she is a white Latina, and received a seven-figure advance for the novel.
This is a tale as old as time. White novelists have always borrowed the voices and experiences of others to tell stories that they don’t have the access and insight to accurately tell. Where does the responsibility lie, here? Is it with the publishing industry, which has consistently opted to publish these culturally lacklustre stories from unequipped authors? It would be easy enough for them to seek a novelist who could write an authentic American Dirt. Or is it up to the author to say: “This story isn’t mine to tell”?
Of course, writers should explore a multitude of narratives. We should be inclusive and reflect the society around us. But the Mexican community is large, and Mexican writers have stories to tell. Let them earn the seven-figure advances. It’s a small amount of compensation for the trauma that comes with a life so sensational it’s worthy of being fictionalised.
It’s fiction you idiot. Made up stuff. Where is this drivel coming from?
Candice Carty-Williams was born in 1989, the result of an affair between a Jamaican cab driver and a dyslexic Jamaican-Indian receptionist. She is a journalist, screenwriter, and author of the Sunday Times bestselling Queenie, a book described as ‘vital’, ‘disarmingly honest’ and ‘boldly political’. In 2016, Candice created and launched the Guardian and 4th Estate BAME (black, Asian and minority ethnic) Short Story Prize, the first inclusive initiative of its kind in book publishing.