R.F. Kuang on Identity Politics in Publishing & Sensitivity Readers

Rebecca F Kuang, author of Yellowface, Babel and The Poppy War, recently expressed her frustration with the idea that writers should only write about characters of their own race. Kuang, who moved to the US from China when she was four, acknowledged the “really weird kind of identity politics going on in American publishing,” but argued that the movement for more authentic stories about marginalised communities had “spiralled into this really strict and reductive understanding of race.”

Kuang’s views on this issue are reflected in her recent novel, Yellowface, which tells the story of a white writer who claims a Chinese friend’s manuscript as her own, and the subsequent debate about the supposed author’s right to tell the story. Speaking on the issue, Kuang criticised those who believe that only BIPOC (Black, Indigenous, and People of Colour) writers are currently receiving book deals, arguing that “if you just walk into a bookstore you know that’s not true.”

Kuang also went on to say when it comes to the use of sensitivity readers she had “mixed feelings.” While she sees the value in sensitivity readers for bringing in extra detail and depth to characters with a shared background, she also finds it strange to pay someone to tell you if you’ve accidentally been racist. “I think you should be able to do the research to know yourself,” she added.

Kuang is not alone in her mixed feelings about sensitivity readers. In recent years, the use of sensitivity readers has become increasingly popular, particularly in young adult publishing. Sensitivity readers are individuals who are hired by publishers to read manuscripts and provide feedback on problematic or potentially offensive content, particularly with regard to issues of diversity, such as race, gender, sexual orientation, and ableism.

The concept of sensitivity readers has been criticised by some writers and commentators who feel that it is a form of censorship or overly PC culture. However, others argue that sensitivity readers are an important tool for improving diversity and representation in literature, and for challenging harmful stereotypes and damaging portrayals of marginalised groups. Sensitivity readers can also serve as resources for writers who have limited personal experience or understanding of issues related to different identities.

As with any approach to addressing issues of diversity and representation in literature, the use of sensitivity readers is not without its problems. One of the most common criticisms is that sensitivity readers can stifle creativity and limit the freedom of writers to tell the stories they want to tell. This is particularly relevant in situations where a writer has personal experience or a significant connection to a story based on a different identity to their own.

Another issue is the potential for overreliance on sensitivity readers, which could lead to tokenistic or performative gestures towards improving representation, rather than genuine efforts to address structural inequalities in the publishing industry. This is a concern that has been raised frequently in discussions of diversity initiatives in literature, where there is a danger of prioritising superficial or surface-level changes over more fundamental shifts in power and decision-making.

Despite these concerns, sensitivity readers remain a valuable resource for many writers and publishers seeking to improve the quality and representation of literature. As Kuang suggests, their input can provide crucial additional detail and complexity to characters and stories, and can serve as a valuable check against unintentional perpetuation of harmful stereotypes and misrepresentations.

Sensitive readers can also help to broaden the perspectives of writers, encouraging them to approach issues of diversity and identity with greater sensitivity and nuance.

The decision to use sensitivity readers or not will depend on the individual writer, the publishing context, and the specific goals of the project. While there are valid reasons to question their role and impact, sensitivity readers have the potential to make a significant contribution to advancing diversity and representation in literature, and their use is likely to remain an important topic of discussion in the publishing industry for some time to come.

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