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Representation in Literature: Why It’s Important & How To Handle It

October 10, 2018 by ANGELA ACKERMAN

Happy to welcome Deborah Dixon , a passionate author, editor, and racial justice activist to talk a bit on Representation in Literature, a topic of importance and something I think many of us want to understand better so we can encourage the right sort of discussions and help bring about change. Please read on!

The issue of representation has become an important one in literature and throughout the entertainment industry. As an author and publisher of color, I am often asked to offer insight on how best to include characters of diverse backgrounds. Specifically, this means characters from minority or underrepresented groups, such as ethnic minorities, LGBTQIA+ persons, religious minorities, those with disabilities, and to some extent, socioeconomic minorities. In this article, I will use the term “minority” to refer to members of all of these groups.

First, my credentials: I am Jamaican, neurodivergent, and simultaneously a citizen of and immigrant to the United States, among other things. These credentials do matter, because the basis of a person’s regard for your opinion on these sensitive matters starts with your background. It isn’t the whole picture; not every minority person has the same breadth of experiences, and many majority members have been exposed to the problems that minority members face. Also, like anything else, background and privilege are nuanced. Even I have some sources of privilege: I am cisgender and not physically disabled.

Also valued is the nature of a writer’s privilege. I won’t discuss privilege and entitlement too much here, as there are plenty of resources on both, such as this exploration of the different elements of identity.

There are two primary reasons why representation is important: inclusivity and perception .

Seeing people who look, act, and experience life like them in media makes a person feel included in a society, and it reinforces positive views of themselves and what they can achieve in society. Also, members of other groups, especially majority groups, base their ideas of groups on what they see in the media . For example, a hiring manager who watches too many police procedurals might view candidates of minority races as having criminal tendencies.

For people who exist outside of these marginalized and underrepresented groups, it can be hard to imagine life with the experiences and hardships that minorities experience. Without those experiences, writing characters of diverse backgrounds can seem daunting.

A good start is to be cognizant of the problems that your character would face and when those problems would have to be addressed. People of minority groups are still people; we have similar needs and similar motivations. The main difference is in the ways that society and its structures are arrayed against any particular group.

Therefore, in some situations, it will be perfectly acceptable to write a minority character just as you would any other. If a character’s romantic relationships are never brought up, then their sexual orientation might be little more than a footnote. Likewise, a black student’s college career might be just like that of a white student if the college itself is diverse and tolerant.

However, if the character is placed in a situation where their identity would be a factor, then it would be irresponsible to overlook it. For example, a black character being pulled over by the police should be described as feeling exceptional anxiety over their possible treatment by the officers. Whether the writer feels that this is a legitimate fear is irrelevant; it is what black people experience, and it is a problem that we continue to battle . Any work that included a black character getting along famously with the police would be soundly ridiculed by the black community.

Also, it might be tempting to fall back on stereotypes, but these are harmful images that still negatively affect members of those minorities. Take, for example, the common use of Middle Eastern characters as villains , or the portrayal of Native Americans as oversexualized savages . If these are the characters that are being written, then we would rather not have them at all!

Remember that minority characters are not there to be “exotic” ornaments for your plot. One striking example I encountered as an editor was a white writer using an almost all-white cast who included an Asian woman as a manicurist. It was meant as a cheeky observation, but in practice, it supported yet another harmful stereotype, and it would have reinforced to readers that Asian woman are only fit to run nail salons.

Always Do the Research

There is plenty of first-hand material about the situations that minority groups face, and many companies, including mine , offer research specific to fiction writing. If you happen to know someone from the group that you are interested in writing about, then ask that person if they can offer any insight, and be prepared for them to possibly turn you down.

Finally, remember that this is a cultural exchange; you must offer something in return. Consider promoting minority authors. Don’t just tack on characters to be “diverse,” and don’t borrow elements from a group without context, such as European knights using scimitars because they’re “cool.”

For a well-known example of what not to do , observe J. K. Rowling’s approach to including Native Americans in the Potterverse. She combined the hundreds of Native American cultures into one homogenous “community,” reappropriated important cultural touchstones, and supported harmful narratives of Natives accepting white colonialism. Although she was called out on this , she has not publicly apologized or changed her approach.

The best recent example of representation being done right is a film: 2016’s The Accountant , in which the main character, played by Ben Affleck, is high-functioning autistic. While the character is written in a very predictable fashion—aural oversensitivity, emotional vacancy—Affleck’s performance provides nuance that elevates the entire story. It’s clear that he and his supporting cast did the research, and while the movie’s overall effect on the autistic community is debatable, many of us saw pieces of ourselves in its protagonist .

Although the entertainment industry at large is welcoming more content written by minority members, most stories that reach the mainstream are still ones written by the majority—white, straight people. The majority still has a much stronger voice. Use it to amplify positive portrayals of the people who need them the most.

As with anything else, when in doubt, ask.

Look for editors who specifically offer sensitivity reading as part of their processes. Many editors, like those at Shalamar, offer diversity feedback as a matter of course.  Here’s an additional resource to check out if you are incorporating diversity in your work:

Writing Diversity Checklist

We welcome respectful discussion–if you have questions or comments, debra is here to discuss.

