Daniel José Older – Further Annotations

‘I asked writers about their relationships to their personal libraries to glean what I could of the self-making properties of these collections. Urban fantasy author Daniel José Olderrecently tweeted about his appreciation of e-books as both a practical and environmentally friendly alternative to hard copies. Older told me that, despite poking good-natured fun at those who wax poetic about hard copies of books, he loves books too and would miss having the large collection that he and his wife do have if it were to disappear. But he is less concerned about what books are contained within. “I think, at some point, I rid myself of the notion that there are books I should have read,” says Older. “I’m not going to sit here and measure my literary canon dick with somebody else. I read great books and they made me the writer I am.”

Haley Mlotek says that her book collection is first and foremost, about her own love of books. “I’ve always wanted a library that I could show off, sure… but I’m the one who likes looking at it, likes thinking about the books I have read and the books I haven’t and having them within arms reach no matter what apartment or sublet or space I’m in,” Mlotek says. “More than my clothes or my dishes, my books feel like they can be the most consistent part of what makes my apartment my home.” Because she dropped out of college early, her book collection has come “to represent the learning I’ve just done or am yet to do.” In this way, books function as a promise to herself and stand in a sort of defiance to the idea that universities are the only tools by which we can acquire an education.

Writer Kyle Chayka tells me that the most important books in his life are on a shelf in his room, away from most visitors’ views but prominent in his own. “Looking at them, not even reading them, is a kind of meditation, I think, and a reminder of what the books mean to you, or what arguments they’re making. So displaying them is a continuation of a kind of intellectual dialogue,” says Chayka.

From speaking with these writers and more, I understand that this knowledge signaling that books perform is not inherently a sign of ego. There can be something vulnerable and communal in displaying your books. James Baldwin said, “You think your pain and your heartbreak are unprecedented in the history of the world, but then you read. It was books that taught me that the things that tormented me most were the very things that connected me with all the people who were alive, or who had ever been alive.” To come into a stranger’s home and see a beloved book on their shelf creates the bond of a shared memory. “You and I have traveled to the same places and with the same friends,” it tells us. “We were pursued by the same enemy and we emerged alive.” I do not begrudge anyone the desire to keep their books as vessels of memory and potential connection with others, conversation pieces more ripe for discussion than a coffee table or an antique lamp.’

[Via]

“By blaming an intangible force, the publishing industry absolves itself of any responsibility, when in fact it is very much in the business of manipulating The Market to its ends. “Those conversations happen without acknowledging that there’s a huge disparity in how books are marketed and publicized,” Sarah McCarry tells me. McCarry worked publishing on and off for a decade, most recently at a New York literary agency. “That money and attention overwhelmingly goes to what the industry has already decided is ‘marketable’—heterosexual narratives featuring white characters. A book has very little chance of doing well if there’s no marketing push behind it.”

Lee and Low Publishers convened a panel last year and asked agents what they could do to help shift the troubling lack of diversity in publishing. “I think the change is going to have to come from within those who are affected,” one agent responded, “just like any underrepresented group in any profession. But since the return on the investment for the author is so low, I don’t know how many people of color are going to have the desire to climb the mountain to publication that every new author faces, or have the luxury of dedicating the time it takes to master the craft.”

Another agent, when asked why less than 1% of her submissions were from people of color, captured what seems to be the publishing industry’s general attitude in just 10 words: “This seems like a question for an author to answer.”

This is the language of privilege – the audacity of standing at the top of a mountain you made on the backs of others and then yelling at people for being at the bottom. If it’s not the intangible Market that’s to blame, it’s the writers of color, who maybe don’t have what it takes and don’t submit enough anyway. Read the subtextual coding here – the agent first places the onus of change on the folks with the least institutional power to effect it, then suggests we probably won’t be able to find the time (i.e., lazy) to master the craft.

…

So we are wary. The publishing industry looks a lot like one of these best-selling teenage dystopias: white and full of people destroying each other to survive.

But let’s go back to this: “It’s not for you to relate to!” Write that in the sky. And it’s true – often, as writers of color, to portray our stories in all their vibrant authenticity, all their difficult truth means we’re not writing for editors and agents, we’re writing past them. We’re writing for us, for each other. And it’s not just a question of characters of color, it’s not a numbers game. It’s about voice, about narrative flow. Because of who we are and what we’ve lived, our stories often contain implicit critiques of white supremacy, critiques that we know stand little chance of surviving the gauntlet of the majority white publishing industry. We see diverse futures, laden with the tangled past of oppression and we re-envision models of empowerment and survival. But only a few of us make it through. There is a filter and the filter is white culture.

Ultimately, editors and agents hold exactly the same amount of responsibility that writers do in making literature more diverse. The difference is, editors and agents have inordinately more power and access in the industry than writers do.

…

Diversity is not enough.

We’re right to push for diversity, we have to, but it is only step one of a long journey. Lack of racial diversity is a symptom. The underlying illness is institutional racism. It walks hand in hand with sexism, cissexism, homophobia, and classism. To go beyond this same conversation we keep having, again and again, beyond tokens and quick fixes, requires us to look the illness in the face and destroy it. This is work for white people and people of color to do, sometimes together, sometimes apart. It’s work for writers, agents, editors, artists, fans, executives, interns, directors, and publicists. It’s work for reviewers, educators, administrators. It means taking courageous, real-world steps, not just changing mission statements or submissions guidelines.”

[Via]

[“BLA and GB Gabbler” (really just a pen name – singular) are the Editor and Narrator behind THE AUTOMATION, vol. 1 of the Circo del Herrero series. They are on facebook, twitter, tumblr, goodreads, and Vulcan’s shit list.]

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