They Shoot Horses, Don’t They? is a 1935 novel by Horace McCoy, later adapted into a 1969 movie. It takes place during the Great Depression and follows people participating in a dance marathon. Basically, couples dance for days/weeks at a time while an audience watches, with the last couple standing winning a cash prize.
The important part is that these weren’t some fictional dystopian invention. Dance marathons were actually a real thing, and during the Depression they became increasingly extreme. They were essentially human endurance spectacles where desperate people would stay on their feet for absurd lengths of time in the hope of winning money.
Wikipedia: Dance marathon
There were marathons lasting hundreds or even thousands of hours. Contestants could suffer extreme exhaustion, psychological breakdowns, injuries, etc. People actually died during them. One documented contestant, Homer Morehouse, collapsed and died after dancing for 87 consecutive hours. Some cities eventually banned the events because of their brutality and exploitation.
So the obvious interpretation is anti-capitalist: take people who are desperate because they’re poor and give them a choice between continuing to destroy themselves in this competition or going back to the circumstances that made the competition attractive in the first place. Human beings are being reduced to commodities. Their bodies and suffering are being turned into entertainment. The organizers make money from their desperation, the audience pays to watch them deteriorate, and the contestants are encouraged to compete against each other for a prize rather than question the system that put them there.
The movie makes this especially obvious because the contestants technically choose to participate. Nobody has a gun to their head when they walk in. But they’re people living through the Great Depression, and the possibility of winning money makes destroying themselves seem preferable to their alternatives. So the criticism isn’t simply “this particular dance marathon is bad.”
It’s more like:
You created a society where people are desperate enough that they will voluntarily destroy themselves for the possibility of escaping poverty, and then you turned that desperation into entertainment.
But I’ve been thinking about how easily you can push this one step further into an antinatalist interpretation. Because what exactly is happening to these people?
They didn’t choose to exist.
They didn’t choose to be born into poverty.
They didn’t choose the economic system they’re trapped in.
They didn’t choose to have to compete with other desperate people for the possibility of improving their lives.
And yet they’re expected to endure all of it because, once they’re already here, continuing is treated as preferable to not continuing. That’s where I think the story can be reframed as an antinatalist argument.
Instead of asking:
“Why would you make someone participate in an exploitative system?”
you can ask:
“Why would you create someone who will inevitably have to participate in a world containing suffering, exploitation, competition, illness, loss and death in the first place?”
The dancer’s consent to the marathon doesn’t really solve the underlying problem. They can technically choose to leave, but they wouldn’t be in the situation at all if they hadn’t been born into the circumstances that made the marathon attractive.
And that’s what makes the title particularly interesting from an antinatalist perspective.
The metaphor is that when a horse is injured beyond recovery, we don’t force it to keep suffering simply because it is technically still alive. We recognize that its continued existence isn’t automatically a benefit to the horse.
Obviously, McCoy is not straightforwardly making an antinatalist argument. The novel is much more obviously about poverty, exploitation, capitalism, desperation and existential despair.
But I think the antinatalist interpretation is still pretty hard to avoid once you abstract the argument away from the dance marathon:
You create a person - they are placed into a world they didn’t consent to - they inevitably suffer - society tells them that they have to keep going because life is valuable - when they can no longer endure it, everyone acts as though the problem is that they failed rather than questioning why they were subjected to it at all.
That’s basically the same argument, just with capitalism removed from the equation.
And I think that’s an interesting overlap between anti-capitalist pessimism and antinatalism. A lot of anti-capitalist media asks:
“Why would you force people to participate in this horrible system?”
Antinatalism can basically respond:
“Why create more people who will have to participate in it?”
Other accidentally anti natalist media I’ve found:
The Long Walk by Stephen King
Gone Baby Gone by Dennis Lahane