Lovecraft Country, by Matt Ruff
This is not an easy book to review; not because I don’t know what to say about it, but because I know virtually nothing about H P Lovecraft’s writing, so I wouldn’t want to jump to any lazy conclusions about the presumed connection between this book and Lovecraft’s own oeuvre. I was attracted to the book because I recently watched (and enjoyed, albeit with some ongoing confusion) the HBO dramatisation, which was shown serially in Britain on Sky (and seems to have taken some considerable liberties with the narrative, but I suppose that is only to be expected, using the mitigating excuse of “dramatic licence”) and, inevitably, two of the drama’s main characters were depicted on the latest edition of the book’s front cover: this paperback was published in 2020 by Picador, London, ISBN 978-1-5290-1903-2. Unfortunately, the book’s Wikipedia page isn’t a great deal of help here:
Lovecraft Country is a 2016 dark fantasy horror novel by Matt Ruff, exploring the conjunction between the horror fiction of H. P. Lovecraft and racism in the United States during the era of Jim Crow laws, as experienced by Black science-fiction fan Atticus Turner and his family.See above for citation
Lovecraft’s own Wikipedia page is somewhat more helpful, but I will return to that at the conclusion of the review. The book is actually a portmanteau of eight separate, but connected stories, the first of which gives the book its name. The story starts in 1954, with the return of Atticus Turner, who has just been released from military service, having served in the American war in Korea, to his home in Chicago. Although the story starts in an apparently ‘normal’ world, it very quickly becomes clear that this normal world is a very difficult one for black people (or ‘coloured’, as they are often referred to, which is at least polite), and that the events which ensue are going to be seen & interpreted through the lens of this difficult, and very often painful reality.
Before long, magic becomes an inescapable part of the fabric of the story, which makes the journey upon which our protagonists have embarked, even more perilous. Atticus’s father, Montrose, has gone missing, and in New England, where they hope to find him, Atticus, his uncle George, and his childhood friend Letitia encounter thuggish & provocative white police officers (inevitably), but also the white, patrician Braithwhite family: father Samuel and son Caleb will figure in the rest of the story, and become a presence that it is impossible for Atticus & his associates to ignore. The Braithwhites are members of one of a loose confederation of quasi-Masonic Lodges, but this appearance is merely superficial, as their main purpose appears to be the use of magic; and not always a beneficent one, unfortunately. Atticus’s family also appears to have a knowledge of the same esoteric arts practised by the Braithwhites, and George & Montrose are also members of a Chicago Masonic Lodge; one exclusively for Black members, of course.
To give any more plot details would be unfair, but it might be helpful to add a few details about Lovecraft himself here, to support the description of the environment which Atticus & co. encountered as ‘Lovecraft Country’. Lovecraft’s Wikipedia page states, somewhat confusingly, that he began his life as a Tory, which is normally understood as a British political persuasion, but despite apparently becoming a socialist after the Great Depression, it is clear that some of his views were also incontrovertibly right-wing, to the extent being arguably fascist; although the page also states that the form of government advocated by Lovecraft bears little resemblance to that term; I would take issue with that, having researched fascism for the biography of my relative, Wilfred Risdon, because in the early 1930s at least, it was possible for fascism to also embrace socialistic principles. Unfortunately, his racial attitudes were not unusual for the time, although it would seem that his earlier (prior to the 1930s) denigration of non-white races later modified somewhat, to an opinion that different ethnicities should remain in their area of origin and, ideally, not intermingle, unless they, presumably only the white races though, were prepared to assimilate completely.
However, returning to the book, it is an engaging story; and having seen the television dramatisation, notwithstanding the dramatic liberties, does help to a large degree with visualisation of the action (but I appreciate that not all readers would be able to avail themselves of this facility); but the battle of wits between our protagonists and the white antagonists, not least because the Black characters are able to show, with considerable ease, that they are really the match of (and, often, superior to) their white oppressors, both actual & putative, makes the narrative very enjoyable, especially if equality, fairness, and human rights are important to you. This is highly recommended, and you don’t need to be a connoisseur of fantasy fiction to be able to enjoy it; although that undoubtedly helps!