Shalamar is a book publishing and author advocacy company based in New Orleans, Louisiana. Created in 2016 by a trio of writers, Shalamar aims to break down barriers to entry in publishing by offering accessible and affordable services to new and undiscovered writers.

The company also supports initiatives to amplify voices from underrepresented and marginalized groups. They can be found at @shalamarllp on Facebook and @ShalamarNOLA everywhere else.

Deborah Dixon is a cofounder, author, and editor at Shalamar . She has published two novels, seven novellas, and numerous short stories of her own.

She is a digital rights and racial justice activist, and her opinions on social issues, the publishing process, and Saints football can be found on Twitter at @Deboracracy .

Angela is a writing coach, international speaker, and bestselling author who loves to travel, teach, empower writers, and pay-it-forward. She also is a founder of One Stop For Writers , a portal to powerful, innovative tools to help writers elevate their storytelling.

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Reader Interactions

October 18, 2020 at 10:26 am

I believe that books are the essence of who we are and who we dream of being. Therefore, representation is a crucial component in building the identity of an individual and its sense of belonging. Reading about someone who looks like you makes you feel that you can achieve anything and that you truly belong in the society. Seeing someone just like me being reflected in a book makes me feel that I’m not the outsider that I always thought I was. However, there is indeed a lack of representation of minority groups in books. I totally agree that the lack of representation has become an important issue in literature and that minorities should be depicted more in books. In that being said however, any representation should not be accepted just because of the lack of it. Disrespectful and damaging representations of minorities should not be tolerated just for the sake of finally being represented in books.

August 13, 2019 at 11:26 pm

Great stuff, and the Shalamar tips before publishing are excellent and extensive! Thanks for this. Will help my Gr 12 English class think oppressive representation that occurs in some of these more subtle ways.

August 13, 2019 at 11:40 pm

August 22, 2019 at 3:51 pm

Thank you so much Wes, and best wishes for your English class! Glad you found this information and the resources helpful. Feel free to reach out if I can help further!

October 12, 2018 at 12:08 am

As a Native American author, I want to thank you for this post. Keep fighting the good fight!

It is hard to find books where people like me aren’t A) Sexy Shifters B) Poor C) Swindlers

Which is funny, since none of the Lenni-Lenape people that I know are any of those. Hang on… *runs outside, looks at the moon, tries real real extra super hard* Nope. Still not a shifter. Darn. 😉

My people also didn’t wear huge feather headdresses, live in teepees, say “howgh” for hello, or most of the other traits that perhaps were exhibited in the western tribes. We did, however, influence the creation of the original laws of this country, such as the Constitution and Bill of Rights. Obviously not well enough to be considered human until 1879, or be eligible to be citizen of the land we’d lived on for thousands of years until 1924, or get the Voting Rights Act fully nailed down (looking at two states right now…). But hey, we tried.

If anyone out there does have a book with well-written Lenni-Lenape characters, please track me down and drop a buy link. I’m always looking!

October 12, 2018 at 2:24 pm

Preach it! I would love to sit many, many non-Native writers (sadly, including some Black ones) down and have them write this sentence a few hundred times:

Native American communities are NOT monolithic.

As you can see above, I refuse to let Rowling live it down.

If anyone out there has a story will well-developed Lenni-Lenape characters, I just might publish it. 😉

October 11, 2018 at 10:02 pm

That’s definitely some great stuff, and I largely agree. I do take issue with simply saying there are some things you should “never do.” For example, making an autistic character have some unique strange ability can work if it’s done well or the usual cliches of the trope are subverted.

I’m not saying that just for the sake of debate. I have autism myself, and my current story in progress plays on that trope.

October 12, 2018 at 2:13 pm

Thank you Claire! And thanks for checking out our list!

The things that made it onto the Never-Do list aren’t there because they can’t be done well, but because when they are done (well or otherwise), they consistently cause harm to real, living people of that particular group.

Regarding autistic characters, I’ll go and change my wording on the list, but I did think specifically of powers that are related to a character’s autism, correcting the ‘imbalance’ of the disability. (An autistic character with, say, lightning powers, unrelated to her autism, would probably be okay.)

Objectively, a disability-superpower autistic character could possibly be done well, especially by an autistic writer, but I respectfully disagree that the character *should* be done even so. Even if the character was brilliant and an excellent role model, like a neurodivergent Wonder Woman, she would still be perpetrating objectifying stereotypes about how we need a ‘cure’ to balance out our deficiencies. It also isolates a model minority within the autistic community, as it elevates ‘superhuman’ autistics (ie savants) above others on the spectrum, valuing them more and devaluing the others as useless or helpless.

(Here’s an article that goes into model minorities more: https://www.hollywoodreporter.com/news/why-good-doctor-is-bad-medicine-autism-1098809 )

So while this kind of character could work from a character-development standpoint, her existence would cause strain on those of us (like you and me) who deal with autism stereotypes regularly. My opinion is that the character isn’t worth the harm done, but we likely have different experiences and observations that lead to different conclusions. 🙂

October 11, 2018 at 9:15 pm

Wonderful! Very revelant!

