by Lehua Parker | Dec 9, 2021 | Book Reviews & Announcements, Pacific Literature, The Business of Writing
I’ve often thought that rather than wait patiently in the shadows for someone at the publishing table to notice and make room, it’s better to build your own table. Tatou Publishing has not only built a table, they’ve prepared a feast.
Traditional publishers in the USA believe there is no market for Pacific literature stories, that islanders don’t read or buy books, that words in Pidgin or Hawaiian or any other language are confusing. I can tell a good story, they say, but to reach a wider audience, I should really just write books about American girls who sparkle. That’s something they can sell.
Unfortunately, that’s not an exaggeration. Publishers and editors have really said this to me. I think their frankness comes from the cognitive dissonance they experience when they see what looks like a fluffy middle-aged white woman submitting manuscripts that bleed saltwater and taste of taro and red earth.
They just don’t get it—and they really can’t. They don’t have the tastebuds.
Other Pasifika writers have heard this, too. We’re told to be patient, to write literary fiction, not space stories or fantasy or urban romance. We’re supposed to fit neatly in a box.
Tired of this rhetoric, Tatou Publishing was born. A call went out from Lani Young and Sisilia Eteuati for original short stories and poems from women across the vast Pacific. It speaks volumes about colonial chains that many saw women and assumed only cis-gendered were welcome, but our pan-Pacific realities have bigger hearts and lives than that. Tatou Publishing assumed that was understood. Going forward, the wahine energy message is clearer. Women means all women.
Their first project is ambitious—there was only a two week submission window for original stories and poems that ended on Nov. 30, 2021 and publication was fast-tracked for December 23, 2021.
37.
That’s the number of authors whose work was accepted into the inaugural anthology. I’m not sure what the final word count was, somewhere in the 90,000 word range. That’s not just amazing, that’s unprecedented. It’s impossible, according to publishers. There aren’t that many people writing these kinds of stories in the world, let alone women.
That’s why Lani and Sisilia built their own table, a ginormous table, big enough to hold a feast of words, of stories, of lives told in authentic voices. Better loosen your belt. There are more courses—flavors and textures—than your tongue can hold.
The authors range from experienced to noobie, from stay-at-home moms to lawyers, educators, business owners and everything in between and beyond. This is the start of something special.
From the back of the book—
Stories that tell covid to eat sh!*, where a Centipede God watches on with wry humour and wrath, where a sexy Samoan goes on a hot Tinder date in Honolulu, where a New Zealand doctor is horrified to be stuck at her cousin’s kava drink up in Fiji, stories where Ancestors and Atua live and breathe. Stories that defy colonial boundaries, and draw on the storytelling and oratory that is our inheritance. Immerse yourself in the intrigue, fantasy, humour and magic of beautiful strong stories by 37 writers from across the Moana.
Chimamanda Adichie speaks about the danger of the single story. In this book you will travel across oceans and meet diverse and deep characters in over 50 rich stories from Cook Island, Chamorro, Erub Island (Torres Strait), Fijian, Hawaiian, Maori, Ni-Vanuatu, Papua New Guinean, Rotuman, Samoan and Tongan writers.
Mark your calendars: Va – Stories by Women of the Moana, available Dec 23, 2021 on Amazon and other retailers in eBook and paperback.
It’s gonna be epic.
by Lehua Parker | Nov 12, 2021 | AAPI Books, Am Writing, Mana'o (Thoughts), The Business of Writing
It was maybe eight years ago that I noticed a lot more awareness, more buzz, about the startling lack of diversity in middle grade and young adult literature. In the USA, it started with recognizing we were a multicultural nation that woefully underrepresented the crazy quilt reality of our society. The lack of diverse representation was being talked about in ways and in circles that I hadn’t heard before.
It was the very existence of the conversations that was new, not the concepts. Growing up, I was surrounded by misrepresentation, appropriation, and outright fabrication of my Native Hawaiian—kanaka maoli—culture in media. All islanders were hula dancers, bartenders, or crooks, with the occasional beach bum thrown in. Books, television, and films never reflected my reality of doctors, lawyers, businesspeople, teachers, musicians, comedians, philanthropists, homemakers, and yeah, houseless people struggling in makeshift camps.
