"I only learned that Yi-Fen Chou was a pseudonym used by a white man after
I'd already picked the poem and Hudson promptly wrote to reveal himself," he
began, admitting he was angry after being fooled by the "colonial theft."
"But I had to keep that pseudonymous poem in the anthology because it would
have been dishonest to do otherwise. If I'd pulled the poem then I would have
been denying that I gave the poem special attention because of the poet's
Chinese pseudonym.
"If I'd pulled the poem then I would have been denying that I was consciously
and deliberately seeking to address past racial, cultural, social, and
aesthetic injustices in the poetry world."
--
I think the real problem is the attitude of the editor as I quoted above,
so manipulative, reeking of political correctness. The editor admited that
"he gave the poem special attention because of the poet's Chinese pseudonym,"
and tried to justify that he is seeking to overcome various injustices in
the poetry world. I think that editor is just doing the opposite. However,
I believe, in the world of art, white supremacy is not a problem and is as
legitimate as any other kinds of supremacy, because art is all about taste
and selection i.e. a sense of superiority to prove 'we' people's sense of
beauty are better than the others. But fake and dishonesty make no sense in
this kind of game.
If the latest version of white supremacy is to pretend there is no racial
prejudice and manipulate the readership through ethnic balance, it makes
sense in cultural politics but not in art. Imagine that, if a NBA basketball
team hires a certain amount of Asian players just for ethnic balance regardless
of their skills, then the result will be obvious--that team is going to losing
games, a lot of games. In poetry, the winning and losing will not be that
obvious, because art is highly subjective, but in the long run, there will
certainly have some bad consequences, if not the decline of the whole genre.
--
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