October 12, 2018 at 1:29 pm

Thanks for reading, Traci!!

October 11, 2018 at 2:03 pm

First of all, Who Dat!!!

Thank you so much for writing this article, Deborah. I loved that you explained that a writer needs to remember that diverse characters are still human beings. I also hate that you had to say that.

I had a small press from Mississippi, where I’m from, reach out to me about wanting to work with me. The minute they found out I was a lesbian they quickly let me know that they could not work with a story with LGBTQ+ characters, because they wouldn’t know how to market it. It was shocking and saddening. Needless to say, I did not work with them.

Thank you again, and I look forward to checking out your company and your work!

October 11, 2018 at 4:12 pm

Yeah you rite Keli!!!!

I’m sorry to hear about your experience with that press! And yet I’m not surprised. The inclusion of underrepresented writers ourselves is another topic that I’m passionate about, and fortunately I get to work toward that goal through Shalamar.

Being treated that way, particularly by a press that sought you out, had to have stung, and rightfully so; but, with the benefit of hindsight, people that closed-minded would have been rough to work with anyway, so maybe it was for the better, rudeness and prejudice aside.

(Marketing professionals are specifically taught to adapt to different audience, genres, and trends, so that excuse is always code for “we don’t want to work with you.”)

I hope you found a much better home for your writing, and would love to hear from you anytime!

October 11, 2018 at 10:23 am

Glad to have you here discussing something that I think confuses a lot of people because sometimes we can see part of the picture, but not the whole thing and so we don’t necessarily realize the ripples that come from stereotypes or the level of inequity out there.

In our fiction it is our job to make the reader feel part of another’s point of view. I think as a Caucasian and a Caucasian author, I need to work harder to do what I can to make sure all voices are represented. Change comes about through understanding, and this happens at all levels from governing entities to the drivers of industries to the producers of content and the consumers of that content.

Thanks for being here!

October 11, 2018 at 9:06 am

Hi everyone! Angela, thank you SO MUCH for your help and your kindness! You are an inspiration to me as an author advocate. <3

Readers: Thanks for checking out this article! I am happy to answer any further questions you might have here. You can also contact me directly if you'd prefer a one-on-one conversation.

Much love from New Orleans!

October 11, 2018 at 9:03 am

Thanks for being here today, Deborah!

October 11, 2018 at 3:59 pm

Hi Becca! Thanks for having me! 🙂

[…] Ackerman talks about the importance of inclusivity and perception.   Inclusivity prescribes that the characters in the texts that we use should be as […]

[…] Deborah Dixon examine representation in literature: why it’s important and how to handle it. […]

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Lots of things can be represented in literature, such as characters, ideas, an event in history, and much more.  The representation of each of these is what comprises the meaning of the text and shapes our response to it.

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Representation in literature

Literary representation is the way ideas are 're-presented' to readers. It refers to how meaning is constructed through linguistic techniques, influencing the reader's perception of the subject matter and the text. It can also refer to the representation of a group of people and their ideologies.

Why representation matters in literature

Representation filters our understanding of literature - The representation of different characters, events, and ideas work together to create a narrative . Without representation, the core ideologies and meanings of the text would be less clear.

Representations are not neutral - It is important to consider why an author represents things in certain ways. Authors make a conscious choice to represent things to reveal their viewpoint on the subject matter.

For example, in Harper Lee's To Kill a Mockingbird (1960), Boo Radley is a symbol of kindness when he saves the children from Bob Ewell.

The way an author represents certain ideals can also reveal much about their past and upbringing, contextualising their writing and deepening your understanding of their intentions as a writer.

An example of this is Jeanette Winterson. Her childhood was very similar to the protagonist's in Oranges Are Not The Only Fruit (1985). As readers learn about the character's life, Winterson represents the struggles of her past through the main character.

How does literary representation construct our view of the text?

Next, let's examine how literary representation functions in literature.

Literary representations can be abstract or plain - Representations can be straightforward, but not always. Often the author will represent a character or an object in an abstract way. This means it is not obvious what the item or character, etc., represents, but as you progress through the novel it becomes clearer. Once you understand what the character, item, or event symbolizes, the rest of the narrative can be explored in greater depth.

For example, in Oranges Are Not The Only Fruit (1985) by Jeanette Winterson, the orange seems to be an enigmatic symbol at the start of the text. It becomes a symbol of normality and continuity in Jeanette's life, but what the orange really represents is heterosexuality. Winterson uses the repeated symbol of the orange to represent the way heterosexuality was pushed onto the protagonist by her religious community.

Through this example, it is clear how subtle symbols throughout literature represent a larger idea the author wishes to convey.

Literary representation frames our view of the text - the context the author chooses to represent in the novel dictates what the rest of the text will explore.

For Example, in The Bluest Eye by Toni Morrison (1970), the black community is desolate and struggling, a contrast to the civilized and racist white society. Through the contrast in her representation of the black and white communities, she frames the narrative in terms of racial inequality.

