For our first anniversary, we’re bringing back the discussion post format! In these posts, we ask our contributors for their thoughts on various topics. We’ll post one every Friday this month. Based on a suggestion from s.e. smith, we asked:
Why is it that diversity in young adult, middle grade, and children’s literature is often represented as an either/or, without intersectionality? Characters can either be autistic or gay, for example, or a wheelchair user or Black, but rarely both. Why do you think we see so few characters who are marginalized in more than one way?
Our contributors sent the following responses:
Marieke Nijkamp: Oh my goodness, I would love to read more queer, disabled characters. And I would love to see more intersectionality, period. Of course the queer, disabled experience is different than the queer experience or the disabled experience, but that only makes me wonder if there is such a thing as THE queer experience… or THE disabled experience. Because I have yet to find it.
It is always going to be a matter of research, trial and error. And if you feel characters have to have a reason to be multi-dimensional, multi-diverse? I’d love to see an equally legitimate reason for characters to be white AND straight AND able-bodied AND middle class AND AND AND. We are no checklists.
S. Jae-Jones: I think children’s literature, more than adult, is still stuck on a mainstream idea of “relatable”. The protagonist must be flawed—but not too flawed! The protagonist must have an “issue to overcome” (a phrase I loathe)—but nothing “too trying” or “too unusual” or worst of all, “too far from the physical ideal”. Invisible disabilities seem to have glamour (mental illness—providing it’s “quirky”, or a cosmetically appealing scars), but heaven forbid a protagonist have NOTICEABLE signs of a disability. In my opinion, it all comes back to this mainstream idea of a “default”. The “default” is relatable. Stray too far from it, and it won’t sell.
The other obstacle facing intersectionality in kidlit is the fear of tokenism. I’ve seen that accusation leveled at authors who’ve tried to include diverse characters, especially characters who are diverse in more ways than one. (E.g. “Why is this character bi, Black, and Jewish? It’s not realistic!” or worse, “The author is so lazy s/he can’t be bothered to come up with more characters.”) I think that we, as a society, are conditioned to thinking people should be put in boxes, and one box at a time, at that. It’s ingrained in the way our society—or at least American society—seems to function. I grew up in Los Angeles, which has a large multiracial population, and filling out the ethnicity portion on census forms often confused myself and my classmates—”Do I have to pick just one?” If you were Black and Hispanic, or Asian and White, you either had to choose, or were stuck with picking “Other”. And the word “other” is a powerful thing.
Corinne Duyvis: It’s such a multi-faceted problem: first there’s the fact that most people don’t even see the need for these characters–as though people like me aren’t just as real and valid as the cishet-white-abled people who are often written about, and as though we don’t need representation just as much or more. Then there’s the assumption that every “minority trait” is tacked onto a character, and thus requires justification in a way that, for example, whiteness and straightness don’t. Once writers get past those notions and do want to write these characters, there’s the joint fears over doing it wrong and over “trying too hard.” I understand and often share those fears. I’ve heard these same remarks about my debut novel: trying too hard, what’s the reason for these characters, etc. But it’s not as though writing a character facing multiple oppressions is some kind of performance or outrageous deed. I think it’s better to try too hard than to not try at all.
Even when writers overcome these hurdles, do their research, and successfully write intersectional characters … they need to find publishing professionals who are on the same wavelength. And that’s a challenge, too.
On a different-but-related note, as Andrea Shettle often and expertly points out, characters rarely have multiple disabilities. Many of my disabled friends have more than one disability, as do I. Many disabilities have high comorbidity rates. Plus, someone who requires a wheelchair is just as likely to also get migraines as an able-bodied person; being autistic makes you just as susceptible to mental illness. Perhaps even more, thanks to both personal and societal pressures.
Lyn Miller-Lachmann: We’ve never had anything close to proportional representation of people of color in children’s and YA books, and the mismatch is more glaring now because the demographics in our society have changed but the presence of main characters of color in books has not changed since the 1980s. So I’m not surprised to see so few characters of color who also have disabilities.
s.e. smith: Agh this is such a cause of frustration to me! Sometimes it feels to me like authors are trying to hit diversity bingo — okay, I’ve got my Latino character, and my Lesbian character, and my Disabled character, now give me a prize! The fact is that many people have intersectional identities. Minority teens rarely get to see themselves in text at all, and those who experience multiple oppressions find it even harder to locate books that tell their stories.
Part of the problem here may be that authors find it scary to imagine tackling multiple aspects of marginalisation in the same character: the Black and gay experience is different that the Black or gay experience, for example, just like the disabled and queer experience is different than either of those identities together. But these are problems that aren’t going to go away by not writing those characters — you have to plunge into them, and you have to do your research, and you have to commit to depicting a world where the true spectrum of diversity is shown.
Kody Keplinger: I think there’s a lot of fear. I think many authors (myself included) have a deep fear of “doing it wrong.” It’s scary enough to write about disability, but when you introduce another element, you double your chances of being offensive or problematic. Should that fear hold authors back? No. It should push them to do research, to approach with care, but not to avoid intersectionality all together.
Natalie Monroe: I personally think it’s because writers believe once a diverse element is added (ex: queer, ethnicity…), it’s done. Their book is now ‘diverse’ and ‘realistic’. But real life isn’t just one ball in a column, it’s a whole jumble of multicolored spheres across rows of columns. I’m Asian and am in a wheelchair. I know someone who is autistic, Asian, and in a wheelchair. I know a Filipino who is autistic. Diversity means exactly what it means, so stop treating it as a kind of ‘rules of requirement’ thing and mix it up.
Do you have any input, readers?
Marieke Nijkamp
Disability in Kidlit 