Ever since the delayed release of Blood Heir I have been following the
novel’s rocky road to publication.
After reading, re-reading, and researching, I’m here
to defend the book.
For those who haven’t heard, Blood Heir by Amélie Wen Zhao was called “this year’s most
controversial YA novel” by Slate Magazine.
Fellow author LL McKinney of A Blade So Black blasted Zhao’s book on Twitter calling it “anti-black”.
The original blurb for Blood Heir read:
“In a world where the princess is the monster, oppression is blind to skin
color, and good and evil exist in shades of gray…” In a string of tweets from
January 2019, Author LL McKinney states (after reading half of an advanced copy)
“I don’t give a good god damn that this is an author of color. Internalized
racism and anti-blackness is a thing and I…no” (Twitter, 2019). I have to
admit, this is probably not the best pitch for a novel and I can see why
McKinney was upset, but I was disappointed to see an author of color being torn
down before her book was even published.
People responded to McKinney’s tweet saying they were
immediately cancelling pre-orders of Zhao’s book.
McKinney was not the only
person upset by Zhao’s novel. According to The New Yorker, “critics felt that Zhao’s slavery narrative had erased a
specifically African-American experience, and they objected to a scene in which
an apparently black slave girl dies in an apparently white character’s arms, in
an act of self-sacrifice. Zhao, who emigrated from China when she was eighteen,
said that her book drew on ‘the epidemic of indentured labor and human
trafficking prevalent in many industries across Asia, including in my own home
country’” (Waltman, 2019). For the “black slave girl” I believe refers to May,
who is never described other than a young girl with “turquoise eyes” in the final copy. I cannot
confirm that May was black in the advanced copy reviewers read; in the final
copy, May’s skin tone is never referenced.
Map of the imagined Cyrillian Empire in Zhao’s novel
From the
point of sending drafts to beta readers, negative reviews flooded Goodreads before
she even published the book. She sent drafts to beta readers from
2014-2017 to perfectly finetune her novel (Zhao, 452), so some of the following
reviewers may be beta readers.
A Goodreads reviewer addresses one controversy of the novel: “Another generic fantasy that appropriates Russian culture by
twisting the tragic history of Anastasia Romanova. NO THANKS.” The reviewer
shelved this on a shelf called “Cultural-Appropriation”. I also want to point
out there is no direct reference to Russia in Zhao’s book besides her saying
[online] that she was inspired by the story of the Russian Grand Duchess
Anastasia, and I see no obvious relation to Russia, but people have argued the
novel is Slavic-inspired. The map above, which can be found in the book, shows
Zhao’s fantastical world does not appear to be one exact country.
Cultural appropriation is not a new criticism
for young adult novels. By “another fantasy” the reviewer is referencing Leigh
Bardugo’s popular young adult fantasy novels set in the make-believe Grishaverse, especially The Shadow and Bone trilogy, which has
been accused of appropriating Russian culture. I am not well-versed enough in
the culture to know whether Blood Heir nor
Bardugo’s books have Slavic influence or not, but I have not seen anything from Zhao mentioning Slavic culture in any form
on social media or directly mentioning the culture in the novel.
Another review simply states “horrible and racist” [published before the final copy’s publication].
Yet another: “the
magic system in the book just felt like a rip off of the Grishaverse”
[referencing Leigh Bardugo’s novels].
And finally: “I couldn’t stop thinking about the whole
mess earlier in the year with the book.
Yeah, that’s a personal one. I just couldn’t disconnect that, and all the
vitriol from that, from the book itself. But like I said, personal. And, not
having read the first version of it, I don’t know the changes that were made
so. It’s a me thing.”
This last review resounded with me, because Zhao isn’t being
given a second chance from everyone. She heard criticism from reviewers and
changed aspects of her book, but nonetheless, Zhao has been somewhat ostracized
in the YA literature community for doing something new and different.
Following the backlash,
Zhao pushed back the publishing date and sent her book through many sensitivity
readers and editors to address concerns.
Clearly, there was a lot of controversy before this
book was even published, and that’s why I decided to pick it up. I barely touch
the surface of the expansive novel and its controversies in this blog, but I
wanted to address them.
Here is your spoiler warning.
The
inspiration for the novel, the young
Grand Duchess Anastasia Nikolaevna of Russia.
At the start of the book, Anastacya Mikhailov has been
convicted of a crime she didn’t commit: killing her own father.