With awareness and conversation came movements like #weneeddiversebooks and #ownvoices. Traditional publishers created new imprints and solicited manuscripts from writers of all backgrounds, experiences, and frames of reference. There was a lot of hope.
Then reality set in and things started to get weird.
One of the biggest challenges is that with new perspectives, the stake holders and kingmakers—the acquisition editors and marketing teams—generally do not have the background to accurately assess whether or not a manuscript authentically represents what it purports to. In today’s cancel culture, few are willing to risk being wrong.
Authors are also eyeing the swing of public opinion’s guillotine. Over the last few years, I’ve talked with many established authors who want to write stories about characters who aren’t like themselves—ethnically, neurotypically, sexually orientated, physically abled, faith-believing or disbelieving, from different socioeconomic communities—the whole spectrum of humanity. These authors’ genres and target audiences range widely, from picture books to adult high fantasy, romance, and horror. These are exactly the kinds of stories that will reach under severed readers and bring more threads to our literary tapestry. But they’re scared. They’re convinced writing outside of their perceived and approved wheelhouse is career suicide.
And these stories aren’t being written.
Some authors have pivoted to writing about animals instead of children. Some write fantasy, where it’s easier to blend cultures into something familiar, but new. Others have doubled down and do not describe the physical characteristics of their characters at all. I was part of a panel of authors at an event where a White college student called out a well-known (and really wonderful) White male author of middle grade books. She publicly chastised him for only writing White characters in his series. He gently asked her where that was in the text—and of course, it wasn’t. He had been very careful to only use generic physical descriptions like tall, athletic, old, young, or wearing a blue shirt. The college student had brought her own biases with her.
We all do.
The pendulum’s backlash is twice as harsh as its front swing.
I believe it’s important to recognize that not all stories are ours to tell. But rather than #ownvoices, I think we should be focusing on authentic representation, what I’ve coined as #RealRep (because ain’t nobody got time to spell #AuthenticRepresentation).
#RealRep allows authors the freedom to write all kinds of stories. Writers can easily imagine how it feels to be different or alone or special or even ordinary. Most stories have underlying themes like love, family, courage, perseverance, or adventure and are told through emotions and experiences that are universal to the human condition. Where we are vary is in the specifics, constraints, opportunities, and pressures.
My advice to authors who want to tell stories about people, places, and experiences out of their own wheelhouse is to pause for a second to consider what’s sparking the story. What draws to you this story; why do you want to tell it; what are you hoping your audience will take away from it; how will you do your best to avoid harmful stereotypes, characterizations, and tokenisms; and how would you feel if you were portrayed this way?
If you’re comfortable with your answers, then research, research, research. Google, YouTube, and the library are your friends. Most importantly, connect with this community. Find people who have first-hand knowledge and experience with the cultures, issues, locations, and worldviews you want to explore. Get the nuances and details right before publication, but don’t let fear of getting them wrong stop you from starting. Refinement often comes after the first drafts when you engage beta and sensitivity readers. And it is readers. There is no “authority” that blesses any one point of view or lived experience. You’ll need a variety of responses to see the middle.
Remember, the goal is authenticity, not wide-eyed Pollyanna optimism. It’s okay if some readers are uncomfortable. Just make sure the discomfort is calculated and coming from the things you intend.
To publishers, remember that none of us are fully aware of our biases. We always think we know more than we do. Recognize you don’t always have the staff or experience to identify authenticity in manuscripts, particularly ones that defy expectations. If the story is compelling, engage your own experts to assess if it rings true–and it will take experts because no human experience is a monolith.
If we want to create a more inclusive world, we must teach compassion to children. One of the best ways to do this is to provide them books that allow them to walk in others’ shoes. To teachers and librarians, you are the frontline. Use your budgets to curate collections that serve your entire community.
To those in the corps calling for diversity in literature, keep beating those drums and encouraging people to write their own stories in their own voices.
Writing is an art, but publishing is a business, and like all businesses, it’s profit driven. Buy books you like and want to see more of and leave positive reviews. Create grassroots buzz. It’s that simple.
Authentic representation. #RealRep. Spread the word.
