Stephen King and the Monsters of Modernity

Stephen King

I understand the desire to get ahead of the story of Stephen King and his massively unfunny “joke.” After once-beloved authors like Orson Scott Card, J.K. Rowling, and Neil Gaiman have been uncovered as truly horrible human beings with repellent opinions, we’re naturally fearful of another seemingly progressive voice blindsiding us. Such preparation only makes sense. But it’s possible to swing to the opposite extreme, at our own expense.

Surely even Stephen King fans would acknowledge that his anti-Trump joke didn’t land. His dig at “Haitians eating pets” resurrects a months-old campaign gaffe that, amidst the mass extradition of legal American residents, appears outdated and tone-deaf. The specific reference to Haitians revives a racist trope, and as we know, this creates the illusion that the racist claims have any basis. The “joke,” by humor standards, was definitely ill-considered.

However, much of the early outrage seemingly assumes that King believes the anti-Haitian stereotypes. That suggests a total lack of situational literacy: King clearly means that Trump is racist, not that he’s racist himself. Online discourse is often dominated by what British journalist Mick Hume calls “full-time professional offense takers” who sustain the discussion by finding the worst possible interpretation, and then deploying it in bad faith.

Reading the most aggressive anti-King criticisms, I’m reminded of the feeding frenzy, over nine years ago, against Calvin Trillin. Like with King’s joke, the anti-Trillin swarm required the most uncharitable, situationally illiterate interpretation of Trillin’s writing. Online outrage follows a predictable script comparable to religious liturgy, and for largely the same reason, to reassure fellow believers that we are good people who share a reliable moral footing.

But before I can dismiss the anti-King sentiment as meaningless ritual, I have a counter-consideration: King himself often displays unquestioned racism. Characters like Dick Halloran (The Shining) and Mother Abigail (The Stand) reflect an unexamined presumption that Black people live, and usually die, to advance White characters’ stories. His Black characters often rely upon outdated, bigoted boilerplates that feel leaden nowadays.

We might dismiss this as an oversight on King’s part. He lives in northern Maine, an overwhelmingly White region of a substantially White state, and it’s entirely possible that he doesn’t know many Black people. I recall characters like Mike Hanlon, whose largest contribution to the group dynamic in It is to be Black. I’ve written before that King seemingly writes about people groups without bothering to speak with them.

Rather than asking whether King is “racist” or “not racist,” a dichotomy that Ibram X. Kendi notes isn’t useful, we might consider what kind of racism King demonstrates. We all absorb certain attitudes about race from our families, culture, mass media, and education. Nobody lives completely free of racial prejudice, any more than prejudice around sex, class, and nationality. Even Dr. Kendi admits needing to purge racist attitudes from himself.

By that standard, King shows no particular sign of out-and-out bigotry. Indeed, he shows a bog-standard White liberal attitude of progressivism, by which he supplants Jim Crow stereotypes with more benevolent generalizations. In other words, he doesn’t hate Black people, but he also doesn’t know them particularly well, either. He replaces malignant suppositions with benign ones, but he never stops relying on wheezy vulgarisms.

Therefore, though a clear-eyed reading of King’s unfunny “joke” shows that he targets his scorn upon Trump, he uses Haitians to deliver that scorn. He falls back on his shopworn tendency to have Black characters carry water for him, in service to his White purposes. This leaden joke isn’t bigoted, but that doesn’t make it any less racist. His joke’s lack of humor ultimately comes second to his lack of agency.

In his book Danse Macabre, King notes that horror often stems from a lily-white, orderly vision of society. Michael Myers’ savagery exists as a necessary contrast to Haddonfield’s suburban harmlessness. Pennywise is most terrifying to the exact degree that Derry is anodyne. For King, evidently, that means that Whiteness is an anonymous background from which horrifying monsters, like President Trump, arise. Haitians, in that worldview, are an exception.

I fear the implications which arise from calling Stephen King “racist,” because that word has baggage. But if we apply the nuance that Dr. Kendi encourages us to utilize, then that word applies. Putting it to use requires far more detail than a BLM protest placard or a hasty tweet can encompass; and his variety of racism is the kind most receptive to correction and repentance. But that doesn’t make it any less racist.