By John Gilstrap
A couple of weeks ago, I received an email from a “fan” who loves my books, but is deeply annoyed that I allow my “left wing liberal politics” invade my work. I’ll give those who know me well a moment to stop laughing.
As evidence of my “politically correct bullshit” he notes that in Threat Warning, my fictional terrorists are “God fearing Christian men and women” when “we all know” that the true terrorists are Muslims. In my reply, I ignored the substance–including his assessment of who my fictional terrorist truly are–and thanked him for reading my work. Some conversations are just not worth having.
For the record, I work very hard to keep politics out of my writing. It just doesn’t belong. I’ll leave that subgenre of the thriller market to Brad Thor and Barry Eisler—between the two of them, the ends of the political spectrum are well covered. Still, I guess it makes sense that because Jonathan Grave is a former Delta operator and he uses a lot of weaponry, people might assume that he’s a right-winger, but that would be based only on the clichéd assumptions made about groups of people. Truth be told, I don’t think that Digger would have much time for any politician.
This email got me thinking, though, about how much of our reading is informed by the baggage we bring to the material we choose. We’ll all give a second (or third or fourth) chance to a writer whose earlier work impressed us, but think about how hard it is to give that same break to the same author who everyone loves, but whose first effort you experienced was sort of meh.
And it’s not just true of books. I like just about everybody, but there are a few folks on my shit list whose email correspondence always seems snide or hurtful. I have to remind myself that it’s entirely possible—maybe likely—that no offense was intended, and that where there’s no intent, there’s no foul, right?
When I was in junior high, I read my first Great Novel: Lord of the Flies. I was a better than average student, and as I read it, I remember being so proud of myself for catching on to the social subtext—the symbolism—of the book. My cousin was a high school English teacher at the time, teaching Lord of the Flies to seniors. When he told me that the pig-killing scene had Oedipal overtones, I thought he was making it up. Even after he explained it, I didn’t get it. That’s because I was reading an adventure story while he was teaching literature.
In Threat Warning, I wrote a thriller that my fan apparently read as a political treatise. At a book signing years ago, a very enthusiastic fan lauded Nathan’s Run for its symbolic depiction of the plight of the American Indian. She meant it as a compliment and I took it as such. I never told her that American Indians never once entered my consciousness as I wrote the book.
I’ve come to the conclusion over the years that once my words are published, my opinion of what I meant to say has no more validity—perhaps even less validity—than the opinion of those who read the words through their own filters. That’s the nature of art in any form, I think. I get my shot when I create it; after that, it’s all up to the observer/consumer.
What do you think? If a book arouses in you an intense emotion, does it matter that it might never have been the author’s intention to do so? Do authors’ intentions for their own work matter at all after the book is published?
By John Gilstrap