Sarah Schulman is a lesbian writer and social activist who noticed in 1996 that the musical Rent seemed to borrow characters and situations from her novel People in Trouble. In her 1998 book Stagestruck: Theater, AIDS, and the Marketing of Gay America, Schulman lists the similarities between the two works, describes the process of confronting Rent author Jonathan Larson's estate, and explains why she didn't sue for copyright infringement.
In mid-October, a month before the movie version of Rent opened, I spoke with Schulman about her objections to the musical at a diner on New York's 42nd Street.
Slate: Rent is partly based Puccini's La Bohème. Can you talk about what was taken from your novel?
Schulman: I [published] a novel in 1990 called People in Trouble, which was based on a love relationship I had with a married woman in the East Village during the advent of the AIDS crisis. The gay part of Rent is basically the plot of my novel, but with a slight shift. [Larson] has the same triangle between the married couple and the woman's lover, but he made the straight man the protagonist, whereas in my version he was the secondary character. But there are scenes in Rent, and events in Rent, that come right out of my actual life, via the novel.
Slate: What was most annoying about Larson's borrowing your characters and situations?
Schulman: At base, it's the issue of taking authentic material made by people who don't have rights, twisting it so they are secondary in their own life story, and thereby bringing it center stage in a mainstream piece that does not advocate for them. That's an insidious but very American process. It's gone on for many, many years, [for instance with] black music, and with all kinds of fashion. So, being part of that is annoying, as you put it.
Not making any money from it was also quite annoying, since Rent has earned an enormous amount, certainly enough for me to get an apartment with an elevator. But the larger issue has to do with the representation of AIDS, gay people, and urban gentrification. These three areas have been massively misrepresented in mainstream entertainment and media, and Rent is the epitome of that misrepresentation.
It's true not only with Rent, but with all the iconic works about AIDS. The political movement of AIDS activism—which is an integral, organic part of the history of the crisis—has been removed from most of the mainstream storytelling around AIDS. [In these pieces,] gay people are always alone and self-oppressed, and have no community, and are dependent on some kind of other—a benevolent straight person, a homophobic lawyer, or even, in some cases, a woman—to take care of them, because they're so self-hating that they cannot take care of themselves.
That's the official story. The real story of the AIDS crisis is the story of a group of despised people who had no rights, who came together, saved each other's lives, and changed the world. And that is not the story you find in any of these mainstream depictions.
Slate: Let me play devil's advocate. Isn't Rent progressive? It revolves around people with AIDS. It shows men kissing, women kissing …
TODAY IN SLATE
Scalia’s Liberal Streak
The conservative justice’s most brilliant—and surprisingly progressive—moments on the bench.
Colorado Is Ground Zero for the Fight Over Female Voters
There’s a Way to Keep Ex-Cons Out of Prison That Pays for Itself. Why Don’t More States Use It?
The NFL Explains How It Sees “the Role of the Female”
The Music Industry Is Ignoring Some of the Best Black Women Singing R&B
Theo’s Joint and Vanessa’s Whiskey
No sitcom did the “Very Special Episode” as well as The Cosby Show.
The Other Huxtable Effect
Thirty years ago, The Cosby Show gave us one of TV’s great feminists.