By Anne deGrace
Cultural appropriation has been in the news this past week, since Write editor Hal Niedzviecki penned an editorial that took aim at the notion. In reaction there was a flurry of ill-considered tweets, affronted backlash, charges of censorship, upholding of culture, resignations and apologies, and a complete hijacking of the intent of the issue, which was to celebrate indigenous writing in Canada.
As libraries are, by their nature and by their mandates, upholders of literary freedoms and protectors of culture, I’m going to weigh in, not to solve the problem but to try to explain the ins and outs, and why this is such a hot-button topic.
I’m a member of the Writer’s Union of Canada (TWUC), from which Write magazine originates: it’s an in-house publication available only to members, so you won’t see it on a newsstand.
What the editor said—and defenders of free speech will uphold his right to say it—was that writers should be free to imagine cultures other than their own, going so far as to suggest there be a “cultural appropriation prize” for writers who do it best.
A number of prominent journalists, perhaps seeing the concept as something of a sacred cow (to use a culturally-appropriated term), responded with a flurry of tweets offering to contribute to such a prize. Most have since apologized, and at least one has resigned.
The apologies of TWUC and Niedzviecki himself acknowledged insensitivity, both in the editorial’s flippancy and its ironic placement (in a magazine devoted to indigenous writing). Many would agree, especially in the context of Canada’s white-dominated literary world.
According to Wikipedia, “Cultural appropriation is the adoption or use of the elements of one culture by members of another culture… . Often, the original meaning of these cultural elements is lost or distorted, and such displays are often viewed as disrespectful by members of the originating culture, or even as a form of desecration.”
There are many examples out there, and many arguments. In the Wikipedia article, the part of the definition that refers to distortion, disrespect, and even desecration is perhaps key. If a fiction writer includes a character from another culture, for example, most wouldn’t consider that cultural appropriation.
But everything depends on intention and context. Non-indigenous author W.P. Kinsella’s humorous reservation stories The Fencepost Chronicles have been widely criticized as disrespectful of First Nations people and culture. A lot changes in a couple of decades; these stories might have a hard time finding a publisher today.
Those who understand the history of First Nations people in Canada may be among the greatest sympathizers when it comes to issues of cultural appropriation. Any identifiable group that has experienced systemic attempts to dismantle their culture through assimilation or other means must overcome huge hurdles to regain its voice. No wonder such a group might demand that others stop telling their stories.
The inclusion of characters from different cultures in works of fiction can lead to understanding and empathy, both for the writer and the reader. It can make the work more reflective of a multicultural society, a shared history. On the other hand, co-opting (for example) a clearly indigenous story can appear as benefiting from another’s suffering or belittling that experience. Huge differences, no clear lines between them.
In the end, it’s about thoughtfulness, respect, and discussion. Every voice at the table matters, and it matters that every voice is at the table. At the Library we continue to stand up for literature, for culture, for the right for voices to be heard, and as a place where discussion flourishes, the better to understand one another.
Anne DeGrace is the Adult Services Coordinator at the Nelson Public Library. Check This Out runs every other week.