What are some methods of literary representation?

Here are some examples of different ways authors represent their ideas:

Language and dialect

Individual dialects represent geographical locations and cultures. For example, Their Eyes Were Watching God by Zora Neale Hurston (1937) is written in a southern black dialect . When reading the text many readers have to make more of an effort to understand the dialect as it is different from what they may be used to reading.

• Hurston's choice to write the text in this style is a vital part of the novel, as the dialect represents a community and its struggles.
• The heavy use of dialect excludes the white reader and is imperative for understanding the novel, which aims to represent how black people feel, being on the outskirts of white communities (to a much smaller extent).

Poetic structure/form

The structure and form of a poem often represent the wider message behind the piece. For example, sonnets are widely recognised as love poems. Some poets subvert the traditional connotations of a sonnet and use the form ironically as they take on a more bitter subject matter.

An example of this is Wilfred Owen's ' Anthem for Doomed for Youth ' (1920). He employs the sonnet form but contrasts the traditional subject matter of love and writes about the unjust death of young men in the war. His use of the sonnet represents his loss of faith that love and joy exist in the world after what he has seen in battle.

An object or place can represent the author's ideas. For example, the streetcar in A Streetcar Named Desire (1947) by Tennessee Williams has often been interpreted as a representation of the monotonous nature of life. The way the streetcar moves through the town mirrors how we continue living mundane life every day, on a track to our deaths.

When the streetcar stops in Elysian Fields it is a representation of Blanche's inevitable death, as Elysian Fields means the land of the dead in Greek Mythology.

Through these subtle symbols throughout the play, Williams represents his larger ideas about life and society.

The setting of a novel, poem, or play can also represent the wider themes or message of the piece. For example, ' A Streetcar Named Desire ' is set in New Orleans, the cultural melting pot of America. This location represents the clash between Stanley and Blanche's outlook on life, as they are from two very different backgrounds.

How does representation influence our perception of the text?

Considering how the different types of representation help construct and frame the reader's understanding and perception of literature.

• Establishing themes - By representing larger ideas through characters, symbols, poetic/novelistic structure, and language and dialect, the core themes of the text are foregrounded early on and maintained throughout the novel.
• Framing the reader's interpretation of the text - By establishing the themes of the Literature early on, the reader cannot help but interpret the text through the lens of the represented context.

Returning to the previous example of The Bluest Eye (1970) by Toni Morrison, it is difficult for the reader to read the text without considering the racial inequality that Morrison represents in the setting and dialect of the characters.

Literary Representation - Key Takeaways

• Literary representation frames our understanding of Literature. The representation of events, characters, communities, etc., foregrounds the reader's understanding of what themes the text will explore.
• Literary representations are not neutral. The abstract ideas behind the representation of certain symbols and characters is a choice made by the author to encourage readers to perceive the text in a particular way.
• The methods of representation include language and dialect, setting, symbolism, characters, and form and structure.
• Literary representation can tell us about the life of the author. The events in the author's life have caused them to represent things in a certain way. Due to what they have experienced they have been led to view life in a particular way, which leads to their chosen representations in their text.

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A representation is neutral.

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Representation does not frame the reader's perception of the text.

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Frequently Asked Questions about Literary Representation

 How does representation influence our perception of the text?

The reader's perception of the text is dictated by the representations of characters, events, etc as the author offers a perspective.

What is representation in literature and entertainment?

Representation is the way ideas are 're-presented' to readers. It refers to how meaning is constructed through linguistic techniques, influencing the reader's perception of the subject matter and the text.

What is the importance of representation in literature?

Representation is important because the representation of characters, events, themes, ideas, objects, etc, is what comprises the meaning of the text and shapes our response to the literature.

How does literature represent reality?

Literary representation can be used to present the author or narrator's views, influence the audience's views, or to present aspects of reality. This is done by using linguistic techniques such as using a specific form or structure in poetry.

What are the literary devices used in representation?

Methods of representation include language and dialect, setting, symbolism, characters, and form and structure.

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 True or false?Representation does not frame the reader's perception of the text.

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Intro to Comparative Literature

Study guides for every class, that actually explain what's on your next test, literary representation, from class:.

Literary representation refers to the ways in which literature depicts and portrays individuals, groups, ideas, and cultures within its narrative structure. This concept is crucial because it shapes our understanding of identity, power dynamics, and social contexts, often reflecting the values and beliefs of the time in which a text is produced. It influences how readers interpret characters and themes, allowing for both reflection and critique of societal norms.

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5 Must Know Facts For Your Next Test

• Literary representation plays a significant role in shaping societal perceptions of race, gender, class, and identity, influencing how these themes are understood in various contexts.
• Marxist criticism emphasizes how literary representation can reinforce or challenge class structures, illustrating the power dynamics present in society.
• New Historicist approaches focus on how the historical context of a literary work impacts its representation of events and characters, suggesting that literature is a reflection of its time.
• The portrayal of marginalized groups in literature can reveal biases or stereotypes, prompting readers to critically engage with the text and its implications.
• Literary representation is not static; it evolves with societal changes and can be reinterpreted through contemporary lenses, allowing for ongoing dialogue about its meanings.

