As one of only a handful of non-white authors on the British crime fiction map, I thought it might be worthwhile spending a moment reflecting on the worldwide rebalancing touched off by the George Floyd killing in America. Fear not. There’s no need to put on your tin hats and dive for the trenches. My purpose isn’t to haul anyone over the coals. But there’s little doubt that some of what I say might make for uncomfortable reading. More importantly, I will ask you to reflect, at a personal level, on what we mean by systemic inequality, particularly as it applies to the publishing industry.

First, some background. My parents are from the subcontinent. They came to the UK in the early seventies, lured by the immigrant dream. The streets of London may not have been paved with gold, but they were paved with opportunity. My father, who was not literate, spent his life in honest labour, in an industrial bakery, while my mother raised children, demonstrating the much-lauded immigrant work ethic by slaving away at her sewing machine every hour she wasn’t feeding us or stopping us from poking each other’s eyes out with eraser-tipped pencils. She instilled in us the need, above all else, to study, to educate ourselves, to progress.

So far, so good.

But what if I were to tell you that my parents were, in a broad sense, xenophobes, too? Not overtly. They didn’t oppress anyone; or traffic slaves across the oceans; or pillage defenceless communities for profit. But their attitude towards black people – cultivated by the insular world they had grown up in – was, at best, indifferent, or, at worst, mistrustful.

Here’s a simple, unpalatable truth. Racism, in its most basic form, is a feature of most societies. It shouldn’t be. But it is. A simple example illustrates my point.

The outpouring of angst and handwringing currently gripping the world has seen celebrities across the globe express their views on racism (rightly so), only for some to discover that a seat on this particular bandwagon can be an uncomfortable one. In India, numerous Bollywood stars were called out for the disparity between their #blacklivesmatter tweets and the fact that they had fronted campaigns for skin-lightening creams. Across the subcontinent, lighter skin has traditionally been valued (usually alluded to in matrimonial ads by the rainbow-bending adjective “wheatish”), so much so that white foreigners, especially Brits, are treated with overt deference, while black people are routinely afforded a lesser welcome. An odd perversity, given that it was the whites that pillaged the subcontinent for three centuries while, with those of Afro-Caribbean descent, one might assume Indians would evince a colonial-era solidarity.

Let me be clear: this idea of a sort of universal xenophobic instinct does not in any way excuse or mitigate the horrors of the slave trade, or the enormous, long-term damage done to black people because of that terrible practice. Nor does it justify the entrenched, systemic prejudice that continues to colour western societies, prejudice that culminates in overt racism of the kind that permits white American policemen to routinely kill black men with little fear of reprisal, and prejudice of the less obvious kind that serves to keep black people ‘in their place’. My point was merely to demonstrate that, in the wider, global race equality agenda now under discussion, we all have a part to play.

Part of the issue is that many well-meaning efforts to redress the balance are hampered by a profound lack of insight into how unconscious bias can affect the lives of people of colour, in a million different, small, but, ultimately, debilitating ways. The problem is further hampered by an education system that often fails to properly tackle the ‘race issue’.

Yet, the problem must be addressed. Because the world has become a smaller place. The goldfish bowl has shrunk and we are now all swimming in the same seas. It behoves us to make the effort, not just because it is the right thing to do, but because it is also the most effective means of progressing humanity towards a more equitable, more meritocratic, global society. If the Covid-19 pandemic has proven anything, it is how interdependent we are.

Coming, now, to the publishing industry. Cards on the table. Since my first book was published six years ago, I have received tremendous support from my agent, publisher, critics, bloggers, readers, event organisers, and crime writers. My experience is not typical. A simple look at the statistics tells us what we already know. Any way you slice it and dice it – diversity of publishing staff, published writers of colour, books featuring characters of colour – the industry is dominated by white thought and enterprise. Some of this can be ascribed to the fact that, in terms of population, BAME communities, by definition, are a minority. You wouldn’t expect there to be a 50:50 split along these dimensions. That isn’t the issue. The problem is the entrenched attitudes that make it so damned difficult for writers of colour to break into the industry and then to enjoy the same rewards and freedom of expression that is accorded to their white counterparts.

The world’s most successful crime writer, James Patterson, became famous with a series about a streetwise black detective, Alex Cross. James Patterson is not black. Nothing wrong with that scenario, in my opinion. Authors should not be constrained by artificial constructions of propriety. But, if the industry is being honest with itself, it will acknowledge that a writer of colour attempting to do something similar – trying, as it were, to write outside of their cultural straightjacket – is rarely accorded the same privilege. Questions of ‘authenticity’, ‘voice’ and ‘cultural appropriation’ suddenly come racing to the fore, like Cinderella’s ugly sisters questioning our right to go to the ball. Asian writers, for instance, are often expected to pen literary tomes about colonialism or exposes of the immigrant experience. Again, nothing wrong with that, and, indeed, brilliant writing is regularly published exploring those themes. But there are so many other stories that we would like to tell. White writers can be published writing about matters far outside their experience – wizards, serial killers, aliens. But for non-white writers, the same consideration is much harder to find. A lot of this is not the result of overt racism, but rather the mindset that accepts as perceived wisdom the idea that profitability comes almost entirely from white authors writing white stories, or writers of colour writing stories suited to their ethnic background. This thought is so prevalent in the industry that it may as well be an eleventh commandment.

A terrific article by Laura B. McGrath, associate director of the Stanford University Literary Lab, in a Jan 2019 issue of the Los Angeles Review of Books, entitled “Comping White” identifies the true nature of the problem. Paraphrasing her research, it goes like this: publishers buy new books by comparing them to books that have been successful. Is this the new Harry Potter? Is this the next Gone Girl? Given that the majority of books are white, the process becomes a closed loop, a vicious cycle. The industry buys and promotes white books because they sell. White books sell because they’re the only books the industry buys and promotes. Do you see the problem?

Making the gatekeepers more diverse, McGrath argues, will have only a marginal impact. It’s the system that’s at fault. The same applies to practically any walk of life that you might care to name – hence the reason so few people of colour in boardrooms, or lecturing at top universities, or opening Michelin-starred restaurants. White people have done all those things successfully before, so why take a chance on the unproven?

Until we change this structural, often unconscious, bias, all the current furore around race will do little to improve the prospects of the average BAME person.

Can readers help? Of course! By voting with their feet. By buying books written by authors of colour, readers signal to publishers that they won’t be put off by a ‘funny-sounding’ name on the cover, or a protagonist who doesn’t share their own cultural background. The only bar should be quality.

In an ideal world, a good story, well told, should stand on its own merits.

What else can we do? In my opinion, people shape people. If we want better, more thoughtful attitudes in the industry, we must all stand up and be counted. Solidarity is the name of the game. A solidarity of thought that acknowledges that a genuine change of perspective is needed. From agent to reader, all along the chain. What we need, in other words, is for all of us to stand up and say: ‘We are Spartacus.’

Vaseem Khan, author, Midnight at Malabar House and Baby Ganesh series

London, June 2020