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https://www.themarysue.com/american-dirt-is-not-the-immigrant-tale-it-was-said-to-be/
When you’re correcting a mistake, you should be as loud as (if not louder than) you were when you made it. This is why, when I found out about the controversy about the novel American Dirt by Jeanine Cummings, a book I recommended for the Mary Sue Book Club, I knew I had to make a full editorial correction.
I try to read most, if not all, of the books I recommend for the Book Club because I truly do love reading, and I want to make sure that if I suggest someone grab something, it’s something I can say I liked. When I was looking up two books to fill out the list, one of them was American Dirt. I saw that it had received a lot of positive press from Stephen King, Rumaan Alam, Don Winslow, Sandra Cisneros, and other literary news outlets including Oprah’s Book Club. It seemed like the type of literary fiction that’s always good for a book club read. I was mistaken.
For The Blue Nib, David Schmidt wrote “A Poor Imitation: ‘American Dirt’ And Misrepresentations Of Mexico,” breaking down that this story, praised for being “authentic” by so many, lacked any true understanding of the realities of living on the border or what it means to be a Mexican person.
Cummins fails to understand the racial dynamics of Mexico, and of human genetics in general. When Mexican authorities detain Lydia and two fellow migrants, Cummins explains that the agents know the migrants cannot possibly be Lydia’s relatives, as their skin is darker than hers. This contradicts the reality of many Mexican families, where with blond-haired and dark-skinned cousins often share the same grandparents.
Mexico is depicted as a one-dimensional nation, irredeemably corrupt and violent, while the United States of American Dirt is a fantasy land: a country free of gun violence, hate groups and organized crime. While the book ostensibly pushes a progressive message, it drives home a very Trumpist myth: “crime and violence are Mexican problems.”
The failures of the book to properly understand Mexican culture is jarring, especially in light of all the praise it has received. I was so shocked to read how it was dripping in stereotypes, on top of having a white author. You’d think that, considering the subject matter, the more book-focused writers and outlets would be more aware of this stuff.
Another powerful review was written by Myriam Gurba, who said the book ended up perfectly writing a “Trumpian agenda.” Gurba claims that she was given a copy of the book to review for a feminist magazine and was told that her review was too negative.
After a few days, an editor responded. She wrote that though my takedown of Dirt was “spectacular,” I lacked the fame to pen something so “negative.” She offered to reconsider if I changed my wording, if I wrote “something redeeming.”
Because the nicest thing I can say about Dirt is that its pages ought to be upcycled as toilet paper, the editors hauled out the guillotine. I was notified that I’d be paid a kill fee: 30% of the $650 I was initially offered for my services.
As someone who severely lacks fame and is very negative when it’s warranted, I resent the idea that you need to have literary clout to have a literary opinion.
What has happened with American Dirt is truly a mess, and the kind of mess I thought we’d moved past. As someone who loves books and recommends them, this is just a reminder of the vigilance we need to have in order to make sure that the things we recommend align with our values. I’ll make sure to do my part.
(via The Blue Nib, image: Flatiron Books)
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—The Mary Sue has a strict comment policy that forbids, but is not limited to, personal insults toward anyone, hate speech, and trolling.—
When you’re correcting a mistake, you should be as loud as (if not louder than) you were when you made it. This is why, when I found out about the controversy about the novel American Dirt by Jeanine Cummings, a book I recommended for the Mary Sue Book Club, I knew I had to make a full editorial correction.
I try to read most, if not all, of the books I recommend for the Book Club because I truly do love reading, and I want to make sure that if I suggest someone grab something, it’s something I can say I liked. When I was looking up two books to fill out the list, one of them was American Dirt. I saw that it had received a lot of positive press from Stephen King, Rumaan Alam, Don Winslow, Sandra Cisneros, and other literary news outlets including Oprah’s Book Club. It seemed like the type of literary fiction that’s always good for a book club read. I was mistaken.
For The Blue Nib, David Schmidt wrote “A Poor Imitation: ‘American Dirt’ And Misrepresentations Of Mexico,” breaking down that this story, praised for being “authentic” by so many, lacked any true understanding of the realities of living on the border or what it means to be a Mexican person.
Cummins fails to understand the racial dynamics of Mexico, and of human genetics in general. When Mexican authorities detain Lydia and two fellow migrants, Cummins explains that the agents know the migrants cannot possibly be Lydia’s relatives, as their skin is darker than hers. This contradicts the reality of many Mexican families, where with blond-haired and dark-skinned cousins often share the same grandparents.
