The Help (Kathryn Stockett)
Historical fiction novel set in 1960s Jackson, Mississippi, about Black maids working for white families and their relationships with Skeeter, a white aspiring writer who documents their stories. Published in 2009, it spent 100+ weeks on the NYT bestseller list, sold 10+ million copies, and became a 2011 Oscar-nominated film—but also sparked controversy over white savior narratives.
The Story
Three narrators:
- Aibileen Clark: Maid raising her 17th white child after losing her own son
- Minny Jackson: Outspoken maid who baked a revenge pie (the “Terrible Awful”)
- Skeeter Phelan: White recent college grad who wants to write about the maids’ experiences
The book culminates in their secret collaboration on a tell-all book exposing the racism and abuse Black domestic workers face.
Cultural Phenomenon (2009-2012)
- Spent 100+ weeks on bestseller lists
- Translated into 40+ languages
- 2011 film starring Viola Davis, Octavia Spencer, Emma Stone
- Octavia Spencer won Best Supporting Actress Oscar
- “You is kind, you is smart, you is important” became cultural catchphrase
The Backlash & White Savior Debate
Critics argued:
- White woman profited from Black pain
- Stockett (white Southern woman) appropriated AAVE and Black voices
- Skeeter is centered as savior, maids as victims
- Romanticizes 1960s South
- Black women’s agency comes through white woman’s book
The Association of Black Women Historians issued a statement criticizing historical inaccuracies and perpetuation of stereotypes. Stockett was sued by a maid claiming defamation (case dismissed).
Legacy
The book introduced millions to Jim Crow history but remains divisive:
- Defenders: It started conversations, honored domestic workers, and was entertaining
- Critics: It’s trauma porn for white guilt, centering white comfort over Black truth
Hashtag Usage
#TheHelpKathrynStockett for:
- Book club discussions
- Film appreciation posts
- White savior narrative critiques
- Historical fiction recommendations
- “You is kind” quote reposts
The book’s popularity vs. critical reception exemplifies tensions around who gets to tell whose stories.