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Like the Bechdel Test, these ten rules should be treated as the first critical lens that APIA readers (can) use to call out and contest orientalism in publishing while also serving as a mandatory metric by which all readers (can) hold APIA writing accountable as well as the presses that publish those works by and about us.
The Western canon has no objective nomination process, which is why it is both axiomatic and controversial. But why have APIA voices been erased from the so-called “Great Books” for so long, and how should APIA writers respond to this longstanding erasure?
Inside the craft-obsessed, time-warped fiction workshop where literary realism has reigned supreme forever, the Show-Don’t-Tell maxim serves an important function in critique.
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