Review Questions

• Literary representation significantly influences how readers perceive identity and societal norms by presenting characters and situations that reflect or challenge existing beliefs. For example, when literature portrays diverse identities authentically, it can foster empathy and understanding among readers. Conversely, when representation is skewed or stereotypical, it can reinforce negative perceptions. This dynamic showcases the power of literature to shape cultural narratives and influence social discourse.
• Marxist approaches critique literary representation by examining how texts reflect and perpetuate class struggles and power dynamics within society. They analyze whether literature reinforces the status quo or serves as a platform for social critique. New Historicist approaches complement this by exploring the historical context surrounding a work's creation, assessing how contemporary events and ideologies inform the way characters and narratives are portrayed. Together, these perspectives deepen our understanding of how literature functions within cultural power structures.
• The evolution of literary representation in modern literature reflects changing societal values and challenges traditional narratives around race, gender, and class. As authors increasingly embrace diverse voices and perspectives, they address pressing contemporary issues such as systemic inequality and identity politics. This shift encourages readers to critically engage with these themes and fosters broader discussions about social justice. By analyzing how these representations evolve, we can better understand their impact on societal attitudes and movements for change.

Related terms

The relationship between texts and how they reference or influence each other, highlighting the interconnectedness of literary works.

Cultural Criticism : A critical approach that examines literature within the cultural context it was produced, analyzing how it reflects or challenges societal norms and values.

Narrative Perspective : The viewpoint from which a story is told, impacting how characters and events are represented and interpreted by readers.

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Molly Christian Tyler

Why Representation in Literature Matters

There are a lot of factors I consider when thinking about my favorite books. I appreciate strong character development, a multi-faceted setting that feels real, flowing prose, and an engaging plot that keeps me glued to the page. But my favorite books of all time are the ones where I really see myself in the main character and relate to their experience. For this reason, I often seek out books featuring sapphic characters or books with queer-normative world building.

Access to books with good representation is vital to LGBTQ+, BIPOC, and disabled readers. Stories with characters who share our perspectives help us feel like our own stories matter and are worth telling. Plus, for young people who may not have a community of people like them to turn to, books about minority experiences can provide both vital information and a sense of belonging.

With buzzwords like “representation” and “diversity” floating around book communities online, it’s easy to start to tune out when these topics come up. Representation matters, though, and not just for the groups who are being represented.

What Is Representation in Literature?

When talking about books and other media, “representation” refers to the inclusion of characters who are part of marginalized groups, such as:

• People of Color
• LGBTQ+ folks
• People with disabilities, including learning disabilities and neurodivergence
• Religious minorities
• People from small regional cultures, such as Appalachains
• People with mental health disorders
• Socioeconomically disadvantaged people

Such people often aren’t shown in media, and when they are, writers have sometimes relied on stereotypes or harmful tropes. Many readers who belong to these communities as well as their allies have tried to encourage people to create and consume more diverse books in an attempt to help increase the reach of good representation in literature.

You can boil the importance of representation down to two components: inclusivity for the groups being represented and exposure to new perspectives for people who are unfamiliar them. Both are beneficial to marginalized people and can have a real impact on their lives.

Telling Inclusive Stories

As I mentioned before, reading about characters who have similar experiences to your own can be very comforting and validating, particularly when those experiences aren’t typically included in traditional media. It’s important for marginalized people to feel like they have a place in society, and being included in the stories that are told and promoted in books is one way to help them do that.

This is important for all marginalized people, but especially for those who might not have access to a community of people like them. Queer youth who don’t know any other LGBTQ+ people, for example, may turn to books with queer characters to learn about what it means to be gay and to feel less alone. They may not have anyone in their life who can answer questions for them about their identity, so they may look for answers in books.

A specific example of this that I often see people mention is queer people who thought that by coming out and living authentically, they are giving up the chance to have a marriage and children. Seeing queer couples and their families in media showed them that these things are possible to attain.

Influencing Public Perceptions

It’s important to note that not all representation is good representation. For example, a book that includes disabled characters but depicts them as being helpless or burdensome could do a lot of harm. Good representation would show the realistic struggles a person with a disability faces, but also how they are still capable of achieving great things and living a fulfilling life.

For people outside of underrepresented communities, reading diverse literature can help shape their opinions of marginalized communities. Good representation can challenge stereotypes and other harmful preconceived notions about groups that readers might not otherwise have regular exposure to.

This can build empathy for minorities among the majority, pushing back against racism, homophobia, ableism, and other prejudices. While representation alone won’t eliminate the discrimination faced by marginalized people, its influence on how these groups are perceived can have wider impacts on how they’re treated in society at large. This can lead to ripple effects in policy that improve people’s lives.

