From 2019: When it comes to young-adult novels, what, precisely, is the difference between the marketplace of ideas and a Twitter mob?
,” likewise became the object of intense scrutiny, weeks ahead of its publication, after detractors slammed it as a white-savior tale. The writer Kat Rosenfield’s,” which centered on the “Black Witch” outcry, revealed that many of Forest’s fiercest critics had not read her novel, and others conflated the perspectives of racist characters with that of the author herself.
Senior is right that the ongoing Y.A. wars are about power—about who has traditionally wielded power in publishing, and how that balance is shifting, for better or worse. A group of unpaid readers—one with an undeniable personal investment in the Y.A. community—seems to be doing much of the work of critique that is usually first the task of agents and editors, and then that of booksellers and critics.
A major contributor to blowups like those around Zhao and Jackson, according to many observers I spoke with, is the homogeneity of the publishing world, which remains, on the editorial side, eighty-two per cent white and less than two per cent black, according to a 2015 survey by Lee & Low Books.
Arising from the dust cloud of these conflicts is the question of whether the readers scorching various Y.A. novels have legitimate reason to take offense, and, if so, what form the offense should take. After all, the vast majority of books that are published in any given year—in any genre, and of a vast range in quality—are effectively ignored by reviewers and the general public.
A serious consideration of “Blood Heir,” for one, yields mixed results. The book lingers obsessively over skin color; in the first fifty or so pages, we are told of the main character Ana’s “dust-gold skin,” of her “fawn skin,” of the “dusty olive of her skin,” and that “she was a mix of the pale-skinned Northern Cyrilians and the tawny-skinned Southern Cyrilians who dwelled in the Dzyhvekha Mountains.
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