Many fantastic reviews have been written about Carolyn Drake’s new book of Xinjiang photography Wild Pigeon. Ian Johnson from the New York Review of Books commented on her innovative use of participatory sketching and collage. Photobook Bristol asked Drake how her participatory approach shaped her editorial process. Sean O’Hagan at The Guardian focused on Drake’s attempts to capture a vanishing culture on film. Colin Pantallat in Photo-eye congratulated Drake on “destroying” her images and in doing so destroying the solipsism that so often accompanies a heroic photographer. Rebecca Horne’s magnificent review at Daylight engages with Drake’s struggle to understand what her images might mean to Uyghurs. And the Time Lightbox review features lengthy image captions in which Drake relates the things Uyghurs told her as they looked at the images and realigned them with pencil and scissor. Numerous photography review journals selected it as one of the best books of 2014. Harper’s Magazine featured it as a portfolio in their January 2015 issue. But how have Xinjiang photographers and critics received the book? When I viewed and talked about the book with groups of Han photographers many of …