Where to Find Diverse Books

So, if you want to read more books with diverse characters, where do you find them? There are plenty of ways to find examples of good representation:

• Follow POC, LGBTQ+, and disabled influencers on social media (especially TikTok and Instagram)
• Ask your local librarian or independent book seller for recommendations
• Check out blog posts with lists of book recommendations, like my LGBTQ+ book suggestions
• Look through the #OwnVoices tag on social media
• Find recommendations on StoryGraph
• Seek out diverse book award lists, such as the Asian/Pacific American Awards for Literature or the Stonewall Book Award

If you’re able, it’s always great to purchase books by underrepresented authors. The publishing industry doesn’t have the best track record when it comes to platforming minority authors. Spending money on these books tells publishers that there is a market for them, increasing the chance they will continue to publish diverse books.

Representation in literature has real, positive impacts on marginalized readers and communities. Supporting diverse authors by reading and buying their books helps to make sure these stories continue to be told.

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Molly Tyler

Molly received her B.A. in English in 2016, and her M.F.A. in Creative Writing in 2019. She now works full time as a digital content marketer.

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Representation

Defining representation.

Representation is a critical concept not only in postcolonial studies and academia, but in the larger cultural milieu. The term itself can be defined in many different ways. Often, we think of representation primarily as “presence” or “appearance” where there is an implied visual component. Representations can be clear images, material reproductions, performances and simulations. We understand them to be re-presenting a particular “real” thing; however, the relationship between the thing and the representation of the thing is one that has engaged philosophers, linguists, historians, and artists for centuries. In a different context, we use representation to denote the relationship between a politician and her/his constituency. A single person is endowed with the responsibility of representing many citizens; this is the foundational principle of representative democracy. For this discussion, we are highlighting the visual, political, and artistic elements of this concept.

Representations — these ‘likenesses’– come in various forms: films, television, photographs, paintings, advertisements, and other forms of popular culture. Written materials — academic texts, novels and other literature, journalistic pieces — are also important forms of representation. Yet how can simulations or “impressions on the sight” be completely true? How does one judge the accuracy or truth-content of a representation? Or rather, how does one interpret or read the representation? (See Essentialism ) Edward Said, in his analysis of textual representations of the Orient in  Orientalism , emphasizes the fact that representations can never be exactly realistic:

In any instance of at least written language , there is no such thing as a delivered presence, but a re-presence, or a representation. The value, efficacy, strength, apparent veracity of a written statement about the Orient therefore relies very little, and cannot instrumentally depend, on the Orient as such. On the contrary, the written statement is a presence to the reader by virtue of its having excluded, displaced, made supererogatory any such real thing as “the Orient.” (21)

Representations, then can never truly be real or objective. Instead, they are constructed images, images that need to be interrogated for their ideological content.

In a similar way,  Gayatri Chakravorty Spivak   makes a distinction between  Vertretung  and  Darstellung . The former she defines as “stepping in someone’s place … to tread in someone’s shoes (108).” Representation in this sense is “political representation” (108) or a speaking for the needs and desires of somebody or something.  Darstellung  is representation as re-presentation, “placing there” (108). Representing is thus “proxy and portrait (108)” according to Spivak. The complicity between “speaking for” and “portraying” must be kept in mind (108). She also addresses the problem of “speaking in the name of”: “It is not a solution, the idea of the disenfranchised speaking for themselves, or the radical critics speaking for them; this question of representation, self-representation, representing others, is a problem”(63). Spivak recommends “persistent critique” to guard against “constructing the Other simply as an object of knowledge, leaving out the real Others because of the ones who are getting access into public places due to these waves of benevolence and so on” (63).

If there is always an element of interpretation involved in representation, we must then note who may be doing the interpreting. Ella Shohat claims that we should constantly question representations:

Each filmic or academic utterance must be analyzed not only in terms of who represents but also in terms of who is being represented for what purpose, at which historical moment, for which location, using which strategies, and in what tone of address.  (173)

This questioning is particularly important when the representation of the subaltern is involved. The problem does not rest solely with the fact that often marginalized groups do not hold the power over their own representations; it rests also in the fact that representations of these groups are both flawed and few in numbers. Shohat asserts that dominant groups need not preoccupy themselves too much with being adequately represented. There are so many different representations of dominant groups that negative images are seen as only part of the “natural diversity” of people. However, “representation of an underrepresented group is necessarily within the hermeneutics of domination, overcharged with allegorical significance” (170). The mass media tends to understand representations of the subaltern as allegorical, meaning that since representations of the marginalized are few, the few available are thought to be representative of all marginalized peoples (See Postcolonial Novel ). The few images are thought to be typical, sometimes not only of members of a particular minority group, but of all minorities in general. It is assumed that subalterns can stand in for other subalterns. A prime example of this is the fact that actors of particular ethnic backgrounds are often cast as any ethnic “other.” Some examples include Carmen Mirandain  in The Gang’s All Here  (1943), Ricardo Mantalban in  Sayonara  (1957), Rudolph Valentino in  The Son of the Sheik  and Sarah Shahi in  The L-Word . This collapsing of the image of the subaltern reflects not only ignorance but a lack of respect for the diversity within marginalized communities.

