When the 2015 collection of Best American Poetry came out this September, the poetry world erupted into controversy. At the crux of the matter was a poem titled “The Bees, the Flowers, Ancient Tigers, Poseiden, Adam and Eve” by Michael Derrick Hudson. Why all the fuss? Because Hudson, a white man, published his poem under the pen name Yi-Fen Chou. Hudson claimed that he was unable to find a publisher for his poem until he began sending it out under an Asian pen name (1). Asian poets and writers were understandably upset when the anthology came out and it’s sparked a discussion among academics and poets about the nature of cultural appropriation and the myth of reverse racism. Editor Sherman Alexie responded to the controversy in an article posted on the Best American Poetry blog. His thoughtful essay addresses the tension between the literary world’s desire to showcase diverse voices and the necessity of remaining faithful to aesthetic principles:
“If I’d pulled the poem then I would have been denying that I was consciously and deliberately seeking to address past racial, cultural, social, and aesthetic injustices in the poetry world.
And, yes, in keeping the poem, I am quite aware that I am also committing an injustice against poets of color, and against Chinese and Asian poets in particular.
But I believe I would have committed a larger injustice by dumping the poem. I think I would have cast doubt on every poem I have chosen for BAP. It would have implied that I chose poems based only on identity. (2)”
My own experiences as a queer woman and my friendships with people of a variety of races and nationalities have sensitized me to the issue of cultural appropriation. So what is cultural appropriation? It’s overwriting the voices of the voiceless with narrative constructed outside of the lived experience of a person who is a member of an oppressed class. Since there are many kinds of oppressed classes and since one person can belong to more than one of them, the issue can become complicated. The litmus test for me goes back to the question of lived experience. Does the person telling the story have the right to tell it? Is it his story to tell? As with many questions, there is no one right answer, but there are definitely some wrong ones.