Kirkus has a really weird relationship with books about Black American girls in contemporary fantasy settings, and...I think we need to talk about it.

If I'm gonna be frank, Kirkus has an issue with these books. Sure, the reviews may be positive overall, but there's a pattern here that points to a underlying problem that needs to be addressed.

"What makes you say that?"

Because, in reading through three reviews, it's clear that what Kirkus is critiquing isn't just the stories themselves but the style of storytelling. How else can you say pretty much the same negative thing about three separate books written by three

separate authors who possess three distinct and wildly varying voices?

There's a common undercurrent of structure and style, because said three authors draw from the same well when it comes to storytelling, and it's here where the critique finds its footing.

Here are sections from the reviews themselves:

ONE: "Push through clunky expositions and choppy transitions that interrupt the cohesion of the text"

TWO: Uneven pacing leads to sometimes feeling one step beyond the action and without sufficient worldbuilding.

Three: "Lengthy exposition with confusing plot turns and a reveal of ethnically diverse magical beings and their powers slows the first part of the book."

Slow. Uneven. Choppy. Clunky.

All descriptors that have come up in previous conversations concerning issues people have

when reading stories that don't mirror the "proper" narrative voice.

These reviews are months, even years apart, so it's very easy to miss if you're not looking for it, but those three examples say the same thing in three different ways about three very different books.

Not coincidentally, those are the only "complaints" in each of the otherwise very positive reviews.

And I'm pointing out Black American contemporary fantasy in particular because historical or secondary world or epic or whatever else won't come up against the same barriers.

Off top, folks have a problem with Blackness "invading" fantasy spaces. They just don't like us being there. They're able to stomach it if they can imagine us away, which is easier to do when the narrative voice mirrors what they're used to. Along comes a narrative voice DRIPPING

in Blackness and, well, now you can't just pretend we're not there. And this voice pops up more in contemporary fantasy because that's where it makes sense, for lack of a better phrase. I'm just saying, hobbits speaking in AAVE isn't a thing.

Yet.

Don't tempt me.

According to society, it's okay for issue books to have that voice. It's okay for books about slavery or racism or the struggle to have that voice. Those are Black books, clearly. INSERT EYE ROLL

But when that voice starts popping up in contemporary fantasy, well...it's kinda like being a Black person at a Slipknot concert, people are confused by your presence and wonder wtf you doing here in this clearly non-Black space. Didn't you know? The rap show is around the block.

So....yeah. There's clearly a lot more to this, but you get the gist.

And I'm certain Kirkus isn't the only one. Not by far.