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"I often wonder what I would do if there were no books in the world."
- James Baldwin, Giovannis Room
A few weeks ago, I thought about how authors of color are almost never asked to talk about the craft, and instead it is always asked to talk about breed, identity and immigrant experience. And it is true - if I think about all the books about writing crafts, I have read or heard over the years or heard of those of those who have only a few POC-led books for writing, which I have seen have. Are you really so rare? Or are the books and essays out there, but we do not know where to find them?
In a sense, this is really another part of a longer discussion about the violence and deletion of the POC experiences and writing in many contemporary MFA write workshops. The article "MFA VS POC" in 2014 in the New Yorker brought many of the frustrations and problems in which writers of color schemes are met as part of the MFA experience. For many, the MFA workshop is too often a room that celebrates a privileged and celebrates a white and often male perspective, while others fails. In what is often a deep white room, the student author of the color is often asked to adapt a standard rooted in white experience, or also asked as a token or a racing ambassador or in the direction of expected race counts for the Sake to write "faithfulness "As judged by their predominantly white colleagues. In such settings, the feedback tends to justify the assumption that the "reader" is white and implies that the appetite and its approval require certain handling, placement or self-mutilation to repoat. This article led to a series of answers from well-known writers as well as current and former creative writing workshop students who had experienced or experienced similar things. The end of this article has a collection of some of these answers.
In the heart of the MFA VS-POC discussion, the claim that every discussion of the craft is not in a vacuum - the race is part of the living experience and how we will see and see is > Effect How and what we write. Much of what is taught, for example, the craft in a writing workshop takes the primacy of a Western European aesthetic tradition, which ignores 1) of the historical debt of the tradition of other cultures and traditions; 2) the multiple aesthetic traditions in literature and art elsewhere in the world, which were simultaneously or preceded by the European tradition; 3) The complexity and the flowability of cultural exchange is currently happening - that we live in a global society in which our literature and art reflect the reality of our communities, not nostalgic in a way-mannered world, which was never..
How are we going? An important step is better trained, what is what is what is already there. If we want to be essential because of race and craft intervals, if we query the assumptions about Canon, aesthetic tradition and the workshop, we have to read the existing archive and study) - and if we are missing that some things are missing Make the gaps carefully and (if possible) draw attention to the filling of them.
The following list is an extension of a post, which I started on my own blog on my own blog to catalog which write resources are out there, which were written, edited, or from other writers (if you are the Get to know other texts), and resources to be listed, please post in the comments and I add them).
Last updated: 1 April 2021
Disclaimer: A few years after the original "MFA VS POC" an article has been published, numerous accounts, which of the sexual harassment of the author of young women (especially young POC women-Women authors ) Immerseed. De-Canon can not be sexual harassment or attack in any form. We have painted his name and quotes from this above article, however, were the link to the article below for historical purposes - how many authors (not consciously behavior) on his article answered, and the subsequent conversation can be better understood in the context.