Zhao creates such an exciting plot and world in the
very first page. From the very beginning, Zhao throws the reader into Princess
Anastacya’s world. Anastacya is in prison, waiting to be sold off to a work
contract or indenturement (Zhao, 12). Anastacya, disguising her identity by
calling herself “Ana”, is in hiding from being accused of murdering her father,
the Emperor Aleksander Mikhailov. It was rumored Princess Anastacya was
executed or drowned while fleeing execution.
Blood
Heir is inspired by the compelling true story of the Grand
Duchess Anastasia Nikolaevna of Russia. The inspiration from the infamous story
of Anastasia is seen in Anastacya’s story: A royal family was murdered, but
rumors spread that the Grand Duchess Anastasia escaped the assassination.
From the very
beginning, Blood Heir keeps the
reader on the edge of the seat. After being convicted of murder and thrown in prison,
Ana convinces a fellow inmate, Ramson Quicktongue, to break out of prison.
Through hijinks and mayhem Ana and Ransom break out of prison to avoid being
forced into “Employment Contracts”, essentially, being trafficked and forced to
work.
After breaking out, fiercely
independent Ana teams up with Ramson and fights to get her friend May back from
the Playpen, a place Affinites are taken to perform, often against their
will.
With exciting tension
on every page, I had to know what happened next. With regards to the story
itself and the character developments, I really loved the novel, except for the
romance, but this is a common critique I have. Ramson is this bad-guy-gone-good
from the Navy who is enlisted by Ana to help her find May, and of course, they
fall for one another, when all I wanted was more Ana and May and less romance.
There is an arguably
forced storyline of Ana and Ramson both being damaged people fighting the urge to
fall for one another, and in the end they do. That being said, I do have to
appreciate Ana’s fierce determination throughout the novel never being
smothered by Ramson. Through it all, Ana still is a fiercely independent woman
determined to get her friend back, but I think the book would have been
excellent without the love story.
While breaking out of
prison, it is discovered that Ana is an “Affinite”, or a person with a special
ability or connection to physical or metaphysical elements. In her case, Ana
has a blood affinity, which is seen as deadly and a curse.
There is a very eerie scene for those who are familiar with the history of slavery in America. After being found without papers proving their “employment”, Ana’s friend May, another Affinite, is taken to be sold. At this trading/trafficking post, creepily called “the Playpen”, Affinites are put in glass domes and forced to perform while people bid on them.
However, some are not there against their will. “The Ice Queen”, a woman in pale blue with white hair is one of the few performers not forced to perform at the Playpen:
“She looks like she’s enjoying it,” Ana whispered.
“She’s a regular…She works with the brokers.” [Ransom said]
“Under contract?”
“Right, but…She’s not contracted against her will.” [Ransom said]
In this passage, The Ice Queen serves as this false image that those in the Cyrillian Empire are all performing of their own free will, but The Ice Queen is being paid, and from what we know of, she is not forced to dance or entertain. After learning May is scheduled to perform soon, Ana goes back to the Playpen.
This is probably one of the eeriest parts of the story, as we watch young May trapped in a glass stage being forced to show her Earth Affinity. She is advertised as the “Child of Earth” (Zhao, 223). People in the audience delightfully request for May to grow a fruit tree, juggle rocks, and make a statue from the earth, almost as if she were a circus animal. I honestly can see this being likened to a historical slave auction, and it’s truly a scary thing to read; people are ready to bet on a child, a child originally described as black.
May breaks her glass cage when rebels storm the Playpen, and in the same scene a knife is thrown into her stomach, and May dies in Ana’s arms, as May begs Ana to carry on the Revolution of the Affinites (Zhao, 241). This is, most likely, the scene McKinney is referencing in her tweet. Although May is no longer described as black, it is interesting, and maybe problematic, to think of how May was originally written black. I don’t know how I would respond to this scene with the original details, but for those trying to attack Zhao still, I think we should give her the benefit of the doubt. Although I am sure she, being a college-educated woman, knew about American slavery, we need to be reminded Zhao did not grow up around the narrative of American slavery, she grew up in Beijing, and in the end, she listened to criticism and made changes.
Author Amelie Wen Zhao
So why did Zhao choose this controversial
topic in the first place?
Zhao grew up around the narrative,
and reality, of modern human trafficking.
In an interview with NPR, Zhao
states: “these
are forms of modern slavery that continue to impact 20 to 40 million victims
around the world in countries such as North Korea, India, Thailand, Russia,
Eastern Europe…And the main character,
Ana - she is one of these vulnerable populations, and she's in danger of being
trafficked and exploited. And that's what she fights against in the book. I
really wrote her to be powerful and to be an angry girl, to really be a
champion of justice and what she thinks is right.”
