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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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True or false?

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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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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The Importance of Representation in Books

 Krystal Kavita Jagoo is a social worker, committed to anti-oppressive practice, who has worked for three academic institutions across Canada. Her essay, “Inclusive Reproductive Justice,” was in the Reproductive Justice Briefing Book.

Emily Swaim is a board-certified science editor who has worked with top digital publishing brands like Voices for Biodiversity, Study.com, GoodTherapy, and Vox.

Verywell / Catherine Song

National Literary Accolades

The need for intersectionality in books, negative impacts of representation gaps.

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How to Increase Diversity in Books

According to the Brookings Institution, there are more BIPOC folx than Whites under the age of 15 years old in the U.S. (The term "folx" is an alternative spelling to "folks" used to emphasize inclusion of marginalized groups.)

While the United States has a very diverse population, this diversity is not always reflected within children's books.

"Books about White children, talking bears, trucks, monsters, potatoes, etc. represent nearly three quarters (71%) of children's and young adult books published in 2019," reports the Cooperative Children's Book Center.

According to the first Diversity Baseline Survey from Lee and Low Books, 79% of those working in children's book publishing were White in 2015. By 2019, the Diversity Baseline Survey found this number had decreased to 76%. While these data indicate that there has been an increase in employees of other ethnic backgrounds, this change is quite minimal.

Additionally, this small change is disheartening because, despite initiatives such as We Need Diverse Books and the Children’s Book Council Diversity Initiative to improve representation in children's books, it's clear that substantial improvement is needed.

Far too often, folx have decided that "the classics" are the most influential literary works of a certain time period. This perspective often does not bode well for oppressed and marginalized groups.

While some may still believe that the caliber of a book is determined by national accolades, such a view fails to understand the reality of systemic barriers in the publishing industry.

Even when diverse books manage the rare triumph of getting published, they receive less recognition from mainstream channels.

A study looked at 100 National Book Award finalists and 20 winners between 1996 and 2015. The researchers found that of the 23 culturally relevant texts nominated as finalists (culturally relevant refers to "texts that are written about a culture by a cultural insider and engage students within that culture, who would not otherwise not see their culture reflected in a book"), only 5 of those books won the National Book Award.

This research shows that if the value of a book is solely determined by how many literary accolades it receives, it may lead to a lack of representation of the experiences of marginalized folx.

In addressing the need for more representation in children's books, taking intersectionality into consideration is essential.

If you are unfamiliar with intersectionality, it may be a good time to learn more about the work of Kimberlé Williams Crenshaw , who coined the term in 1989 to center the unique experiences of marginalization that Black women face but acknowledges that it is an ever-evolving term that is meant to include diverse experiences of identity.

Identity Markers

Intersectionality is important because even if books depict Black characters—if they only show Black boys that play sports or fight for civil rights—they don't represent the Black folx who are disabled, gender non-conforming, or some other identity.

In a study of three early elementary classroom library collections, the books in each of the libraries were reviewed to determine if the books were representative of diverse identities and experiences. The protagonist of each story was scanned for identity markers. Examples of these identity markers include:

• Language use
• Family structure (nuclear, single parent, extended family, etc.)
• Topics of social significance (i.e., homelessness, incarceration, immigrant/refugee status, etc.)

When reviewing books for the presence of these identity markers, it highlighted the importance of utilizing an intersectional lens when considering diversity in books.

By paying attention to such a wide variety of factors, books can promote diverse intersectional experiences, with the understanding that elementary school libraries often supply books that can act as mirrors, windows, and sliding glass doors for its young readers.

In a 2016 content analysis from the Journal of Children's Literature acknowledged that children’s books tend to depict protagonists that are "predominantly upper middle class, heterosexual, nondisabled, English-speaking, and male."

This may make it hard for young folx to engage in learning if they are too marginalized to identify with such privileged characters.

Authentic and diverse representation in books has significant impacts for readers, especially given how they influence the way in which young folx come to make sense of themselves and the world around them.

When children read books that only depict one kind of protagonist, it can skew their perceptions of themselves in a negative way. Children may see less value in themselves because of such poor representation, which can potentially minimize, erase, and ignore their identities.

Diminished Sense of Self-Worth Among Marginalized Children

In a study of children’s board books published between 2003 and 2008 for representations of BIPOC folx, it was ascertained that "racial and ethnic prejudices often make it difficult for children of color to develop positive feelings of competency and worth."

Given that books have the potential to help or harm young BIPOC folx in terms of developing a positive sense of self, the issue of representation in books has far-reaching consequences.

Identity Erasure

Critical race theory scholars advocate that "giving voice to the marginalized, counter-stories validate their life circumstances and serve as powerful ways to challenge and subvert the versions of reality held by the privileged."

