Michael Derrick Hudson is a very minor American poet. In 2015 he had 15 minutes in the spotlight because of an interesting little exercise in ethnic inauthenticity.
Wikipedia has the story:
Hudson wrote a poem titled "The Bees, the Flowers, Jesus, Ancient Tigers, Poseidon, Adam and Eve" and claimed to have submitted it to 40 literary magazines under his own name. Hudson also claimed that after nine rejections, it was accepted for publication in Fall 2014 with four other poems by "Yi-Fen Chou" by Prairie Schooner, a literary journal affiliated with the University of Nebraska. . . . Hudson used the name of a Taiwanese immigrant who attended the same high school as him and had been working as a nuclear engineer in Chicago at the time of publication.
Hudson's poem, under the pseudonym, was considered for inclusion in the 2015 edition of the Best American Poetry anthology series to be guest-edited by Native American poet and novelist Sherman Alexie. Alexie selected the poem among the 75 poems published in the anthology.
But this is where my favorite part starts. Because when he learned about the selection, Hudson immediately wrote to Alexie and told him about his use of the pseudonym. If you know anything about Sherman Alexie, you will not be surprised to learn that rather than changing his mind about the poem, he published it together with his correspondence with Hudson, making the whole thing public.
Sherman Alexie is an American Indian (with multiple tribal ancestries) whose writing is distinguished – in my mind, anyway – by a heavily ironic attitude toward all American pieties, including all Native American pieties. He is particularly effective when he mocks white stereotypes about Indians and Indian pieties about themselves at the same time, as in "How to Write to Great American Indian Novel." Even when he writes what seems like an angry demand for Native restoration, as in "The Powwow at the End of the World," you have a sense that he feels ironically detached from this as well.
Wikipedia again:
In a blog post Alexie discussed his criteria in selecting poems, stating that he would "carefully look for great poems by women and people of color" who had been "underrepresented in the past," After learning of Hudson's pseudonym, Alexie admitted that he "paid more initial attention to his poem because of my perception and misperception of the poet's identity." Instead of removing the poem from the anthology, which he stated would primarily be "because of my own sense of embarrassment", Alexie said he kept it rather than to expose himself to a lie that "would have cast doubt on every poem I have chosen for BAP. It would have implied that I chose poems based only on identity." He emphasized that "In the end, I chose each poem in the anthology because I love it. And to deny my love for any of them is to deny my love for all of them."
Not to set my own literary taste above Sherman Alexie's, but I think the poem is terrible. Anyway.
The predictable sort of people said predictable things about this. NPR found a self-proclaimed spokeman for Asian American writers who said this:
At the Asian American Writers' Workshop, if you are a person of color, we believe you have a story only you can tell. But if you're a person of color, you may have at one point felt that you were not normal. You aren't white.
And you all know how I feel about this. First, the utter lack of basic empathy; if there living people who have never felt like they were "not normal," then I have never met them. Oh, you white people, you never suffer or feel you don't belong. Blech.
But, really, who cares?
Sherman Alexie isn't an interesting writer because he is an Indian; he's just interesting. I radically do not care about the ethnicity of the people whose books I read. I thought Invisible Man was tedious, but I love Notes of a Native Son and Song of Solomon, because James Baldwin and Toni Morrison are straight out great writers.
It makes no difference at all to me who wrote "The Bees," I just don't like it.
I do not believe in ethnic writing. Modern poetry, novels, and memoirs are highly stylized creations that make sense only within a particular literary tradition that mainly comes from England and France. When you join that tradition and learn to write according to its rules, you pretty much leave the rest of your identity behind. If you are Toni Morrison or Gabriel Garcia Marquez, you can use your awesome powers to bend the tradition a little toward different ways of speaking and thinking, producing something that is both beautiful and a little strange. But I mean it when I say "a little."