A discussion came up on Facebook regarding the apparent lack of diversity in publishing when Martha Boss, book blogger, educator, and model shared her opinion regarding the lack of diversity at book events. She explained that she had no desire to attend any literary events that didn’t have authors from all walks of life. And in the United States of America in 2017, one would think that such an opinion would be positively acknowledged and celebrated. Unfortunately, an uproar of finger-pointing and finger-wagging ensued by some disgruntled readers of her post. On a positive note, the conversation inspired me to write this post.
Before I delve into where I stand on this matter, I will first give some background knowledge and context.
Most of you may know that my husband is white. I bring up his skin color because of the nature of this post. You see, some time ago Marvel was relaunching Spiderman and making the hero that followed in Peter Parker’s steps a young man named Miles Morales, who is half-Black and half-Hispanic.
I was okay with this change. And as an advocate for diversity, I’m all about the inclusion of more and more people of color in all social constructs. On the other hand, my husband was concerned about this change. For those of you who aren’t familiar with Spiderman, he’s a young man named Peter Parker who happens to be white, like most of the comic book characters that have become not only popular, but also who have become mainstream due to aggressive marketing and appearances in movies (Batman, Deadpool, Superman, ad nauseum). All alternate personas of these heroes are white males. And all but two of them are filthy rich (yes, looking at you, Deadpool and Mr. Kent.)
Hardcore fans are all about staying true to the “canon”. And there are laws that must never be broken.
Two main “no-no’s” are:
THOU SHALT NOT CHANGE THE COLOR OF THE CHARACTER.
THOU SHALT NOT CHANGE THE GENDER OF THE CHARACTER.
My husband was concerned that the writers weren’t staying true to the canon by changing Spiderman’s ethnicity. My husband’s argument was logical especially when he supported it with this gold nugget: “The market should be actively looking for writers with new fresh faces and cultures to add to the Marvel or DC universe. Peter Parker should keep on being Spiderman.”
I agreed with my husband that the Industry or Market should be looking for new material from different perspectives instead of rehashing the same tripe year after year. Moreover, consumers need to do their job by demanding what they want and if the Market isn’t giving it to them? Well, now. There’s this powerful principle called supply and demand and it’s a beautiful thing. If I don’t like a show, I won’t watch it. If I don’t like a restaurant, I won’t eat there. For example, even if McDonald’s were the last restaurant on the planet I REFUSE TO EAT THERE!
A few months after my husband and I had our third child, he turned to me and said, “I get what you’re saying. You know, about seeing more characters that are people of color. I don’t want our sons growing up not seeing that they’re important. That they exist.”
And the cry for diverse books wasn’t enough because then you fall into the bait-and-switch trap that it’s okay for white authors to write books that star nonwhites as the characters. Then, the #ownvoices movement was ushered in to stress how important it is for people of color to tell their own stories in their own voices and not having to fear that they needed to pander to or patronize a white audience or any audience (regardless of color) that didn’t understand where they were coming from.
Too bad these movements aren’t making waves on television. Yet. You see, over the past several months, my husband and I observed a disturbing trend regarding television shows for children. I’ll most likely go into more detail about that in a future post. 🙂
The conversation that my husband and I shared regarding the necessity for diversity in books and comics inspired me to reflect on my childhood as a reader and where I am now as an author and reader. My reflection motivated me to write this blog post.
Now, back to the main topic.
In one of my previous blog posts I discussed the deathtrap of stereotypes. A common stereotype regarding Black people is that we don’t like to read. It was also one of the arguments that excuses the cold, hard fact that 88% of books reviewed by the New York Times are written by white authors. So, one could ignorantly draw the conclusion that Black people don’t like to write either. Or that they don’t know how to write. But, if they do like to write, they’re not very good at it because they don’t like to read and thus there’s no market for them. And that’s just the way it is.
Uh, no. Just no.
When I purchase books for my classroom I choose them very carefully. I want books that will not only keep my students engaged, but appeal to their gender, not only relate to their own experiences, but challenge, and build onto this foundation. My Black students, as well as White, Asian, and Latino students love reading a good book regardless of what color the main characters are . . . or whether or not the main characters are even human. However, there comes a time when nonwhite students wonder WHY their experiences, their truths, their very essence isn’t proudly shown on the cover of a book or even within its pages. I know because I was once their age and wondered these thoughts: Am I not worth writing about? Are people like me not worth reading about? (Well, unless you’re a slave getting the crap beat out of them). By the way, what is the USA’s morbid obsession with Black pathology? Yuck.)
We Need Diverse Authors
About eight years ago, libraries (some may still practice this, but I’m pleased to say my local library DOES NOT) shelved books based on genre in an obsessive compulsive way that would impress even this guy:
Back then, there were no cross-genres.
No, no, no. Every little book went into its own boxed off little shelfie-welfie corner. Oh yes, yes, yes.
