In May 2016, Birmingham City University announced it will be accepting applications for its new degree in ‘Black Studies’— the first of its kind in Europe. The course is said to be an interdisciplinary area of study that will look into migration of the African diaspora, black scholars, and the effects of economics within black communities. Estimated to parallel the popular and esteemed African-American study programmes present at the likes of Yale, Harvard, and Howard University, this programme is finally addressing an underlying problem within British education. More specifically, why black voices have long been ignored or overridden in academic spheres. As a Birmingham native, I have never been more proud to witness this advancement, but we cannot stand by the belief that its implementation is enough.
by Alex Valente
The year is 2015: Ali Smith’s How to Be Both wins the Bailey’s Women Prize for Fiction. Malorie Blackman concludes her extraordinary term as Children’s Laureate. The Nebula Awards feature women in all but one entry. The Independent Foreign Fiction Prize is awarded to author/translator team Jenny Erpenbeck and Susan Bernofsky for The End of Days. 40 nominations for the Eisner Awards are women, ranging from writers to editors, colourists to pencillers, inkers and letterers.
And yet, research conducted by author Nicola Griffith proves that despite the multiple recent spotlights on the literary stage for women — both on the page and behind it — there is a significant disparity in their treatment when it comes to recognition. Collating data and results from the past 15 years of a number of prizes for literature, Griffith has found that books featuring women, focusing on women or written by women have a track history of receiving fewer awards than those by, about and from men.*