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Archives: Diversity

Questions 18 Through 22

Questions 18 Through 22

Some more questions from Stephen Burt:

18. How often are readers from “marked,” or subordinated, or “minority” subject positions, asked to read as if they were not coming from those positions, to look at a literary work as if we were cisgendered, or male, or “middle American,” or well-off, or white?

19. How often are readers from “unmarked” or majority or until-recently-the-majority subject positions asked to read as if they were not coming from those positions, to look at a literary work as if we were Filipino, or Icelandic, or black?

20. Are the “asks” (or demands) in questions 18 and 19 demands of the same kind?

21. How often are readers unfamiliar with carpentry, or particle physics, or runway fashion, or haute cuisine, or Latin, asked to read as if we already recognized references to those fields?

22. Are the “asks” (or demands) in question 21 demands of the same kind as those in questions 18 and 19?

A charming retired gentleman participated in a novel workshop I taught in the DC area, and during a routine discussion of verisimilitude we debated the importance of authentic detail on the reader’s experience. He’d spent most of his life at sea—career Navy—and assured his fellow workshop members that, love him or hate him, the author of The Hunt for Red October hadn’t spent much time on submarines.   This student actually rather enjoyed Tom Clancy’s cold war tomes, although he admitted that in this particular case part of his pleasure arose from sneering at the implausible or inaccurate detail. I declined his offer to peruse his annotated copy of the novel.

31 Questions: Some Answers

31 Questions: Some Answers

Earlier this year I posted a link to a most excellent piece: Stephen Burt’s THIRTY-ONE QUESTIONS AND TWELVE APOLOGIES BY WAY OF A THANK-YOU NOTE FOR THE 2013 VIDA COUNT, and at the time I promised to write in response some of the questions. Life intervened, but I did want to return to that project, if only because I was so deeply stimulated by the original article. Here’s the first post:

Stephen Burt’s Question #9:

Is it possible to read a piece of literary writing without imagining that the author has an age, or a profession, or an ethnic identification, or a height, or a weight, or a race?

Well, yes, maybe, but which of us has the opportunity to read anything with the identifying information redacted—other than contest judges that is. For the rest of us, the publisher conveniently plasters images of the author on the cover and everything else we want to know is neatly summarized in the biographical notes. The message couldn’t be clearer: A person like you will enjoy reading something by a person like this.

I Just Work Here

I Just Work Here

Part of my AWP tradition is to attend each year at least one of the several panels devoted to the painful, recounting of the horrors visited upon writers of color while earning their MFAs in creative writing. On April 30 The New Yorker book blog published what is likely the highest profile version of this genre. Junot Diaz describes his program thusly:

Too white as in Cornell had almost no POC—no people of color—in it. Too white as in the MFA had no faculty of color in the fiction program—like none—and neither the faculty nor the administration saw that lack of color as a big problem. (At least the students are diverse, they told us.) Too white as in my workshop reproduced exactly the dominant culture’s blind spots and assumptions around race and racism (and sexism and heteronormativity, etc). In my workshop there was an almost lunatical belief that race was no longer a major social force (it’s class!). In my workshop we never explored our racial identities or how they impacted our writing—at all. Never got any kind of instruction in that area—at all. Shit, in my workshop we never talked about race except on the rare occasion someone wanted to argue that “race discussions” were exactly the discussion a serious writer should not be having.

You can read the rest of the post here.

Stephen Burt Has Some Questions

Stephen Burt Has Some Questions

In addition to almost hiring me away from SMU to come back and teach at my Alma Mater, Macalester, Stephen Burt is also one of our finest literary critics, essayists and poets.  I am intrigued with a post  that he wrote for the VIDA blog.  VIDA, founded in 2009, encourages female writers of literature and others to engage in conversations regarding the critical reception of women’s creative writing, and among other projects it has tracked the percentages of women published and/or reviewed in leading literary publications.  In his blogpost, Burt puts pressure on the assumptions that underlie “the count.”

Here are a few questions from the post:

7. Is it possible to read a piece of literary writing without imagining that the author has a gender (perhaps an unusual gender, or maybe two gender or three genders, but at least one)?

8. How do you think the answer to that question (beginning “Is it even possible”) would differ in a language, such as Persian, where neither pronouns, nor noun case-endings, differed by gender?

9. Is it possible to read a piece of literary writing without imagining that the author has an age, or a profession, or an ethnic identification, or a height, or a weight, or a race?

10. Is it possible to read a piece of literary writing without imagining that it has an author?

11. What about cookbooks, hard-news journalism, government documents, furniture-store instructions, math? Must we imagine authors for all those?

