An Interview with Donna Bailey Nurse on World Storytelling Day

Stories have the power to shape and influence our worldview, as well as our relationships with each other. March 20th is World Storytelling Day and to celebrate, we sat down for a chat with Donna Bailey Nurse, a literary journalist, critic and author of What’s a Black Critic To Do?

In the 1990s an American study found that college-educated Black women read more than any other demographic. I’m sure the Canadian statistics are comparable. Oprah Winfrey’s Book Club virtually resuscitated the failing publishing industry all by itself – and that was no accident, as Oprah is a college-educated Black woman. Mainstream fiction, and even Black men’s fiction, tends to overlook Black women’s experiences, so Black women’s stories are one of the few places Black women can go to record, examine, and celebrate our lives. Black women’s stories ooze with feeling and power because they align with the ancient purpose of storytelling: the passing down of history and cultural wisdom.  

I do see some progress. The large publishers are bringing out more books by Black authors which, of course, is a wonderful thing. At the same time, I am concerned that the racial make-up of the publishing houses remains largely unchanged, specifically when it comes to editing. We need more Black editors, by which I do not mean brown editors. (Just because Black and brown people are not white, does not mean they share the same cultural experience).  

I am a Canadian journalist, so obviously the vast majority of my editors have been white men, most of whom I respect, and some of whom I feel great affection for. In addition, the editor of the Black people’s history I am working on for Harper Collins is a white man, Patrick Crean, who has a reputation for being one of the finest editors in the country. Naturally, I am grateful. 

That said, it troubles me that the larger publishing houses continue to treat the idea of Black editors as nice, but not necessary.  On the contrary, Black editors are essential. For one thing, white editors often require Black writers to overexplain Black issues, woefully undermining a story’s play of nuance. Not surprisingly, conflicts of interest frequently arise: A Black writer recently described to me how his editor became angry when he refused to allow one of his characters to warm up to white people. When it comes to race, white editors may not always know the best questions to ask their Black authors; questions that might more richly develop a particular storyline or idea. Finally, the absence of Black editors raises the thorny issue of cultural appropriation. Is it appropriate for every Black Canadian book to be edited by a white editor? No more so than if it was the other way around.  

Working with Luminato has given me a firsthand view of just how much an arts festival can do to meaningfully support underrepresented cultures. Not only is Luminato showcasing and validating Black women’s writing around the world, it is demonstrating the importance of the Black community to Toronto. Luminato celebrates Black women and honors their experience while at the same time communicating that experience to the wider culture. These are not token gestures, but sincere and serious actions that will positively impact the world we inhabit.

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