Why Are Writers Of Color
Underrepresented Among Published Authors?
On 7
November 2015, The
Atlantic published an
article by Kavita Das titled, “Writers shouldn't romanticize
rejection: in the literary world, talent isn't hiding. It's being
ignored.” The article advanced two major premises: that a minority
“voice” may be “alien or unrecognizable” and that rejection
is a function of “power” relations. In Das' words, “Is my voice
going to be somehow alien or unrecognizable to the person I am
submitting it to?” Though the author recognizes that her essay
might apply to all writers from underrepresented groups, she directs
her concerns primarily to “writers of color.” While I agree that
racial and ethnic diversity should be a priority in the literary
world, I submit this essay to suggest that numerous factors may
operate to limit opportunities for underrepresented writers and that
Das has overlooked some possible solutions. While I practice poetry
seriously, I am neither a professional nor an academic poet. Thus, I
cannot claim to have systematically studied the topic under
consideration. I hope, however, to broaden and to enhance the
conversation about under-representation of some groups among those
identifying as writers, particularly, writers competing for
publication.
Are persons of color
underrepresented? Following
Das' comments, we need more quantitative data about whether or the
extent to which under-representation of certain groups characterizes
published writers. The single study cited by Das compares
representation of published groups of color with their representation
in the American population at large. Perhaps we should consider using
the representation of persons of color in M.F.A. programs or another
baseline rather than total population. It might be useful for
stakeholders to enlist the aid of statisticians in conducting
quantitative studies.
To what extent do limited finances
impede the careers of writers of color? Some
minority writers, particularly, blacks and Hispanics, may lack the
financial resources required for a successful career as a published
author. Many potential choices may increase a writer's networks and
chances of being published (e.g., money to hire a good agent or
editor, to consider high-quality self-publishing, to attend
conferences or retreats). A wealthy [white] friend of mine recently
self-published a beautiful volume that cost him ~$20,000, including,
~$8,000 for a seasoned editor. Many minorities would find this option
beyond their reach. One viable solution to this problem that seems to
be increasingly common is the formation of publishing collectives,
and at least a few of the existing ones privilege writers from
marginalized groups, in particular, LGBTQ and persons of color.
Another possibility would be for some publishers to designate quotas
or a minimum number of titles specifically for writers of color;
however, in my experience, there is vigorous resistance to this
option, and it might be argued that such initiatives are contrary to
aesthetic standards and purposes. Another obvious possibility would
be for institutions, including, publishers, to fund grants or
fellowships to promising early-career writers of color, perhaps,
after a writer of color has published articles in journals or
magazines.
Are writers of color prepared to
deploy competitive tactics and strategies? Related to this, are
writers of color, particularly, blacks and Hispanics, more
competition-averse than their peers?
These questions might be addressed by tutoring or by classes
sponsored by organizations and educational programs. These are, also,
issues that might be addressed by individuals via coaching (another
option requiring funds) or self-help resources (e.g., books, tapes,
videos).
Are the verbal skills of writers of
color adequate for the production of publishable work? Writers
of color who speak non-standard English or whose primary language is
a foreign one, need to recognize that these features will be
considered a “lack” by agents, editors, and publishers and will
probably make such individuals less competitive compared to writers
with impeccable English skills.
Do writers of color write with a
Universal (Human Nature) “voice” as well as a Specific
(individual Race or Ethnicity) “voice”?
If it is accurate, as Das suggests, that the “voice” of a
writer of color might be viewed as “alien” and, thus, less
competitive when compared to writers from a dominant group (e.g.,
white males, famous authors, contest winners), does the writer of
color address not only her individual traits, but, also, a “voice”
based upon Human Nature? A critique of the Universal standard in
publishing can be found in the Introduction to The
racial imaginary: writers on race in the life of the mind
(2015, Fence Books) edited by Claudia Rankine, Beth Loffreda, and Max
King Cap. Despite the perspectives expressed in the recommended
Introduction, writers of color may want to address both the specific
and the general in their work—implicitly and/or explicitly, in
order to reach the broadest audience and to improve marketability of
manuscripts. On the other hand, it is worth noting that a number of
recently-published books by writers of color (e.g., Rankine,
Ta-Nehisi Coates) address parochial themes, particularly, race and
racism in the United States.
Have writers of color articulated
the standards and criteria that guide or govern their practices? In
my opinion, writers of color need to articulate an aesthetic which
might be normative, oppositional, or some combination of these. For
better or worse, classical aesthetics probably govern the selection
process at most publishing houses. If the work of a writer of color
does not fulfill Formalist (form over language) expectations, then
s/he might consider submitting to alternate, small, or specialized
presses or starting a new press designated for underrepresented
authors. The latter solution to resistance by mainstream publishing
houses has a long and, often successful, tradition in this country
(e.g., see the history of the New York School or of Language poets).
Emphasizing the
pervasive influence of classical criteria, it is important for
writers of color to realize that these standards have historically
excluded most writers other than white males. The dominant motivation
in literature is for agents, editors, and publishers to identify work
that, in Paul Fry's words, are “true for all time”, an ideal of
Romanticism. Helen Vendler, the pre-eminent poetry critic in the
United States, is a Formalist who considers gender, race, and class
to be secondary to “temperament” from which, in her view, “major”
work arises. Vendler considers most poetry written by feminists to be
“politics” and/or “sociology”, and she, in all likelihood,
would say the same about writers of color having stated that race is
only one of many factors in a person's identity.
Conclusion:
Unless I am mistaken, underrepresented writers have not marshaled a
counter-response to Formalism, a project that would require a
conversation among writers of color to formulate a new aesthetics.
Personally, I favor such a project; however, I recognize that many
writers of color would oppose it. In any event, underrepresented
authors need to realize that they write with, in Adrienne Rich's
words, “the oppressor's language” and in the oppressor's
environment. On the other hand, the late Caribbean-British
Sociologist, Stuart Hall, has argued that influence and change can
arise from “the margins”, suggesting that a progressive response
to the lack of “diversity in the publishing sector” might be to
generate innovative and oppositional strategies outside mainstream
publishing. Such initiatives might, over time, attract a wide range
of authors, including, published writers of color as well as a
representative sample of the writing community. Finally,
underrepresented writers who are challenged by the publishing process
should insist that successful authors of color provide support,
encouragement, resources, networking, and instruction to their
colleagues in the pipeline.
Originally
published in The Review Review.
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