When I was in college, I came across “The Sea and Poison,” a 1950s novel by Shusaku Endo. It tells the story of a doctor in postwar Japan who, as an intern years earlier, participated in a vivisection experiment on an American prisoner.
Americans have a profound and dangerous inclination to confuse art with moral instruction, and vice versa.
I was reminded of that novel at 2 o’clock in the morning recently as I scrolled through a social media account dedicated to collecting angry reader reviews. My attention was caught by someone named Nathan, whose take on “Paradise Lost” was: “Milton was a fascist turd.” But it was another reader, Ryan, who reeled me in with his response to John Updike’s “Rabbit, Run”: “This book made me oppose free speech.
Maybe it’s because our political discourse swings between deranged and abhorrent on a daily basis and we would like to combat our feelings of powerlessness by insisting on moral simplicity in the stories we tell and receive. Or maybe it’s because many of the transgressions that flew under the radar in previous generations — acts of misogyny, racism and homophobia; abuses of power both macro and micro — are now being called out directly.
I can’t blame younger writers for believing that it is their job to convey a strenuously correct public morality. This same expectation filters into all the modes in which I work: novels, theater, TV and film. The demands of Internet Nathan and Internet Ryan — and the anxieties of my mentees — are not so different from those of the industry gatekeepers who work in the no-man’s land between art and money and whose job it is to strip stories of anything that could be ethically murky.
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