In her upcoming book, Monsters: A Fan’s Dilemma, to be published April 25, essayist and critic Claire Dederer holds a small lantern aloft in the darkness: Is it possible to ever separate the art from the artist?
and Doris Lessing—generally involve their identity as mothers. In other words, she lets no one off the hook. Yet somewhere between giving these troublesome geniuses a pass and throwing all their accomplishments into a proverbial drawer and tossing away the key, Dederer seeks a thinking, breathing middle ground. She asks a lot of tough questions, chiefly of herself.
The question of how we live with the art of “monstrous men,” as Dederer calls them , is hardly going away, and it presents rocky territory for anyone who cares about art. Because now, at least according to a new set of unwritten rules, we not only have the job of assessing the art at hand; we also have to render a judgment about whether its creator is worthy of our respect on moral grounds—and then field the judgment of anyone else who deems our conclusions wanting.
Belgique Dernières Nouvelles, Belgique Actualités
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