imagination of a white author, I looked for reviews by black critics, to read what those who knew though lived experience what Ruff, and I, know only through exercise of imagination and empathy. Those I found were on the whole highly positive about the novel, including its portrayal of black experience in a racist society. [1]

I've read several of Ruff's books, and I think this is the best yet among those I've read. It's powerful, and it's compelling reading, and it's a damned good story.


[1] Reviews of Lovecraft Country
Aaron Coats, Chicago Review of Books
https://chireviewofbooks.com/2016/02/11/lovecraft-country-unearths-monsters-both-real-and-imagined/

Alex Brown, Tor.com
http://www.tor.com/2016/02/16/book-reviews-lovecraft-country-by-matt-ruff/

Edward Austin Hall, Seattle Review of Books
http://www.seattlereviewofbooks.com/reviews/caught-after-dark-in-lovecraft-country/

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Matt Ruff's Bad Monkeys is, to put it bluntly, a mindfuck, albeit an engaging and enjoyable one. Even when you've read the final sentence, you're still going to be wondering how much of what you've read was all in the minds of one or more of the characters.

It begins in a white room.
It's a room an uninspired playwright might conjure while staring at a blank page: White walls. White ceiling. White floor. Not featureless, but close enough to raise suspicion that its few contents are all crucial to the upcoming drama.

A woman sits in one of two chairs drawn up to a rectangular white table. Her hands are cuffed in front of her; she is dressed in an orange prison jumpsuit whose bright hue seems dull in the whiteness. A photograph of a smiling politician hangs on the wall above the table. Occasionally the woman glances up at the photo, or at the door that is the room’s only exit, but mostly she stares at her hands, and waits.

The door opens. A man in a white coat steps in, bringing more props: a file folder and a handheld tape recorder.
Thus the frame of the story is set. All that actually happens over the course of the novel happens in this room between these people. The woman, accused of murder and suspected of madness, is called Jane Charlotte; the man who is here to uncover her truths - if he can - is called Dr. Richard Vale. The woman will tell him an increasingly fantastic story about her childhood, her mother and brother, and her experiences as an assassin for an organisation dedicated to fighting evil. He will counter her story with information from public records that call what she recounts into question. She will discount some if what he says as misinformation planted by the organisation she works for, and acknowledge some of it as the stories she tells herself because the truth is too painful. In the end, it is possible that no one in this room and nothing that was said is what it appeared to be.

The process of getting to that end is fascinating.

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