So books like this:
or this . . .
wouldn’t appear in the general romance aisle, but be ghettoized or segregated from that oh-so lucrative and coveted section and placed in the African-American books, Street Lit, Urban Lit, or wherever library’s chose to place books with dark brown to light brown faces on the cover. Think about your local grocery store and how soy sauce, butter chicken, and curry are cordoned off in their own aisle labeled “multicultural or ethnic” away from the other condiments. Even poor sauerkraut and gelfilte fish has its place there. If I hadn’t watched the Food Channel or binge watched “Great Eats Around the World” I would remain culinarily (made that word up) ignorant! Now, regarding the segregated books: Was this practice intentionally racist? *Shrugs shoulders*. Not sure. But, one could see how this limits authors of color from being discovered from readers regardless of their color even though it fit in the “general genre”.
A couple of weeks ago while visiting my local library I noticed a lot of newer authors I had never seen before. I was so impressed that the library had become “integrated” that I had to take a picture of it!
Clearly, people and books don’t belong in boxes. Well, unless you’re dead and boxed in a coffin. Sorry, I digress.
In 2015, Lee & Low, a publishing house that prides itself on finding new authors of color shared the results of the Diversity Baseline Survey, which revealed that overall the Industry is predominantly white and female. Bet you weren’t expecting THAT revelation. But, it’s true. And when I say overall we’re talking about all levels:
- Executive Level
- Editorial Dept.
- Sales Dept.
- Marketing & Publicity Dept.
- Book Reviewers
Is this predominantly female white status quo deliberate and thus, racist? Well, if you consider the data . . . the other question is will it be kept this way and by design?
While I hunted for facts regarding the struggle many writers of color — Asian, Caribbean, African, South American — experience trying to get published, I encountered similar stories:
- Mira Jacob, young author of the critically acclaimed novel, The Sleepwalker’s Guide to Dancing, shared a powerful speech about her struggles as an (East) Indian woman dealing with ignorance and prejudice in the publishing industry. A MUST READ!
- Jenny Zhang shares how a white poet, Michael Derrick Hudson, used a Chinese pen name, Yi Fen Chou.
- Paul Langan, a white novelist writes popular series about Black students growing up in an Urban setting.
- Brandon Tensley discusses America’s Problem With Writers of Color.
- PP Wong, author and editor shares how many times her novel was rejected. One of the reasons is really, really, really stupid. And clandestinely racist.
- Phenderson Clark, speculative fiction writer of Afro-Caribbean descent draws back the curtain regarding racism against fellow Black authors (and the lack of characters) in the science fiction and fantasy community.
To piggy-back on the final bullet regarding the science fiction and fantasy genre that I write and adore I come to a fork in the road. Lately, several of the Big Five publishers that are located in New York are requesting romance novels from Black authors. I don’t know how to write strictly Romance. I mean, doesn’t it entail, you know, like a “formula” where handsome guy meets gorgeous lady and they don’t like each other at first until he or she does something and then the tide is turned and then they like each other, but not like that and then they fight and break up and then you know — heck, I DON’T KNOW! So, my point that I’m trying to make is do I just “sell out” and go to the “Crimson Wine and Chocolate Covered Cherries Side” of Le Force and write Romance because it’s popular and I’m more than likely to succeed since there’s an open call for it?
Like I said before, I don’t know how to write strictly Romance. I need creepy scenes, an occasional vampire or demon to slay. I need undiscovered elements on the periodic table. I need a nod to the current status quo and how to change it. I need to believe that there are dragons to slay whether they be literal or figurative. I need to hope for windows, doors, closets, basements, or even dreams that lead to alternate dimensions.
I may not write Romance yet, but I could learn, if I feel so inclined, and not because it’s what a publisher wants of me to selfishly benefit themselves. In other words, why should writers of color pigeonhole themselves? We should be able to write what we want.
This scenario brings this excerpt from Rachel Deahl’s Publisher Weekly’s article, “Why Publishing is So White”:
So how does the industry move forward and do better? Right now, publishing seems to be struggling with the difference between words and actions. Take, for example, a situation a publisher at a reputable Midwestern press recounted. Claiming he is “always trying to diversify our staff,” he brought up a recent editorial assistant search that initially yielded 250 applicants. The press narrowed its options down to eight finalists, five of whom were white and three of whom were people of color. Although all the finalists were “excellent” in his estimation, the position went to a white woman. The reason? “There’s no room for tokenism at [our press].”
Dude, there’s no need for tokenism! What a cop out!
There’s always going to be a first and you don’t have to stop there. A first — if that’s the intended direction you want to go — will lead to a second and a third.
It only takes one to turn the tide.
The need for diverse books from diverse authors with different stories to tell isn’t a trend and never will be.
I love comments, and I always visit back. Blogging is all about being a part of a community, and communities are about communication! Tweet with me @moniquedesir