Mexico is depicted as a one-dimensional nation, irredeemably corrupt and violent, while the United States of American Dirt is a fantasy land: a country free of gun violence, hate groups and organized crime. While the book ostensibly pushes a progressive message, it drives home a very Trumpist myth: “crime and violence are Mexican problems.”
The failures of the book to properly understand Mexican culture is jarring, especially in light of all the praise it has received. I was so shocked to read how it was dripping in stereotypes, on top of having a white author. You’d think that, considering the subject matter, the more book-focused writers and outlets would be more aware of this stuff.
Another powerful review was written by Myriam Gurba, who said the book ended up perfectly writing a “Trumpian agenda.” Gurba claims that she was given a copy of the book to review for a feminist magazine and was told that her review was too negative.
After a few days, an editor responded. She wrote that though my takedown of Dirt was “spectacular,” I lacked the fame to pen something so “negative.” She offered to reconsider if I changed my wording, if I wrote “something redeeming.”
Because the nicest thing I can say about Dirt is that its pages ought to be upcycled as toilet paper, the editors hauled out the guillotine. I was notified that I’d be paid a kill fee: 30% of the $650 I was initially offered for my services.
As someone who severely lacks fame and is very negative when it’s warranted, I resent the idea that you need to have literary clout to have a literary opinion.
What has happened with American Dirt is truly a mess, and the kind of mess I thought we’d moved past. As someone who loves books and recommends them, this is just a reminder of the vigilance we need to have in order to make sure that the things we recommend align with our values. I’ll make sure to do my part.
(via The Blue Nib, image: Flatiron Books)
Want more stories like this? Become a subscriber and support the site!
—The Mary Sue has a strict comment policy that forbids, but is not limited to, personal insults toward anyone, hate speech, and trolling.—
The Valiant Universe is about to be thrown into crisis as a new superhero hunts down a vicious superpowered killer on the loose. That’s the intriguing premise behind Ray Fawkes’ (Gotham By Midnight), Jeremy Haun’s (The Red Mother), Nick Filardi’s (The Umbrella Academy), and Clayton Cowles’ (The Wicked + The Divine) The Final Witness, which we’re happy to exclusively reveal right here. It’s a brand new addition to the sprawling Valiant canon!
Valiant Comics
Here’s a the plot for the murder mystery superhero mashup:
“The Valiant Universe has a serial killer on the loose, and their methods are…terrifying. Enter Detective Hannah Grey, Investigative Journalist David Parson, and Nick Miller — San Francisco’s newest unidentified superpowered guardian — on the case to solve one of the most chilling cases ever to cross their paths. Debuting a cast of all-new heroes — and perhaps the most frightening villain yet — Ray Fawkes and Jeremy Haun have woven a thrilling new crime noir corner of the Valiant Universe.”
Writer Ray Fawkes gave us his insight into his and artist Jeremy Haun’s new creation. “It’s the story of a brand-new superhero coming to grips with his incredible power while trying to help solve a serial killer case that just might be too much for him to handle… a white-knuckle crime book in a universe where superheroes are real!”
Haun agreed, “The Valiant universe is a big, action-packed, exciting place. The Final Witness takes a street level look at that world and the emergence of an all-new hero.”
The pair’s editor Heather Antos added, “It’s like Zodiac–you’ve got an investigative journalist, a detective, and a civilian whose paths all come together as they try and solve a horrifying serial killer case. Except instead of Jake Gyllenhaal, this civilian also happens to be San Francisco’s newest superhero.”
Valiant Comics
Valiant Comics
Fawkes can’t wait for fans to experience the noir-tinged take on cape comics. “I’m thrilled to bring a crime-thriller twist to the Valiant superhero universe, and I’m excited to see the fans react to this book! It’s a real ride, with a lot of twists and turns and some good, horrifying crime thrown into the mix. People who read my work know I love the darker side of things, and this book is one where I truly get to cut loose. I’m really looking forward to watching fans try to unravel the mystery!”
For Haun, it’s all about how the unexpected story fits into the wider Valiant world. “The Final Witness is a perfect companion to so many of the huge things going on across the Valiant universe,” he explained. “It’s a different perspective. And then once things get big, they get really, really big.”
Valiant Comics
Valiant Comics
So what was it like creating an entirely new property within the Valiant Universe, “It’s always very exciting to have an opportunity to flesh out a new corner of any established universe,” said Antos. “It’s also terribly nerve-wracking as well. Will we live up to expectations? Will we totally miss the mark? What’s so great about exploring new reaches of the Valiant Universe with The Final Witness is that I’m doing so with one of the strongest teams in comics today. Ray is no stranger to psychological crime thrillers, and Jeremy & Nick are some of the industries best and brightest at gritty and grounded realities.”
