When was the last time you saw yourself reflected in print? It’s a widely known fact that while the publishing industry has made efforts to become more diverse, much of it’s output remains white and European. Even some of the largest publishers in the UK have recognised this and have made conscious efforts to recruit boradly with initiatives such as The Scheme run by Penguin Random House, for example, which aims to recruit talent from BAME and low income households.
While many schemes focus on editorial, arguably the most sought after field within publishing, something can be said for how works by women of colour that are released by major publishers are marketed.
Which draws us to Queenie, the debut novel by Candice Carty-Williams. The book had been teased for months prior to it’s release, with it’s beautiful cover art complete with a silhouette of box braids and gold hoops. Our protagonist is undeniably a black woman.
Confusion lies in the manner in which it has been marketed. With many reviewers likening the novel to Helen Fielding’s Bridget Jones’ Diary and Chimamanda Ngozi Adichie’s Americanah. Both Queenie and Bridget work in media. Queenie just to happens to be Black, but British instead of Nigerian. But that is where the comparisons end.
From a marketing standpoint, comparing a debut author to a work which has already garnered millions of sales and no less than three hollywood films is a great strategy - familiarity breeds interest. What we are met with, however, is a comparison that is not met.
Early reviews of the novel show the contrasts. Readers of colour expected a more complex discussion of the Black British experience, while other reviewers, while interested in the initial premise, echoed that it did not resonate with them.
It raises the interesting hypothesis - what if the early PR had been helmed by people just like Queenie? Granted, many examples of Black British writing aren’t at the forefront of many, but what may have replaced Bridget?
To address the balance, many readers of Bookstagram have pressed for more honest reviews by people of colour who resemble their protagonists with @theartisangeek calling for #OwnVoicesReviews - a call for more reviewers (professional and casual readers alike) of colour to be more actively involved in the process.
While every work of fiction is open to interpretation, reading and learning from another is a vital tool for urging the publishing industry to take stock. If we want publishing to become more diverse, this must also be reflected in it’s readerships and critiques, to avoid the gatekeeping and well-meaning - but lazy - comparisons.
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