In this way, it is crucial for all folx to see authentic representations of themselves and others, especially if oppressed, as it may help them to see new possibilities for their lives.

Publishing's Power Dynamics

The issue of representation has a great deal to do with the power dynamics in the publishing industry.

Laura Atkins, Children's Book Editor

Children's publishing, in both the U.S. and the U.K., is dominated by White, middle class women at lower levels, and men at higher levels of management, which inevitably affects perceptions of audience.

Laura Atkins, children's book editor, describes how, in her line of work, books are shaped by the tastes of editors, the culture of publishers, and potentially biased perceptions about who will buy and read books about such diverse experiences. "Children's publishing, in both the U.S. and the U.K., is dominated by White, middle class women at lower levels, and men at higher levels of management, which inevitably affects perceptions of audience."

For this reason, Atkins recommends that "there needs to be more diversity in terms of who is employed. This reliance on stereotypes is more likely to take place when those acquiring and selling the books do not include greater diversity (in terms of race, class, or region)."

Because of this, Atkins advocates for more diverse hiring practices so that publishers may increase their ability to reach a more diverse readership.

Given the gaps with how decisions are made regarding national literary awards, researchers recommend that publishers, writers, academics, teachers, librarians, and readers should explore the books that were recognized by The Coretta Scott King Award, the Pura Belpre Award, the Printz Award, Amelia Elizabeth Walden Award, and the Stonewall Book Award.

In this way, a focus on more targeted criteria for book accolades may increase the diversity of experiences covered, especially for marginalized folx, as national book awards have left a great deal to be desired in terms of recognizing talent across all groups in the U.S.

What Makes a Book Diverse?

From a study of classroom libraries, these following recommendations were made to help teachers choose books that show more diverse experiences:  

• Books with characters that foreground intersecting identities
• Books that provide mirrors for students’ gender identities, family structures, and disability experiences
• Books that reflect socially significant and critical issues in the community, the nation, and the world
• Transitional chapter books with Black boy characters

Especially for those who are invested in teaching, the issue of authentic diverse representation deserves more attention to ensure that all folx feel included when learning.

It is as crucial for privileged folx to read about the experiences of those who have been historically oppressed, as such learning can help prevent atrocities of the past from being repeated in future. Research suggests reading can teach children to empathize with people from backgrounds different from their own and reduce the salience of harmful stereotypes.

A Word From Verywell

Books have the potential to make a meaningful difference in the lives of readers, but the issue of representation continues to limit the outcomes for the most oppressed folx.

For this reason, it is important to understand how much change is needed in the publishing industry so that more can be done to achieve this.

Given how little progress has been made in terms of increasing diversity despite targeted initiatives for this purpose, a great deal more investment is necessary from the publishing industry.

Brookings Institution.  Less than half of US children under 15 are white, census shows .

Cooperative Children's Book Center. The numbers are in: 2019 CCBC diversity statistics .

Lee & Low Books.  Where is the diversity in publishing? The 2019 Diversity Baseline Survey results .

Bickmore ST, Xu Y, Sheridan MI. Where are the people of color?: Representation of cultural diversity in the National Book Award for Young People’s Literature and advocating for diverse books in a non-post racial society .  Taboo J Cult Ed . 2017;16(1):39-52. doi:10.31390/taboo.16.1.06

Carbado DW, Crenshaw KW, Mays VM, Tomlinson B. Intersectionality: mapping the movements of a theory .  Du Bois Rev Soc Sci Res Race . 2013;10(2):303-312. doi:10.1017/s1742058x13000349

Henderson J, Warren K, Whitmore K, Flint A, Laman T, Jaggers W. Take a close look: inventorying your classroom library for diverse books .  Read Teach . 2020;73(3):747-755. doi:10.1002/trtr.1886

Crisp T, Knezek S, Quinn M, Bingham G, Girardeau K, Starks F. What's on our bookshelves? The diversity of children's literature in early childhood classroom libraries .  J Child Lit . 2016;42(2):29-42.

Hughes‐Hassell S, Cox EJ. Inside board books: representations of people of color .  Libr Q . 2010;80(3):211-230. doi:10.1086/652873

Atkins L. What’s the story? Issues of diversity and children’s publishing in the U.K.   E-rea . 2013;(11.1). doi:10.4000/erea.3537

Newstreet C, Sarker A, Shearer R. Teaching empathy: exploring multiple perspectives to address Islamophobia through children's literature . Read Teach . 2019;72(5):559-68. doi:10.1002/trtr.1764

By Krystal Jagoo  Krystal Kavita Jagoo is a social worker, committed to anti-oppressive practice.

study guides for every class

That actually explain what's on your next test, representation, from class:, intro to contemporary literature.