Shohat also suggests that representations in one sphere — the sphere of popular culture — affect the other spheres of representation, particularly the political one:

The denial of aesthetic representation to the subaltern has historically formed a corollary to the literal denial of economic, legal, and political representation. The struggle to ‘speak for oneself’ cannot be separated from a history of being spoken for, from the struggle to speak and be heard. (173)

It cannot be ignored that representations affect the ways in which individuals are perceived. Although many see representations as harmless likenesses, they do have a real effect on the world. We must ask what ideological work these representations accomplish. Both the scarcity and the importance of minority representations yield what many have called the burden of representation. Since there are so few images, negative ones can have devastating affects on the real lives of marginalized people. We must also ask, if there are so few, who will produce them? Who will be the representative voice of the subaltern? Given the allegorical character of these representations, subaltern writers, artists, and scholars are also asking who can really speak for whom? When a spokesperson or a certain image is read as metonymic, representation becomes more difficult and dangerous.

Solutions for this conundrum are difficult to theorize. We can call for increased self-representation or the inclusion of more individuals from marginalized groups in the act of representing, yet this is easier said then done. Also, the inclusion of more minorities in representation will not necessarily alter the structural or institutional barriers that prevent equal participation for all in representation. Focusing on whether or not images are negative or positive, leaves intact a reliance on the realness of images, a realness that is false to begin with.

This brings us again to Spivak and her famous question, ‘”Can the Subaltern Speak.” In this seminal essay, Spivak emphasizes the fact that representation is a type of speech act, with a speaker and a listener. Often, the subaltern makes an attempt at self-representation or perhaps a representation that falls outside the “the lines laid down by the official institutional structures of representation” (306). Yet, this act of representation is not heard because it is not recognized by the listener, perhaps because it does not fit in with what is expected of the representation. Therefore, representation by subaltern individuals seems nearly impossible. However many artists and activists who are committed to critical political and cultural resistance still work to challenge status quo representation and the ideological work it does, despite the structural failure of such subaltern speech.

In the senses discussed, representations are ideological tools that can serve to reinforce systems of inequality and subordination and sustain colonialist or neocolonialist projects. A great amount of effort is needed to dislodge dominant modes of representation and subvert and challenge hegemonic ideologies. Self-representation may not be a complete possibility, yet is still an important goal.

Bibliography

• Shohat, Ella. “The Struggle over Representation: Casting, Coalitions, and the Politics of Identification.”  Late Imperial Culture . Eds. Roman de la Campa, E. Ann Kaplan and Michael Sprinkler. New York: Verso, 1995. Print.
• Spivak, Gayatri Chakravorty.  The Post-Colonial Critic: Interviews, Strategies, Dialogues . Ed. Sarah Harasym. New York: Routledge, 1990. Print.
• —”Can the Subaltern Speak.”  Marxism and the Interpretation of Culture . C. Nelson and L. Grossberg, eds. Basingstoke: Macmillan Education, 1988. 271-313. Print.

Author: Ann Marie Baldonado, Fall 1996 Last edited: October 2017

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Introduction to postcolonial / queer studies, biocolonialism.

I like what this article delves into, but found its claims to be a bit presumptive. For example, regarding the passage about actors being cast as characters who are any ethnic “other”: In this sentence, the author mentions a few examples, one of which I am thoroughly familiar with – that of Sara Shahi in L Word. Having watched every single episode of “L Word” ever to have aired, I’ll speak to that character. The woman Sara Shahi plays is Carmen, a lesbian Mexican girl, living in L.A. and working as a deejay. Over the course of the show, we get to see Carmen in many different dynamics, including her family dynamics: We get to know her, thus, as a native Angeleno Mexican girl with a large, close-knit, Mexican family that upholds various Mexican traditions as well as a member of a group of gay women of various ethnicities – Black, Jewish, Mulatto, White, etc. It is hard for me to imagine the role of Carmen being one that is instead cast as, say, a Pakistani girl or a Japanese girl or “any ethnic other”. Even if the role was conceived of as such (and I have serious doubt that this author actually knows first-hand whether or not this was the case), the role of Carmen certainly grew into a distinctly Mexican one. This, of course, as far as I’m concerned, makes it somewhat irrelevant just how vague the character’s conception may or may not have been – especially, since, in truth, precious few television characters are completely and fully realized in all of their inevitable detail when they first enter into an ensemble cast. Furthermore, the simple truth is that one can – and so many people love to – complain endlessly about any omissions or oversights in the representation of minority characters in the larger world, but one should also be savvy enough about the limitations of the forums / mediums in which the representation occurs, and also the biases inherent in their own ideas about the minority group (especially if it is their own), to achieve some perspective with regards to what would be a reasonable expectation to have when they encounter such representations. And, if they are still dissatisfied, to have the drive and the motivation to proactively get involved and enact change in whatever way they feel is substantive and viable. As they say, “talk is cheap”…

I think the author point is less about how Mexican culture was represented on the L Word but that Sarah Shahi is of Persian, Iranian, and Spanish (as in from Spain) descent but was cast to play a Mexican. Thus, people of color are able to stand in for all people of color and that in itself is problematic.

