As Covid-19 is putting us all in self-isolation, I have been going through my drafts and folders, putting some order into them. I resolved either to polish and share pieces publicly, or dispose of them. Some, I simply shared as is, others I contextualised. This is what I wanted to do here: in this post, I talk about anglo-ness as default in Australia’s cultural and literary world. As our borders lock down, at the same time that the world is experiencing a genuinely global trauma, some of the questions raised here may be more pressing than ever. So – what should we do, and what can we do, to no longer take ‘English’ as a default?
Two days ago, my partner sent me the link to a poem by Koraly Dimitriadis, Greek-Australian writer and performer, called ‘an Open Letter to Melbourne Unesco City of Literature’. The poem throws flame at Melbourne literary institutions – festivals, magazines – denouncing their whiteness in explicit ways. And it expresses the rage of the poet for having to stay outside the door.
Oddly, this piece resonated strongly with me. I wouldn’t have expected it to. I’ve been trained in French formalisn, the raw emotional style jars with my classical taste, and I find its direct name-throwing discourteous. Yet I was moved.
I’ve been invited to many of the forums and events she names, disproving their exclusive anglo-ness, or non-queer friendliness. I never felt I was in as a ‘token foreigner’, and witnessed real commitment to diversity from the organisers, many of them women. Maybe because I’m nice and naïve – or maybe because they do have a genuine desire for more diversity.
And yet, in all these instances, I often felt a great solitude as one of the very few migrants, foreigners, non-native English speakers, among panelists and audience. I never quite know what these figures mean, but I read that in Greater Melbourne, 25 to 30% of people speak a language other than English at home. This is certainly not the soundscape I encountered at those events.
I do strongly feel the gap between a discourse putting forward cultural and linguistic diversity – aspirations to be some international city of literature, even – or in other circles, a part of Asia – and the domination of anglo-american authors and references in our literary life. It’s embarrassing, at a literary event, when you never heard of such American author, and the person you’re talking with has never heard of such Italian collective you love.
But it’s a tough game. It’s hard enough to lead a reasonable conversation within one’s own tradition. Trying to bridge aesthetic and ethical gaps may be beyond what audience or readership can accept.
I’m not sure rage is the most appropriate way to deal with this, but I believe we should be very aware of these issues she raises. And as a semi-white writer myself – for better or worse, I felt good after reading this piece.