The World SF Blog has hosted a round table tackling the topic of women in SF on a global scale. The immediate precursors to this discussion are the SF Signal Mind Meld on the Russ Pledge, and the reaction to the same by Joyce Chng. This newest round table between Aliette de Bodard (France), Joyce Chng (Singapore), Csilla Kleinheincz (Hungary), Kate Elliott (US), Karen Lord (Barbados), and Ekaterina Sedia (Russia/US) is particularly relevant to writers in the Philippines–and not just women writers. Again, you can read the full discussion here, but these are some excerpts:
Joyce Chng: I feel that – as what I have ranted – is that the discussion is still very US/UK-centric. It is fine that the POC and minorities are speaking out in – say – the States, but that is still very US-centric/dominated. I also feel that women from places like Southeast Asia might not have the same experiences/common ground to talk about and we end up grappling and confused. There is a lot of intersectionality – what are Southeast Asian women (with different experiences/backgrounds) going to say? What are Southeast Asian women supposed to say? Likewise, when it comes to SFF, what we experience might be similar but vastly different as well. Often as such, we end up trying to conform to foreign-sounding standards and end up feeling confused.
Kate Elliot: I’m glad the World SF blog exists; I think it needs to exist. At the same time, “world sf” becomes a bit like the current use of the word “ethnic” in American English: it denotes a particular thing that has to be marked because it isn’t the thing that doesn’t have to be marked. Just as we have an entire discussion about “women writers” instead of “writers.” World SF still exists outside the default, and can be ignored or included depending on the needs of the discussion, because the discussion is indeed still US/UK-centric and, of course, Anglophone-centric (which I admit is great for me, being a native English speaker).
Csilla Kleinheincz: Our only science fiction award, the Péter Zsoldos Award has a 14 years old history, yet there has not been a single woman winner either in the novel or the short story category (in spite of the jury having strong chairwomen). Many of the women who write SFF in Hungary are not even published and have to turn to POD or self-publishing, and not because of the lack of talent. Before being recognized as part of world SF they need to be recognized in their own country, hardships that those who have the privilege of being men or US citizens or native speakers are not aware of. Writers all over the world would benefit from being judged on a global scale. World SF needs the raised awareness as much as women writers do — and needs a lot more publishers who raise that three percent.
Aliette de Bodard: I think a clear difference needs to be made between minorities in the US (who might have a hard time getting heard because of the White-dominated publishing industry), and non-US, non-Western folks (who, not being part of the dominant culture and the dominant country, have an even harder time). I don’t think the distinction is clear enough right now, and it leads to people lumping everything together and claiming that the debate is inclusive because US POC are having their say (which is an important thing, but again not the whole of the scene). What I saw of Racefail, for instance, was heavily focused on US sensibilities and US perception of racism.
Karen Lord: I think that the problem isn’t whether women write or read different things. It’s the imposition of boundaries and the assigning of value that’s the problem – whether that boundary is genre vs literary, world sf vs Western, or women writers vs men. As a reader, I don’t want to miss out because the next great SF/F writer happens to be the ‘wrong gender’ and has been discouraged from writing what they’re best at writing.
Ekaterina Sedia: I feel like anything I’ll say I’ll be repeating myself, because basically I feel like I’ve been banging my head against the wall with this topic — the one-way street of SF, where English-language works get translated all over the world, while the reverse is not true. While we can talk about English being an equalizer language (as Csilla mentioned), it also works as an effective tool of exclusion: it is so dominant that the expectation is for the rest of the world to speak English, not to try and understand them. And even foreign writers who DO write in English are by no means on the level playing field with the native speakers: there is a pressure to write in one milieu, there’s a tendency of editors to assume that every non-standard usage is a mistake, there are not-so-subtle hints that maybe one didn’t write one’s books, etc etc.