Sadia Shepard

Sadia Shepard is a Pakistani American filmmaker and author based in New York City. She is the author of The Girl from Foreign: A Search for Shipwrecked Ancestors, Lost Loves, and a Sense of Home, which was published by the Penguin Press in 2008.[1]

Biography

She received a BA from Wesleyan University, where she studied with Jeanine Basinger, an MA from Stanford University and was a Fulbright Scholar to India in 2001. Shepard's writing has appeared in The Washington Post, The New York Times,[2] The Forward, Wall Street Journal magazine, and The Indian Express. She has taught in the Undergraduate Creative Writing Program at Columbia University.[3]

In addition to writing, she produces documentary films. She produced R.J. Cutler's The September Issue,[4] a documentary portrait of the making of Vogue, which won the Excellence in Cinematography Award at the 2009 Sundance Film Festival and the Audience Award at the 2010 Cinema Eye Honors. Sadia lectures widely about growing up in a multi-faith home.[5][6] In Search of the Bene Israel is an on-site documentary she directed and produced, following modern descendants of the ancient Mumbai Jewish community, to which she is related on her mother's mother's side.[7]

She is the daughter of an American father, architect Richard Shepard, and a Pakistani American mother - artist, designer and educator, Samina Quraeshi.

The New Yorker controversy

On January 7, 2018, in a Facebook post,[8] author Francine Prose accused Shepard of plagiarizing Mavis Gallant's "The Ice Wagon Going Down the Street", which had appeared in The New Yorker on December 14, 1963.[9] Shepard's piece had been published online by The New Yorker and was scheduled for release in the January 8, 2018 issue.[10] In a discussion with Deborah Treisman, published on The New Yorker's site on January 1, 2018, Shepard acknowledged the influence, stating that "This story owes a great debt to one of my favorite short-story writers, Mavis Gallant, and specifically to her story 'The Ice Wagon Going Down the Street'", adding that Gallant's piece "feels so Pakistani."[11] Though Shepard's story reimagines the original in a new context, with added detail and altered character dynamics, Prose contended that the similarities between the two stories constituted theft, writing in her original post that the story is a "scene by scene, plot-turn by plot-turn, gesture by gesture, line-of-dialogue by line-of-dialogue copy—the only major difference being that the main characters are Pakistanis in Connecticut during the Trump era instead of Canadians in post-WWII Geneva."[8][12] In a letter to The New Yorker, Prose maintained her original stance, asking, "Is it really acceptable to change the names and the identities of fictional characters and then claim the story as one's own original work? Why, then, do we bother with copyrights?"[13] Responding to Prose's accusation, Shepard wrote, "In acknowledging the great debt to Gallant in my interview with my editor, my aim was to make my intentions clear: to use Gallant's story of self-exile in postwar Europe as a point of departure for an exploration of the immigrant experience of Pakistani Muslims in today's America. Prose's assertions reflect both a profound misrepresentation of my work and a refusal to acknowledge the central role that cultural identity plays in my story."[14]

Shepard was defended by several writers, including Lincoln Michel, who wrote in Literary Hub that "An artform is a conversation between artists. Literature is a massive ballroom stretching through time in which authors debate, rebut, woo, and chat with each other."[15] He lists J. G. Ballard, Angela Carter, Victor LaValle, Jean Rhys, and Nathan Englander as writers who, to various degrees, remixed and redefined stories that pre-existed their own.[15] Writing for the Los Angeles Review of Books, Gina Apostol saw a more invidious explanation for Prose's reaction, stating that "Prose seems incapable of imagining an Asian-American writer would be [appropriating] strategically, purposefully." Further, she argued that reinterpretations of "a white-dominant text by a person of color" are important, and referred to such exercises as "intertextual couplings."[16]

References

  1. ↑ "Sadia Shepard - Penguin Random House". www.penguinrandomhouse.com. Retrieved 3 October 2018.
  2. ↑ Editors, The. "The Real Roots of the 'Slumdog' Protests". Retrieved 3 October 2018.
  3. ↑ Columbia Faculty page Archived November 13, 2009, at the Wayback Machine.
  4. ↑ Dargis, Manohla. "A Film by R.J. Cutler Spotlights Vogue's Anna Wintour". Retrieved 3 October 2018.
  5. ↑ "Archived copy". Archived from the original on 2010-05-31. Retrieved 2010-06-06.
  6. ↑ "Voices on Antisemtisim interview with Sadia Shepard". United States Holocaust Memorial Museum. 2009-06-04. Archived from the original on 2012-05-05.
  7. ↑ "Gallery". Sadia Shepard. Retrieved 3 October 2018.
  8. 1 2 Post by Francine Prose, Facebook. January 7, 2018. Accessed January 18, 2018.
  9. ↑ Mavis Gallant. "The Ice Wagon Going Down the Street", The New Yorker December 14, 1963. Accessed January 18, 2018.
  10. ↑ Sadia Shepard. "Foreign-Returned", The New Yorker. January 8, 2018. Accessed January 18, 2018.
  11. ↑ Deborah Treisman. "Sadia Shepard on the Nuances of Immigration and Cultural Identity", The New Yorker. January 1, 2018. Accessed January 18, 2018.
  12. ↑ Alison Flood. "Author Denies Plagiarism in New Yorker Story Modelled on Mavis Gallant Tale", The Guardian. January 16, 2018. Accessed January 18, 2018
  13. ↑ Francine Prose. "Finding the Fiction", The New Yorker. Accessed January 18, 2018.
  14. ↑ Sadia Shepard. "Sadia Shepard Replies", The New Yorker. Accessed January 18, 2018.
  15. 1 2 Lincoln Michel. "Good Writers Borrow, Great Writers Remix: Why It's OK to Reuse, Repurpose, and Recycle Fiction", Literary Hub. January 12, 2018. Accessed January 18, 2018.
  16. ↑ Gina Apostol. "Francine Prose's Problem", Los Angeles Review of Books. January 17, 2018. Accessed January 18, 2018.
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