Abstract
Ramdarshan Bold offers a much-needed summary of the relationship between the media and representations of marginalised groups, focusing on UKYA books, publishing, and authors. The introduction outlines the rationale and justification for this book and situates this study in relation to other critical and academic examinations of ‘race’ and racism in the media. Focusing on the backlash against multiculturalism, and the anti-immigrant sentiment that arose after Brexit and the 2016 USA Presidential elections, Ramdarshan Bold provides a comprehensive argument to why counter-narratives are as important now as they were during the Civil Rights Movements (in the USA). Drawing upon Rudine Sims Bishop’s seminal work, and the We Need Diverse Books social media movement, Ramdarshan Bold highlights how representation in cultural output for children and teenagers is particularly important since this lack of inclusivity influences how ‘diverse’, young readers see themselves and how readers, from a more dominant culture, see and understand ‘diversity’. This chapter also details the mixed-method approach undertaken to complete this original study. There is little literature available covering these issues, so the original material (obtained through the interviews) will build an overview and address this balance. While this study is grounded in established theoretical frameworks, new modes of enquiry are required to respond to these emerging, and complex, issues and discussions.
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Notes
- 1.
The term BME/BAME is widely used, particularly for administrative purposes. As will be explained in more depth later, this research will use the term ‘of colour’ to describe, and unify, groups of people who have been racialised. However, the term BAME/BME will be used if that was the original term in the study or report.
- 2.
Racialised violence is often directed at young adults: recently Michael Brown (18), Trayvon Martin (17), and Tamir Rice (12) were shot and killed in the USA.
- 3.
The core cultural industries are: broadcasting (television and radio); film; publishing (books, magazines, newspapers, etc.); video and computer games; advertising, marketing and public relations; and web design (Hesmondhalgh 2013). The Department for Digital, Culture, Media and Sport (DMCS) included the following in its description of the creative industries: advertising and marketing; architecture; crafts; product design, graphic design, and fashion design; Film, TV, video, radio, and photography; IT, software, video games, and computer services; publishing and translation; museums, galleries and libraries; music, performing arts, visual arts, and cultural education (DCMS 2017).
- 4.
The problematic nature of ‘diversity’ initiatives will be discussed further in Chapter 3.
- 5.
In this book, the term publisher will generally refer to mainstream publishers.
- 6.
At present, all of the terminology used to classify ethnicity is problematic (see Newland et al. 2014).
- 7.
Thanks to the metadata team at the British Library for all their help and support.
- 8.
The database originally had 13,505 records: this was reduced after the names of editors, illustrators, authors that were dead at the time of [first] publication (during the 2006–2016 time period), and comic book and graphic novel authors were removed.
- 9.
Email addresses were available for 32 of the authors—either through author websites, contacts at The BookTrust, or interviewees making introductions to their YA peers. Thanks to Emily Drabble, at the BookTrust, for her introductions to relevant authors.
- 10.
All interviews were recorded and transcribed.
- 11.
The marginalization of white, working-class people in the publishing industry is an important topic that warrants further investigation and discussion. It has been explored, to some extent, in the ‘Panic! Social Class, Taste and Inequalities in the Creative Industries’ (Brook et al. 2018). However, including the discussion here would derail the conversation about inequality based on skin colour.
- 12.
It is important to note here that Blackman received this abuse after Sky News misquoted her and created an inaccurate and leading headline. The headline, which originally read ‘Children’s books have ‘too many white faces’’, was changed to ‘Call For More Ethnic Diversity In Kids’ Books’, after Blackman complained (Flood 2014). This is a clear indication of how powerfully the media can misrepresent minoritised people, and the negative consequences of doing so.
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Ramdarshan Bold, M. (2019). Introduction: ‘In an Era of Fear and Division, Fiction Plays a Vital Role in Dramatising Difference and Encouraging Empathy’. In: Inclusive Young Adult Fiction. Palgrave Pivot, Cham. https://doi.org/10.1007/978-3-030-10522-8_1
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