Representation refers to the way in which various identities, cultures, and experiences are depicted or portrayed in literature and media. It involves the portrayal of different groups, particularly marginalized ones, and is crucial in shaping societal perceptions and understanding. This concept highlights the importance of visibility, authenticity, and the impact that these portrayals have on audience perceptions and the broader cultural narrative.

congrats on reading the definition of Representation . now let's actually learn it.

5 Must Know Facts For Your Next Test

• Representation can either reinforce stereotypes or challenge them, significantly affecting societal views on race, ethnicity, and other identities.
• In superhero and genre fiction, representation often reflects broader social issues, including race relations and cultural identity struggles.
• The rise of diverse characters in media has led to increased discussions about representation and its effects on audiences, especially young viewers.
• Critics argue that inadequate representation can contribute to the marginalization of certain groups in society by denying them visibility and agency.
• Authentic representation involves not only diverse characters but also creators from those communities contributing to the storytelling process.

Review Questions

• Representation impacts the portrayal of race and ethnicity by shaping how characters are depicted and understood within narratives. When diverse voices are included authentically, it allows for a more nuanced understanding of different cultures. Conversely, misrepresentation or stereotypes can perpetuate harmful biases, making it essential for writers to consider how their portrayals affect audience perceptions and societal attitudes.
• Superhero fiction often serves as a lens for examining issues of representation by reflecting societal values and conflicts through its characters. Diverse superheroes can challenge traditional norms by showcasing varied experiences related to race, gender, and class. This genre provides a platform to address real-world issues such as discrimination and empowerment while exploring the hero’s journey from different cultural perspectives.
• Authentic representation plays a crucial role in shaping audience perception by providing genuine insights into different identities and cultures. It fosters empathy and understanding among audiences who may not share those experiences. When creators from diverse backgrounds contribute to their narratives, it enhances authenticity and allows for more complex character development. This leads to a richer cultural discourse that can challenge stereotypes and broaden societal perspectives on diversity.

Related terms

Stereotype : A widely held but oversimplified and generalized belief about a particular group of people.

Diversity : The inclusion of different types of people, encompassing various identities such as race, ethnicity, gender, sexual orientation, and more in literature and media.

Narrative Voice : The format or perspective through which a story is told, influencing how characters and events are perceived by the audience.

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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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Poetry and Place: the In-Between Space in Which we Write about Home

Love and the Written Word

King's College London

Textual representation: poetics/fiction/rhetoric.

Representation is one of the most fundamental categories of art and literature. Re- presenting something no longer present, whether that be an object or action drawn from elsewhere in the world, or from the near or distant past, or entirely created from the imagination, is an action as old as humanity itself. Its basic aim, as Furetière suggested in the 17th century, is to ‘paint things as they are’. But as the history of modernity has taught us, when language intervenes – and especially when it becomes ‘text’ – the equation between the object and its mimetic representation is far from obvious. Furetière’s own observation that verbal representation has a rhetorical, psychological and rhythmic function in addition to the purely descriptive (or ‘pictorial’) suggests as much. And from Mallarmé to Pessoa to Rilke, from Kafka to Lispector, from Borges to Beckett, writers of the 19th and 20th centuries have shifted their attention away from transitive depictions of the ‘absent object' to argue for a focus on the intransitive potentialities of literary language itself.

Although loosely mapping onto traditional literary studies in all their variety and breadth, the nucleus of this research cluster is (literary) language in both its transitive and intransitive incarnations, insofar as it brings together scholars working on different aspects of textual representation, whether this be from a poetic, fictional, rhetorical or indeed theoretical perspective. Of course, each of these starting points has its own history and logic, but each will offer access to new ways of understanding what Henri Meschonnic called ‘a form of language that transforms a form of life’.

• Representation , an Image that brings to mind or memory absent objects, & paints them as they are. Representation , is also painting an action, or a true or false history, through speech. […] In their tragedies, poets make lively representations of the events of history, of the passions of heroes. Poetry is a speaking painting. To represent , means to remonstrate, to attempt to persuade. […] A defendant represents his innocence to the judge. Antoine Furetière, Dictionnaire universel (1690)
• The question is whether language’s role is to represent an unchanging world through unchanging means, varying only epithets and verbs in its description. Or if we can envision other means of expression which are non-descriptive and whether there is another type of signification born of that rupture. Émile Benveniste, ‘Ce langage qui fait l’histoire' (1968)
•  What I call poetry is a form of life that transforms a form of language and, reciprocally, a form of language that transforms a form of life. A poem therefore transforms the writer, but it also transforms the reader. Henri Meschonnic, ‘Des voix dans la poésie' (2007)

Dr Craig Moyes

Reader in French and Quebec Studies

Related departments

• Department of Languages, Literatures and Cultures