The other twenty-five questions are equally engaging.  I’m linking to Burt’s piece today, and then I thought I’d spend the week answering a few of his question myself.  Click on the link below to read the rest of the post.

Kimbilio 2014

Kimbilio 2014

So this is the week of updates on my other projects. I’m so excited to be hosting in July the second summer retreat for Kimbilio. Find more about the project and about the application process on this webpage.

And here, from the Book Country blog, is an enchanting blogpost about the Kimbilio experience by the equally enchanting young woman, pictured above:

The Importance of Meaningful Writing Communities by Khaliah Williams

Sometime in the autumn of 2006, I decided that I wanted to be a writer. I took several writing workshops at The New School in New York City, where I worked. I often found myself scribbling down ideas that would be the foundation of my novel (still in progress) in notebooks during my hour long commute between the village and The Bronx. Getting in the way of my writing ambitions was the problem of my full time job. My writing life, I wrote in my graduate school applications, exists in stolen moments at the office and crowded subway cars. I wanted more.

Click on this sentence to read the rest of the post.  

Professional academic researchers in the social sciences of many colleges and universities exploit the struggles of oppressed peoples. Oppressed peoples are left stranded with little to no resources after researchers leave their communities high and dry.

Researchers steal value from oppressed peoples by making them the subjects of theoretical research without lending them access to information that could better help their communities. Articles, books, and dissertations written about marginalized populations are written for academics, not working people, and as such have little impact on the people whose lives are the subject of this research. Liberal academics and social scientists are more concerned about developing the wealth of academic literature than addressing the immediate material concerns of the communities they research.

An Article About Pedagogy

An Article About Pedagogy

Last year I was interviewed by Catherine Buni for The Writer about culturally responsive pedagogy.  At the end of the article you’ll find a fine and representative listing of craft texts .

What books do you turn to for guidance? And what books are you missing?
By Catherine Buni | Published: January 6, 2014

Last spring, novelist Gish Jen published her first book of nonfiction, a fascinating book calledTiger Writing: Art, Culture, and the Interdependent Self. In it, Jen explores how the intersection of culture, of East and West, informs the stories she tells, indeed, how culture informs the stories all writers tell.

Tiger Writing is about writing. Tiger Writing is about art. It is also about the assumptions that underlie the standards by which art is judged. In an interview soon after the book’s release, Jen said, “With globalization in full swing, it’s a good time to take stock of our ideas about art and what ideas about art are in other cultures.”

You Have Been Judged and Found Wanting

You Have Been Judged and Found Wanting

I love calling it the Smackdown—even if the action has more in common with psychological warfare than it does with “professional” wrestling.  Don’t get me wrong: there are as many boors and bulldozers in creative writing workshops as in your garden-variety fraternity house or state legislature (redundant, I know), and that ilk is always more than happy to tell you your work sucks and that blowing up that spaceship full of babies was a dick move.  But those of us better trained in the ever-so-elegant ceremonial détente of the creative writing workshop understand the importance of guiding our peers with a more delicate touch.  There are more sophisticated ways of pulling the plug on content that doesn’t meet our approval.  The repertoire of the acculturated includes:

  • The friendly amendment:  “What if instead of a dismembered cadaver, you had the character find….”
  • The displaced (usually prudish) objection:  “Personally, I don’t have a problem with foot fetishes, however…”
I Ask Marta About…THE SMACKDOWN!

I Ask Marta About…THE SMACKDOWN!

Have you ever gotten the smackdown?  Or seen someone get it?  How’d you feel about that?

This is complicated.

I feel like I need to preface my answer(s) with some background that situates me as a writer in this conversation.  As I said in one of my comments, I have such a love-hate relationship with identity politics.  This is because, on the one hand, I have felt silenced and/or unheard in damaging ways, some of which are related to my “identities” – especially as a woman and a lesbian. Sometimes oppression really does take the form of a cultural trespass that can be silencing:  As though the white gaze isn’t bad enough, now here it is masquerading in blackface?  The male gaze in drag?  Heteronormativity chumming around as a fag hag?  What do you do with that, if you are a black writer, a female writer, a queer writer?  How do you get out from under that gaze, how do you talk back to it, when it’s now gone stealth?

Yesterday’s Comments

Yesterday’s Comments

Tomorrow I’ll reply to Marta’s question to me, but for today, I wanted to post up some of the highlights of the responses to Marta’s essay from Monday.

Kimberly Smith brought to us her recollections of earlier engagements in the struggle:

“I too remember those times and how dangerous it felt to be white and engage in discussions of race and racism when there were people of color in the room.


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