Examining queer young adult fiction: Systemic discrimination in the publishing world, by Jordi Kerr in Archer
To me, Own Voices is about minority voices being in the majority when the stories are about our experiences. It’s about our queer community having even more role models – affirming to queer young people that their voice is valuable. And, as our stories become a commodity in the business of publishing, it’s about examining who is profiting from them – not just financially, but also through benefits such as access to industry spaces and media platforms.
“We’ve had this problem where the majority of stories being told about characters from a non-‘mainstream’ perspective tend to be by people from a ‘mainstream’ perspective,” says Marisa Pintado, Publisher at Hardie Grant Egmont. “This is the problem of privilege – when white, straight people think they can just slip into anybody else’s shoes and forget that they kind of run the world and everyone else is accustomed to working within their rules instead.”
- Blood In All My Titles by Caitlin McGregor in Kill Your Darlings
- The Trees by Sam Twyford-More in Kill Your Darlings
But the ways that photographs create and cause deep curiosity is part of their power. They do not necessarily tell a full narrative, and the viewer is encouraged to fill in the gaps within the structure of the photograph’s story in their mind. Berg’s photographs, for instance, are not only the scar trees they depict. The viewer can see that they point to the deep history, and cultural practice, of our First Nations people. A window to the past.
- Ask Your Darlings: Sam Twyford-Moore in Kill Your Darlings
- 10 Things You Need to Consider If You are an Artist – not of the Refugee and Asylum Seeker Community – Looking to Work With Our Community, by Tania Canas, RISE Arts Director