![]() In a multicultural society, particularly after the 1960s American civil rights transformations, in which the South again played a bloody role, there is understandable unease about the story's legacy (described by the writer Leonard Pitts Jr as 'a romance set in Auschwitz') and what it means for a civilised world that is trying to make reparation for the slave trade. Every time the book is reprinted or the film repeated, it's almost impossible not to cringe at Scarlett's fat, comical surrogate mother, Mammy, who lives for and through 'her' white family or Prissy, the buffoon who lies about her midwifery experience and gets slapped for her pains. The modern tweaks remind us that, after more than 70 years of social and political change, Gone with the Wind has in some ways survived against the odds. Last week, 38 years after the first musical adaptation, Scarlett, was produced in Tokyo, Trevor Nunn opened his own musical version, featuring mixed-race actors and offering 21st-century perspectives on this much-loved story.
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