Fawkes said he couldn’t pass up the unique opportunity. “It’s the kind of opportunity every writer loves: to open up a new direction in an established universe, and to create a character who will have a real presence and real impact. I’m enjoying every minute of it.”
“It’s never easy,” said Haun. “So much has come before. You want everything to fit– to feel cohesive, but at the same time, give it a new twist. And twist we do.”
So what can fans look forward to when they pick up The Final Witness?” So many things. We’ve got three characters chasing this killer: a journalist, a police detective, and a superhero. Guess which one of them is going to find the first victim’s body… and which one is going to find the first body’s head? “Each correct answer is different,” Fawkes teased.
Haun added, “You have no idea where this story is going. And you just might not be ready for it.”
“It’s really, really good. Like really good,” Antos added.”
Readers don’t have to wait long to see all of the surprises that await them. The Final Witness hits shelves on April 29.
Header Image: Valiant Comics
The post THE FINAL WITNESS Throws the Valiant Universe Into A Noir Murder Mystery (EXCLUSIVE) appeared first on Nerdist.
There is something about Henry Cavill in Netflix’s The Witcher that just works, despite the wig and contacts. I think that Cavill works best in an environment where men wear either nothing or lace. Also, there’s something about leather and possibly having his British accent that’s crisper than the dollar bills being sent into the Biden campaign. As I watched The Witcher, I became nostalgic for the period drama looks of old that gave us prime Henry Cavill.
Stardust:
It’s a very minor role, but in the feature film Stardust, our Superman plays Humphrey, another gentleman fighting for the attention of Victoria against Tristan (Charlie Cox). He’s basically playing a bully and sporting blond hair, which will hopefully be the last time, because silver=yes, blond=run for the hills. This was the first time we collectively realized that Henry Cavill could, indeed, pull off a mustache.
Besides being an asshole in blue, he is best known, in this movie, for winking at Robert DeNiro in a very bisexual way during the final scene. I have provided the footage above. You are welcome.
The Count of Monte Cristo:
This is a very weak adaptation of the Alexandre Dumas novel, but at the same time, a very enjoyable movie. One of the most enjoyable parts is that they do a bit of wish fulfillment writing by making Edmond Dantès (Jim Caviezel) and Mercédès (Dagmara Domińczyk) have a kid. In the book, Albert is the child of Mercédès and the trifling shitbag Fernand Mondego (Guy Pearce), but they changed the daddy to Edmond, played by Henry Cavill, sporting a sweet baby face, looking like Laurie from Little Women.
Immortals:
One of the worst movies I have ever suffered in my life, Immortals should have been fire, but instead, it felt like a 300 ripoff. The film is supposed to be an adaptation of Theseus and the Minotaur and Titanomachy, but it bears little to no resemblance to either. I remember there is one scene where Athena asks Zeus, “Are we at war?” and I couldn’t help but go, “You’re the goddess of war. Should you know that?!” It was a mess.
Henry Cavill plays “Theseus” (allegedly), a man chosen by “the gods” to defeat the King Hyperion, who wants to kill the gods for letting his family die from famine. (Have you even met the Greek gods?) It’s very boring, but the cast is very handsome. We’ve got Henry Cavill, who looks slightly bronzed and is shirtless in almost every scene, Joseph Morgan as Lysander, Luke Evans as Zeus, Freida Pinto as Phaedra, and Kellan Lutz as Poseidon. It’s very 2011.
The Tudors:
Ahh, the masterpiece. For four seasons, Henry Cavill played Charles Brandon, 1st Duke of Suffolk, in a performance that once could call … orgasmic. Basically, he spends the entire first season sleeping with all the wrong women, and just exuding casual f*ckboy energy at every single moment. It’s amazing. It takes effort to be so effortless, terrible, and handsome at once, but man oh man, did Henry Cavill do it.
I truly thought he was one of the most gorgeous men on Earth during this series. I have no doubt this show is the reason he was Stephenie Meyer’s first pick for Edward Cullen. It certainly didn’t help that, even as the show needed him to play a 60-year-old-man it was basically just Henry Cavill with a grey beard. Somehow … it was even more attractive? Bless The Tudors for providing so many thirst traps.
And now we have The Witcher, serving Henry Cavill with a combination of his greatest hit: warrior, light hair, complicated paternity issues, perpetually dirty, and emotionally distant. Tossing a coin to my Witcher …
(image: Starz, Buena Vista Pictures, Relativity Media, Paramount Pictures)
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