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" I have found much value in considering monster theory, color theory, and the history of racial analogies in speculative fiction. However, when we read literary and cultural texts from the perspective of the monster, not the protagonist, we find ourselves in a completely different ballgame. This is why taking a supposedly 'neutral' or 'objective' approach to theorizing the dark fantastic is problematic; the default position is to allow those who are used to seeing themselves as heroic and desired the power and privileged of naming, defining, and delimiting the entire world and everything that is in it. We never notice that monsters, fantastic beasts, and various Dark Others are silenced because we have never been taught the language they speak. Critical race counterstorytelling provides both translation and amplification for these subsumed narratives. "
― Ebony Elizabeth Thomas , The Dark Fantastic: Race and the Imagination from Harry Potter to the Hunger Games
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" When readers who are White, middle class, cisgender, heterosexual, and able-bodied enter the fantastic dream, they are empowered and afforded a sense of transcendence that can be elusive within the real world. If this is the case, then readers and hearers of fantastic tales who have been endarkened and Othered by the dominant culture can never be plausible conquering heroes nor prizes to be won in the fantastic. Unless the tale is meant to be comedic, tongue-in-cheek, a wink and a nod that breaks the fourth wall and assures audiences that this is a parody of the fantastic, not the real story . . . . . . the implicit message that readers, hearers, and viewers of color receive as they read these texts is that we are the villains. We are the horde. We are the enemies.
(Page 23). "
― Ebony Elizabeth Thomas , The Dark Fantastic: Race and the Imagination from Harry Potter to the Hunger Games
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" From ancient Greece and the classical tradition, to the Christianization of the late Roman Empire and Dark Ages Europe, the emergence of catholic Europe, and the Crusades against the Islamic world, a nameless and lingering fear of dark-skinned people has been normalized in the popular imagination. Darkness--an antagonist born of this primal fear--is the archetypal monster in much of our literature, media, and culture. Thus, the Dark Other becomes monstrous in our collective imaginations, a shadow creature locked into place and time, imbued with a fixity that is difficult to overcome. In my studies of and experiences with the fantastic, I have found that this fixity has led to fan and audience complaints whenever a dark-skinned character moves out of his or her expected place of abjection. "
― Ebony Elizabeth Thomas , The Dark Fantastic: Race and the Imagination from Harry Potter to the Hunger Games
