The Real Literary Gender Gap?

VANISHING MEN IN LITERATURE AND PUBLISHING

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Much noise is made by organizations like VIDA about the gender gap in today’s publishing world. When you examine the actual data, however, you find a different tale.  According to this story from 2016 in The Guardian, the U.S. publishing industry is not only predominately white, but 78% women. (At the executive level, with hangers-on from past male dominance, the industry is 60% women.)

Doing swift calculations of the figures, we can further say that the single largest demographic group in the industry is white women, at more than 60%. By contrast, Latino men make up 1.2% of the industry– hardly registering, which makes the dilemma of Junot Diaz more eye-opening.

Another striking article is this one which appeared in The Atlantic in 2017, which describes how many male authors pretend to be women in order to be published– a turnaround from the days of George Sand. According to this article, 80% of fiction readers are women.

Do you want more statistics? Per the Humanities Indicators site, approximately two-out-of-three English graduates– bachelors, masters, and Phd– are women. Per Data USA, 62% of “writers and authors” are women.

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We’re beginning to see these ratios reflected in literary awards. For the most recent National Book Foundation awards, 15 of 20 finalists were women. All five of the “5 Under 35” award winners were women.

As I pointed out in an earlier post about the Society of Children’s Book Writers and Illustrators, the few male authors in some writers organizations are so outnumbered by women they feel like kids in a candy store– some of them getting into trouble for too many affairs, too many hook-ups while partaking in the book industry’s “meet and greet” soirees.
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WHAT does it all mean? For starters, an industry or art form catering to the public gets into trouble when it disregards half of its potential audience. For example look at what happened to the Western movie when it began focusing almost exclusively on men characters (many Spaghetti Westerns did not have a single woman in the cast)– writing out the women who played a large part in the historic West, to present instead sociopathic narratives of obsessive bloodletting, often starring squinty-eyed and emotionless Clint Eastwood. A far cry from the days of the torridly romantic Selznick spectacular “Duel in the Sun.”

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Today, the Western movie has all but vanished.
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IF figures pertaining to class were available, we’d find the narrowness of viewpoint further skewed. Examine the mastheads of Manhattan magazines which cover arts and letters and you’ll find the staffers from the top down are graduates overwhelmingly of Ivy League universities, with a few Stanford grads and Brits from Oxford thrown in. The same holds true, from what I’ve examined, for the Big 5 New York City-based publishers. Those who decide which authors and books are published and reviewed are, in the main, upper-class women. Not by any measure the best way to create a representative literature for a very large and complex civilization like ours.
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With an array of male authors and editors being purged from the book industry after “MeToo” revelations, the trend toward an all-female business and audience doesn’t look to turn around any time soon.

MORE TO SAY on this matter. . . .
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-Karl Wenclas, New Pop Lit News

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Junot Diaz and Abuses of Power

 

Junot Diaz

YOU MAY today have heard about the literary journal Boston Review and its decision to keep award-winning author Junot Diaz in place as their fiction editor. You may also know that Boston Review’s three poetry editors (count ’em: three) have resigned in protest to their decision.

MOST INTERESTING to me is this part of the Boston Review statement, penned by editors Deborah Chasman and Joshua Cohen:

–we considered whether, as some have suggested, the complaints point to a larger pattern of abusing power—the kind of star power that has attached to Junot as a successful writer, editor, and public intellectual. On the basis of a careful review of the public complaints, we think not.

Interesting, because if you read the statements of Zinzi Clemmons, Carmen Maria Machado, Monica Byrne, and others, you see that the star mindset in arrogance and attitude is a major part of the writers’ complaints.

POWER and its abuses is what occurs in a system where the writer plays the role of continual supplicant; facing the arrogance of power through every step of the process, be it writing workshops, MFA programs, the many seminars and conferences– all with steep price tags– onto dealings with the layers of agents and “Big Five” conglomerate editors themselves, who regard themselves, and not the writers– the artists whose work should stand at the center of the literary machine– as chief value.

The current writer industry is a kind of Ponzi scheme, in which writers with little-to-no chance of real success pay and pay, conforming to the standards of the literary industry (flawed standards, we believe)– while the rewards go to a chosen connected few at the top of the heap. Which wouldn’t be all bad, if the work rewarded fully justified this. It doesn’t.

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It’s a system largely built on networking and connections– on being from the right background or school or writing program, having the right pedigree, correct credentials and proper sponsors.

A system– a machine– built from top to bottom to create arrogance and abuse.

New Pop Lit was created to be an alternative, artistically and in every other way.

We remind ourselves every day it’s about the reader and the writer.

-K.W.