Racial Privilege and Literary Representation in R. F. Kuang’s Yellowface: A Critical Race Theory Analysis through Derrick Bell’s Framework

Abstract

This study examines racial privilege and literary representation in R. F. Kuang’s Yellowface through the theoretical framework of Critical Race Theory (CRT) developed by Derrick Bell. The novel presents a critical portrayal of contemporary publishing culture, exposing the complex relationship between race, authorship, and institutional power. Through the story of June Hayward that a white author who appropriates the unpublished manuscript of her deceased Chinese American colleague, Athena Liu, Yellowface highlights the ways in which racial dynamics influence literary production and recognition within the publishing industry. The study aims to examine the manifestation of racial privilege in the novel, to analyze the representation of race and authorship through Bell’s concept of the permanence of racism, and to investigate how the publishing industry reflects the principle of interest convergence in its promotion of racial diversity. Employing a qualitative textual analysis, the research examines selected passages from the novel to explore how racial hierarchies continue to shape opportunities, credibility, and success within literary institutions. The findings reveal that racial privilege operates as a structural advantage that enables dominant groups to access opportunities and recognition often unavailable to marginalized writers. The analysis further demonstrates that racism persists within contemporary cultural institutions despite claims of inclusivity by supporting Bell’s argument regarding the permanence of racism. Moreover, the study illustrates that institutional support for diversity frequently aligns with commercial and organizational interests rather than genuine commitments to racial equality, reflecting the concept of interest convergence. The research concludes that Yellowface exposes the enduring influence of racial power structures in literary representation and publishing practices, thereby reaffirming the relevance of Derrick Bell’s Critical Race Theory in understanding race, authorship, and cultural production in contemporary society