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That said, there is a fear of being too far out. I must realise that what is day-to-day to me may not be so for the majority of my readership.
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Chadda also said that, while he identifies himself as British-born Asian or Asian Pakistani , he was brought up in Britain and his reading habits, and writing style, are very western, which could help him to bridge from niche to mainstream. He also shows an interest in accessibility, making sure that his books will be appealing and understandable to a broad audience. Some of it was to stretch myself artistically and pursue my own diverse interests.
While many people in publishing state they would like to publish more diverse authors and books, they are ultimately working in a corporate, profit-driven structure. Those authors who can work in that style, while also integrating more diverse characters and viewpoints, could well move things forward and make a commercial case for books featuring BME characters and stories. Noughts and Crosses is a case in point here. As noted earlier, Malorie Blackman is the only black author whose books have been on the best-seller list.
The books are based on a high concept race relations reversed in a sort of parallel universe — and are written in commercial, page-turning prose.
This expectation is clearly not the same for books featuring white characters. Catherine Johnson commented on this further in the blog post on diversity led by Bali Rai:. I have been told that non-white protagonists do not sell as well as white ones and this fact is undeniably true — if only because there are so few books with non-white protagonists. So if I were to advise a new author who wanted to get published it would be sensible to tell them to write white and middle class.
It ends up becoming a self-fulfilling prophecy. I expect in the s and 60s record companies thought white audiences would never listen to black artists too. There is also the question of how strongly a publisher promotes a book, and how the distribution channels work.
Johnson cites the music industry, which has clearly shifted, showing there can be a large market for music coming from diverse communities. I would argue that there is a similarly untapped market in the U. The topic is one of authority and legitimacy. I have shifted over the years to feeling that it is important for all people to consider incorporating diversity in their books, including people writing outside of their own background.
But they need to do it carefully, carrying out research, talking to people from within that background and sharing their work with them, as well as approaching the whole project with humility.
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It is important to create unique individual characters, and not draw on stereotypes, just as it is to tell a good story. But there is the risk that a story written by a white middle-class author will be more comfortable to a white middle-class editor and reader. There is a strong chance that they will draw on similar expectations and stereotypes. There is a lot of publishing featuring characters from other countries — but a lot of them fail to have the authenticity of real culture behind them, because they are written by outsiders tourists who are imposing their own culture on characters.
The words of a white author are a comfortable buffer, a reassurance that nothing in the story will be too shocking, too hard to understand; the author is like you, and you can trust him or her to tell you this story in familiar terms. You don't have to make the effort to bridge the gap between your own world and the protagonist's, because Kelman has already taken that step for you. Other authors, such as Zetta Elliott, have wondered in the American context.
Segregation was terrible, but brave white citizens marched to end it. Racism was terrible, but white voters elected Barack Obama! All of this will have an impact on which stories, and which authors, are chosen for publication. Frances Lincoln is well known for publishing books by diverse authors that reflect different stories and experiences. She stated in the interview,. I was fed up of Muslims being represented badly in fiction [or not represented at all] , so actively sought a publisher who encouraged readers to think beyond the stereotypes.
Same with stories with Afro-Caribbean leads gangs. So far I have only written one story where the characters are predominately Asian British.
They suggested that this needed to be addressed for them to consider the manuscript. This reliance on stereotypes is more likely to take place when those acquiring and selling the books do not include greater diversity in terms of race, class, or region. While the Arts Council has previously sponsored a traineeship to place BME staff within publishers, this no longer exists. It would take a commitment and intentional change in hiring practices by publishers to change their employee demographics, including the realisation that they could expand their market by aiming at a greater range of readers.
Here are some quotes: It is almost exactly the same as ten or fifteen years ago. The following comments further demonstrate the range of perceptions. When children of all races have posters of Theo Walcott or Leona Lewis on their walls, this seems like a missed chance. Leila Rasheed, author of middle grade novel Chips, Beans and Limousines , stated,.
But now I think things are changing. However, most expressed that there was still a lack of books available and that the publishing industry could do more to improve diversity and representation in the books produced. The award is for a middle grade manuscript that celebrates cultural diversity in the widest possible sense, either in terms of its story or the ethnic and cultural origins of its author.
To date there have been three awards and editor Janetta Otter-Barry at Frances Lincoln has commissioned or published eight books by writers who have entered. It should be noted that all of the winners of this award so far have been white. It will be interesting to see if diversity in the judging panel leads to a more diverse winning author in Migne , Jacques Paul Paris, , 1: Napoleon exiled her from Paris in The Debate in Documents , ed.
For the influence of domestic ideology on the upper classes, see Darrow , Margaret H. Historians as well as contemporaries have noted that the emperor used the promise of education or the hope of receiving the Legion of Honor or imperial noble titles to ensure the fidelity of his citizens. The most important distinction between the two being the emperor's interest in educating non-noble girls.
See Lougee , Carolyn C.
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Le Paradis des Femmes: In he requested that Madame de Genlis, educator of the royal princes, prepare a general plan for the elementary education of girls. Grimaud, Histoire , 4: Napoleon's surrender of both male and female popular education to religious authorities was a realistic strategy given the war's effect on France's public finances, see Moody , Joseph N.
French Education since Napoleon Syracuse, N. Napoleon unquestioningly left elementary education for girls in the hands of either religious or lay women. Langlois, Le catholicisme , — See de Marsangy , Bonneville Mme Campan , 5 — 19 , for details of her marriage and early boarding school. This notion of oversupply is a continuous refrain in her correspondence. Campan was not alone in her concern to establish teacher-training programs for women.
In the eighteenth century Madame de Genlis and Madame de Miremont both called for them.
Over two-thirds of the student body at Campan's school were daughters of superior officers, generals, or the civilian equivalent. Articles about Campan and her school at Ecouen were common in the women's journals that burgeoned in the s and s.
The archives of the school at Saint-Denis contain the dossiers of all the first teachers see Chardoillet and Moullin dossiers. See Campan's letters nos. Du commerce, des arts, et des produit en tous genres de l'industrie qui s'y trouve Paris, Grimaud describes some of these schools in Histoire , 3: In Campan argued there were forty-three to forty-four secondary schools for men in Paris and thirty boarding schools for women, including those run by nuns.