In the world of literature, representation is crucial, especially for children and young adults. The stories kids encounter in their formative years often shape their identities and perspectives. However, many young readers from marginalized backgrounds struggle to see themselves reflected in what are deemed “classic” works—those that have been staples in education for decades. In a bid to address this issue, Barnes & Noble announced that its Fifth Avenue location in Manhattan would introduce a series of classic books featuring diverse covers. This initiative, however, did not sit well with the public.
It’s important to clarify that no one is against diversity in children’s literature. While progress has been made, the absence of representation in KidLit is still glaring. The backlash stemmed from how Barnes & Noble approached the promotion of diversity. On February 4th, coinciding with Black History Month, the bookstore unveiled its “Diverse Editions” in collaboration with Penguin Random House. The plan involved releasing multiple versions of classic titles, each cover representing a different marginalized group. However, many found this approach to be superficial and offensive.
Authors, particularly those of color in the KidLit community, quickly voiced their disapproval on social media. They pointed out that simply changing a cover does not address the deeper issues present in these classic texts. For instance, placing a Black character on the cover of “Frankenstein” doesn’t change the underlying themes of the work. Similarly, featuring an Indigenous character on “The Wizard of Oz” ignores the problematic views held by the original author, L. Frank Baum.
By February 5th, the backlash was loud and clear. Barnes & Noble announced the cancellation of the launch party and the controversial book series. Many were relieved to see these rebranded versions of the classics scrapped. As several authors noted, there are far more meaningful ways to uplift diverse voices in literature. Instead of focusing on this misguided rebranding effort, the energy could have been directed towards promoting contemporary retellings or works by marginalized authors.
If you’re interested in diverse retellings of classic stories, there are numerous excellent options out there. For example, check out “A Blade So Black” by L.L. McKinney for a fresh take on “Alice’s Adventures in Wonderland,” or “Once & Future” by Cori McCarthy and Amy Rose Capetta, where the future King Arthur is a brown girl navigating a sci-fi landscape. These stories offer rich, diverse perspectives that resonate with today’s readers and reflect the complexities of modern life.
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In summary, while the aim for diversity in literature is commendable, it must be executed thoughtfully and authentically. Simply altering book covers is not enough; a deeper understanding and commitment to representation are essential for truly enriching children’s literature.