In this article, GRACIE JIN asks why only white writers are assumed to be capable of writing about cultures not their own.

Bill Cheng’s first novel, Southern Cross the Dog, debuted in June. His book, a fine example of writing what you don’t know, has been billed as “audacious” and “ambitious,” but you’ll be hard-pressed to find a review that doesn’t wonder at the novelty of a Chinese-American man from Queens, New York, writing about rural black Mississippi…

Unfortunately, most reviewers and interviewers seem to care less about the quality of Cheng’s writing than they do about the answers to these questions: Did the Chinese guy get it right? Can an authentic picture of the South come from a man of Asian descent who grew up in Queens?

…How many celebrated white writers have written characters who were not exactly like them? William Faulkner, Joseph Conrad, Mark Twain, Pearl S. Buck, Colum McCann, Yann Martel, and Arthur Golden immediately come to mind. In a society masquerading as post-racial, it is still only the white man who can speak authoritatively for every man. People of color, on the other hand, are expected to speak only for themselves….

Ideally, the authority of a work of fiction should be judged against the standards of the world that it creates, not by its alignment with a rigid notion of reality. By this measure both Cheng and Johnson’s books are empathetic, engaging, and deeply imaginative. Both are worth a read. Both are fiction.

Read the full article here.