She
continues, “At the time [of her ARC’s being read], it was really overwhelming
because a few early readers had said that it was - believed my book was a
portrayal of chattel slavery in America. And it snowballed into a lot of people
who hadn't read the book, and there was just so much critique coming from
people who hadn't read it. So that was really devastating to me because these
are some real issues that draw from my background and from global issues that
are ongoing and continue to affect so many people. So it was particularly devastating because it felt to me like my perspective
wasn't welcome in this country. And honestly, for a while, it just felt
like I wasn't allowed to have a voice in exploring deeply poignant subjects
that were personal to me. Like, my fiancé is the descendant of a Chinese
indentured laborer. And I believe these
are difficult truths and ugly histories that need to be confronted through
literature.”
On Goodreads, Zhao shared the Dear Reader letter included in the ARCs
(Advanced Reader Copies) of Blood Heir.
A passage of the letter reads as follows:
I emigrated from
China when I was 18. Drawing on my own multicultural upbringing and the complex
history of my heritage that has incidences of bias and oppression. I wrote
‘Blood Heir’ from the immediate cultural perspective. The issue around Affinite
indenturement in the story represent a specific critique of the epidemic of
indentured labor and human trafficking prevalent in many industries across
Asia, including in my own home country. The narrative and history of slavery in
the United States is not something I can, would, or intended to write, but I
recognize that I am not writing in merely my own cultural context. I am sorry
for the pain this has caused.
Zhao also touches on
those attacking her for trying to victimize herself or her characters. “I
am an immigrant. I am a woman of color. And I am an ‘Other.’ In my time in the United States, I have
never experienced the sense of crushing fear about my identity that I have
recently. ‘Get out of my country, communist!’ is only one of the slurs I’ve had
screamed at me from across the street. What I’ve experienced personally and
seen across social media outlets and national television broadcasts has all
amounted to a hyperawareness of my foreignness, my Otherness, and the
possibility that because I am different,
I am not worthy of belonging”
(Goodreads, 2018).
The full letter can be found below my citations. I
cannot speak to if this book is offensive or not. I don’t think the original
blurb that McKinney read was a good pitch for the novel, but what is incredibly
important is this author is not a western author. She grew up in Beijing and
likely did not grow up with as much knowledge of the history of slavery in
America as many Americans did; what she instead grew up with was the reality of
human trafficking, especially in Asian countries. I think the topic Zhao is
writing about is incredibly important, especially for a Western audience who
may not be familiar with modern day trafficking or slavery.
Zhao’s
book goes beyond just slavery. Blood Heir
has brought up issues of cancel culture as well as western-centric views of
slavery pushing away any other narrative of trafficking or slavery, like the
narrative Zhao is trying to bring forward. Her book being “cancelled” almost
proves why her book is important: people aren’t talking about the issue of
modern trafficking in young adult novels. Successfully
cancelling the publication of Blood Heir could
have been detrimental to readers in the United States being educated about the
relevance of slavery and trafficking.
With
Zhao’s book, we are reminded that men, women, and children around the world are
being taken and sold even today, not just historically.
We
are reminded how people are discriminated against and dehumanized for being
“different” from the majority. We are reminded of the cruel truth that Ana has
to face head on, and Zhao and others have faced as well.
I
don’t think the final copy of Blood Heir should
be shot down, especially without being read. In fact, I think Blood
Heir is an excellent book discussing important taboo topics such as
trafficking, and I think it’s presumptuous to assume that aspects of this
novel are based strictly on western slavery, especially when it is written by
an author who is not from North America. I recommend those opposed to the novel
in some way to actually give Zhao’s final copy of the novel a read with an open
mind before jumping to criticize it.
There’s
all this talk about me saying what others are saying about Blood Heir, people attacking the author, but right now, I want to
say something to the author.
To
Miss Zhao, who will probably never, ever read this blog:
Congratulations
on a great debut novel, and I can’t wait to see the sequel.
You
kept fighting to tell your story, and the story of so many other people.
Keep
fighting.
I’m
fighting for you, too.
-SS
Works Cited:
Garcia-Navarro, Lulu,
editor. National Public Radio, 17 Nov. 2019, https://www.npr.org/2019/11/17/780231746/am-lie-wen-zhao-on-blood-heir.
Waltman, Katy. “In Y.A., Where Is the Line Between Criticism and Cancel Culture?” 21 Mar. 2019, https://www.newyorker.com/books/under-review/in-ya-where-is-the-line-between- criticism-and-cancel-culture.
Zhao’s
letter to the reader on Goodreads: https://www.goodreads.com/review/show/2279470600?book_show_action=false&from_review_page=1
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