Thomas Thompson was a world-wise, well-educated writer with a two-decade career as an editor and staff writer for Life magazine. So, why is his 1982 novel Celebrity chock-full of casual racism.
There is nothing casual about racism, but for decades the term ‘casual racism’ has been used to describe racist slang, racist jokes and other uses of racist epithets used in casual conversation. In the first half of Celebrity, Thompson uses the N-word over a dozen times.
It might be seen as an attempt to be authentic if it were just his characters, young white guys in early 1960s Texas, were using racist slurs. But the author seemed unconcerned about using the term in simple background descriptions – ‘he walked up to this n****r’ – ‘they headed over to n****rtown’ – ‘Mack threw up the take-out Ch**k food.’
It was as though Thompson didn’t imagine any people of color reading his novel and assumed all white readers were OK with racist slang. Every sentence that contained a racist slur gave me pause. As a white man, I know I can’t fathom the sting, the slap in the face, the outrage and anger that comes from enduring systemic racism. But I can empathize and hate language always makes me cringe.
After the first fifty pages, I was ready to toss the book into my recycling bin. But I had to investigate. I had never heard of Thomas Thompson, probably because he died of liver failure in 1982 at age forty-nine, just after he published Celebrity. When I discovered his impressive career at Life magazine – covering the JFK, RFK and MLK assassinations, Marilyn Monroe’s suicide, interviewing the Beatles and Elizabeth Taylor – I was even more confused by his writing style.
Two things I should probably admit: 1) Aside from the ‘casual racism’ Thompson is a very good writer. 2) I ended up reading the entire book, all 565 pages.
It’s an engaging story that begins in 1950 the night before three close friends graduate from high school. Mack, Kleber and T.J. grew up in the same neighborhood in a small town outside Ft. Worth. Their popularity earned them the nickname the Three Princes. They thought they’d remain close friends forever. But that rainy night when they wander out to an abandon farmhouse in search of celebration, full of testosterone and alcohol, everything changes.
Kleber takes off for NYC to earn a journalism degree on his way to becoming a famous writer (like Thompson). Mack, an impossibly handsome football star gets discovered and soon becomes a Hollywood idol (think Rock Hudson). T.J. takes a more devious route, but eventually he too finds fame and fortune. Despite their success, the fateful night at the farmhouse continues to haunt them.
The murder trial that’s woven into the last hundred pages is a page-turner, a compelling courtroom drama. And in the second half of the book, most of the racist remarks is limited to the characters’ dialogues.
I could surmise that Thomas Thompson was going for realism in the first part of the book, trying to paint the 50’s and 60’s in the harsh brushstrokes of the racism that fueled lynchings, cross burning, segregation and job discrimination. Maybe he saw it through the eyes of a journalist wanting to tell it like it is.
But sometimes the messenger of bad news ends up being part of the bad news. My favorite line from Cool Hand Luke comes to mind, “Callin’ it your job, don’t make it right.”
For the most part, Thompson offers clarity about the era in which his story begins. He describes the Three Princes’ generation as being “both innocent and blank.”
“Reared during world war when national purpose was unquestioned and joyous patriotism called for cheers when John Wayne waded onto bloodied beaches and mushroom clouds billowed over Japan. The American Way of Life was downright holy, sanctified by atomic majesty.”
But even when Kleber is getting a much-needed education from a Black Civil Rights activist, Thompson chooses to drop another N-bomb. Kleber has picked up a call on the city desk line. The caller says, “I want a reporter with guts and eyes wide open enough to see something wrong. Are you whom I want?”
Regina Brown shows Kleber the overt discrimination at a downtown Ft. Worth department store which takes her money for the purchase of a new scarf, but refuses to let he sit at the lunch counter. She then takes him to lunch at her uncle’s Bar-B-Q place.
Kleber thinks to himself, “Who could have anticipated that by answering one of the five possible flashing telephone buttons, he would a few hours later be sitting – by choice – in a n****r joint, fascinated and perhaps endangered by black beauty?”
A few pages later, Kleber is writing an enlightened editorial calling for desegregation, “unless we accept that a black life is no more alien from white life than the night is from day, unless we understand that color is the least valuable mark of a man, then the fires of ignorance will sweep over us all.”
It's impossible to see anyone going from racist to champion for equal rights in one day. Kleber was indeed the ‘eyes wide open’ reporter Regina Brown was hoping for. So why did Thompson present him as a racist at the BBQ joint? It’s as though Thompson had a pent-up well of racist slurs inside him and longed for an opportunity to let them loose.
Though I wouldn’t call it important 20th Century literature, Celebrity had the opportunity to be part of the cultural lexicon that all good novels can be. But the author’s casual racism screeches like fingernails on a chalkboard. It’s a gross distraction from the novel’s finer points.
Jessica Walton, a Research Fellow in Racism, Diversity and Intercultural Relations at Deakin University points out: “The power of everyday racism is in its cumulative effect – the ongoing experience of marginalisation and repression can be a heavy burden with future incidents triggering memories of past experiences.”