I just posted "on identity, performing marginalisations and the limitations #ownvoices; or why I can't just repeat my uncle's favourite joke about eating dogs"https://link.medium.com/OYULTq5Zz3
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I wonder if there's a sort of bias towards bleak/depressing/edgy stories in general that ends up having much more of an effect on what stories by marginalised writers are allowed to publish than it does on non-marginalised ones?
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Complicated, I suspect, since fluff does sell (and sell very well), but authors with marginalised identities are very often read as Important and thus can’t possibly be writing Fun Trashy Reads. But that’s going into a whole world of stuff I just don’t have the numbers for.
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I've had this happen to my face when I suggest that maybe Jewish books where people are happy being Jewish should get attention. They hear it as that I'm asking for our important works about suffering be silenced and pushed aside. ....no???
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I guess why am I surprised, if ppl have a hard time understanding that you can like more than one gender romantically, that they have trouble with "both happy and sad stories can exist and asking for sad to not dominate is not asking for happy TO dominate."
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absolutely. What you said about Chinese stories that American publishers find acceptable is SO true and reminds me of the book that Courtney Milan criticized in the RWA scandal.
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Ah yes.... the subgenre of basically the same story but written by white people and thus with less nuance and more orientalism.
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also I really appreciated in your post how you pointed out that the stories held up as "only stories" ARE true & it's not that they shouldn't exist, which is important bc I've often found the minute I say "X shouldn't be the only", ppl are quick to mishear this as "get rid of X."
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Hvala. Twitter će to iskoristiti za poboljšanje vaše vremenske crte. PoništiPoništi
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