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RED CLAY JOURNAL

Embracing Diversity: Why Representation Matters in the Literary World

In the boundless world of literature, it's important to acknowledge that the voices we hear from, as well as the stories we read, shape our understanding of the world. The literary world, like any other area, should reflect the diverse value of human experiences. Why is this? Because representation matters.

Imagine wandering through Barnes and Noble or even the Iredell County Library and finding shelves lined with stories that only share one perspective, only mirrors one type of person, gender, or race. 

It would be like having a meal with only one dish—predictable, lackluster, and being stripped of the rich flavors of a diverse menu. It would also be boring, to look at…. and  eat! 

That's exactly what happens when literature lacks representation.

Diversity in literature is not just a buzzword. Diversity should not be a word used to increase your SEO or to formulate your “Company’s Mission”. It should be actions, reflections in your company; people should see it, not just hear about it. 

Let's delve into why representation matters in the literary world, and how it contributes to a more inclusive, empathetic, and colorful reading experience.

A Library of Experiences

The beauty of literature lies in its ability to transport us to different realities and immerse us in varied experiences. Imagine a young girl growing up in a small town yearning to see herself in the protagonist of a novel. If all she finds are characters who don't share her background, she might feel alienated, as if her story isn't worth telling.

Representation in literature provides a library of experiences, allowing readers from all walks of life to find characters who resonate with their own struggles, triumphs, and personality. Representation allows the readers to experience a scale of characters who reflect the complexity of the human experience and reminds the reader that every individual story is worth telling.

Breaking Stereotypes

Literature has the power to shape societal norms and perceptions and has been doing so for a multitude of years. When certain groups are consistently portrayed through tapered stereotypes, it supports harmful biases and misconceptions. Representation in literature becomes a powerful tool for breaking down these stereotypes and challenging ignorant notions.

Imagine a world where characters with disabilities are not reduced to being a tool for the plot, but, instead, are the plot. They are being portrayed as full individuals with dreams, fears, and characteristics. Such representation not only empowers those with disabilities but also educates others about the stories within this community.

Empathy Building

Literature is a window into the hearts and minds of people who we might never encounter in our daily lives. When we read stories from diverse perspectives, it teaches us lessons on empathy, sympathy, and compassion for other human beings. We step into the shoes of characters who face challenges we might never have considered, broadening and strengthening our understanding of the world.

Through representation, we connect with characters on a deeper level, realizing that our differences are what make us closer. This empathy is a powerful tool that can be used to bridge divides and promote a more inclusive and compassionate society.

Cultivating a Love for Reading

When literature reflects the value of human diversity, it becomes more engaging and relatable. A young reader discovering characters who mirror her own experiences or introduces her to new perspectives is more likely to develop a love for reading.

Speaking from personal experience, I have loved reading since I was a little girl. I have read many books but I will never forget reading my first book with a protagonist who looked like me at the age of 11: reading this book only ignited my baseline passion for reading. It encouraged me to find more authors who write stories about characters who look like me and explore the realm of that side of literature.

It was a learning experience through and through, while the characters looked like me, they did not always go through similar life stories; however, that is invaluable. I was learning about different triumphs and struggles that I would never face in my average life but, because I read these books, I was taught that that is what other people's lives can look like. It fostered compassion, understanding, and sensitivity within me.

Representation in literature can be a gateway to a lifelong love of reading. When readers see themselves in literature, it validates their experiences and sends a message that their stories are just as important. This validation, in turn, can create a sense of belonging and encourage a deeper connection with the literature we read. It can also encourage readers to write and share their own stories.

An Invitation to the Table

Every voice adds something unique to the conversation, and literature should be a space where everyone is invited to the table. One of my favorite quotes is a quote I heard from one of my best friends in college and it goes  “If they don’t give you a seat at the table, bring a folding chair.” This is a quote from Shirley Chisholm. It highlights the fact that when authors from diverse backgrounds are given the opportunity to share their stories, it adds to the culture of the literary world and allows people to go against the “norm”. It also touches on the fact that if there isn’t an opportunity, make one yourself. 

Representation isn't about titles or positions: it's about recognizing the worth of untold stories that exist in communities that are commonly pushed to the back. By amplifying these voices that have been overlooked for years, literature becomes a more accurate reflection of the world we live in—a world that is dynamic, highlights the different ways of life, and complex.

In Closing . . . 

Understanding that in the grand scheme of literature, representation is the critical tool that brings together the diverse stories of humanity. It's about recognizing the beauty in our differences, challenging stereotypes, and stimulating empathy. When we encourage diverse voices, we not only enrich our reading experience but also contribute to a more open-minded and inclusive society.

As readers, we have the power to demand and support literature that reflects the library of human experiences. By doing so, we not only uplift underrepresented voices but also create a literary world that is truly illustrative of the world we live in—a world that celebrates the stories that make us who we are. Let us uphold diversity in literature and celebrate the richness it brings to our bookshelves and, ultimately, our lives.

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