![]() ![]() ![]() Thanks to Mary Shelley, we now know to be wary of the blind pursuit of scientific “progress.” Not so with narratives of racial progress in America. ![]() It’s particularly powerful in the way it intertwines Frankenstein’s critique of scientific progress with a narrative of race in America. Baker’s son as a “monster” before his mother reanimates him.Īn alchemic mixture of “New Black Gothic” and Afrofuturist sci-fi, Destroyer typifies the artistic and stylistic trends associated with the Black Lives Matter Movement. The difference, of course, is that police viewed Dr. Frankenstein, decides to reanimate (and weaponize) her only son Akai after police murder him on his walk home from a Little League baseball game. Josephine Baker, the last living ancestor of Dr. LaValle and artist Dietrich Smith make Frankenstein’s relevance to racial terror in America blindingly and depressingly obvious. Victor LaValle’s comic mini-series, Destroyer, reimagines Mary Shelley’s Frankenstein in the context of the Black Lives Matter Movement. ![]() (Victor LaValle’s Destroyer and the Problem of Progress) ![]()
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