American Dirt Controversy and EDI [Updated 1/29/20]

I wanted to use this space today to provide links to the discussion around the newest Oprah pick, American Dirt by Jeanie Cummins.

I am going to provide a few links for people to get up to speed on the issues, including links to photos and then I will make some comments on the controversy, what to do, what we can learn from it, and what it illustrates.

• Slate has this excellent overview.
• Here is the link to the photo of Cummins promoting a manicure that celebrates the book with barbed wire!
• Here is the link to the photo of the barbed wire vases on the tables at a promotion dinner for the book!
• Publisher Weekly had an excellent recap of the interview Cummins gave amidst the controversy.

The question I want to address immediately, and the one that many library workers have asked me about, "Am I not allowed to like the book now?"

I am addressing this first because while some people out there have asked the question in a racist manner [some even unapologetically], there are a good number of white, library workers who feel bad that they enjoyed the book, felt like it helped them to understand a serious issue a bit better, but now have some uncomfortable and guilty feelings about having enjoyed it.

I think this question and the answers it leads to are a perfect example of why the lack of diversity in publishing is the biggest problem here, not the author or the book.

Look, you can enjoy American Dirt as a read, you can "learn" something from it, but when you finish you must step back and acknowledge that it is cultural appropriation at best, and trauma porn about a victimized people by others at worst. And you need to learn from it. Think about why you liked it and acknowledge that it stems from a white privilege that you can work to fix by asking  questions, listening to others, and being willing to admit mistakes as we grow.

But the bigger problem here, the white privilege in the publishing world, especially at the big 5. No one thought to allow members of the Latinx writing community to comment earlier in the process, and I am not talking about the "Well Latinx authors read it after it was done and blurbed it" excuse. I am talking about before they offered her piles of money for the manuscript. Because once they gave her a huge advance, no one was backing down. Many jobs would be lost over that.

Publishing decisions makers are almost solely white. [See the brand new Lee and Low Report on Diversity in Publishing.] Many of them are well meaning, but with their white privilege [which all white people have, even myself, even when we try not to], they could not identify the problems that many Latinx people in the publishing world spotted immediately. And some were egregious [see the links to the pictures I included above].

When I give my EDI lectures I talk about how important it is for all white people to always listen first and act later. I bounce my ideas about my EDI training, the advice I give, etc... off of members of marginalized communities, always. I never assume I have all the solutions. I only assume that with my status as a white lady in a profession made up of 88% white ladies that I have a face that people listen to, and so, I make sure what I say is as accurate and helpful as possible.

Publishing does NOT have these people. They need them. If they had Latinx people in house to read the Cummins manuscript, I don't think it would have become the "IT" book of the season in pre-pub publicity. I am not sure she would have even gotten a book deal.

Not only have multiple Latinx writers pointed out the problems with the book, from grossly incorrect use of Spanish to the overall unsettling nature of reading this appropriated story of trauma, but also many have said that they have proposed similar books, books set in Mexico, and have been told straight up by publishers that, "No one wants to read that." But a white author suggests it and publishers listen, get excited, and throw money at it.

Here is but one example, author Gabino Iglesias [whose book Coyote Songs is better than American Dirt in every way, IMO] wrote about how deep the problem is on multiple fronts here on LitReator. Remember this is a man who is an author, a critic for major media outlets, a teacher of current MFA students [and kids], and has a PhD in journalism. He understands what he is talking about in this essay from every front. Please read this essay.

This alone has been extremely upsetting to the Latinx community. And I don't think they are overreacting, especially when some of the defense of Cummins has been, "Well there were no Mexican authors who wanted to write this story." I feel for the Latinx author community who have expressed great hurt over statements like that, and the whole situation in general.

Despite the problems, concerns, and issues, sales are not being effected, stores still have up their giant marketing displays with tons of copies of the title [I just saw one at my local store this morning], and Oprah is not backing down from picking it as her next book club choice.

It feels like a more things change, the more they stay the same, moment. But I am hoping it is not. I hope we look back and see this as the beginning of a larger commitment to making sure there are more people of color in the publishing industry. I am hoping there is a huge call to hire POC editors. I am hoping publishers will not tell #ownvoices authors that "no one" wants to read about their experience because that is simply not true anymore.

So many white readers are talking about how much American Dirt opened their eyes. What if a less problematic book did that? People are hungry for these stories.

We are getting closer. We are still very far. But maybe, just maybe, American Dirt will be the catalyst that forces the publishing industry to finally act.

Let's see.

Additional Info [added 1/29]: There is another issue that is surfacing. Some library workers have indicated that the book was marketed to them as an "Own Voices" title. They are sharing publishing copy that they received that was vague and misleading. I can share my own personal story that this book was aggressively promoted at ALA Annual in DC in June of 2019. I was given 2 copies of an ARC at two separate events. I was told it was going to be the "MUST READ" title of 2020 about the border crisis. Now, I looked into the book a bit more after it was handed it to me, and had concerns about the author being "Own Voices." I put the book aside because of those concerns and decided to focus on other titles I was excited about.

Yes, there is deceptive marketing to take advantage of those of us who want to shine a light on more diverse and inclusive titles, but also, we, the library workers, need to not blindly trust the publishers. Come on, we are known for doing research. Please do your research on upcoming books. I love our library marketing reps. One of them is a actual friend and neighbor. But I never blindly trust any of them. I take their recommendations and make my own decisions. [End addition]

Now on to the service to patrons issue. Some library workers have asked me if they should display the book and/or tell people about the controversy.  This answer is easy. People will be coming in for the book because of the controversy. The holds list will be very long. You will be adding more copies [which again, some people are uncomfortable with because then they are helping the publisher make more money]. However, you have to add more copies because we always work to meet demand. Not ordering more is a form of censorship.

BUT, we can educate. We can provide point - counterpoint bookmarks with links to put in every copy as they go out. We can host programs about Latinx publishing and the refuge crisis. Use this as a chance to have a community conversation, educate people, and give them even more information. If people say this book has helped to "open their eyes," think about how much wider they will open if we supplement the book with even more information.

Take the controversy and turn it into a chance to educate your community. That shouldn't be hard because this is what we do. It is intimately tied up with our overall mission.

I wish this didn't happen, but if we learn and grow from it, as a society, and if publishing makes real change, then it will all be worth it.