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Go to “donald duk frank chin” on Youtube. A critique of Donald Duk by the University of Cambodia.
The robot voices are are computer generated words in Cambodian male and female voices.
My cousin feels the world a little lopsided but with anonymity and pride intact. Meeting with the Oakland Mayor never happened.
Half day spent with Joe Fong was instructive. He’s working his authorship of articles into a co-editorship of a magazine on his perspective on Asian-America which is a Macau childhood completed in San Francisco in the 70s. The Professor of Asian American Studies liked my letter to Mayor Ed Lee proposing he cut off Cameron House at the balls for the 100 years of lies about Chinese culture being founded on male cruelty to women. The Chinese Mayor of the Chinese city should politely persuade Pres Bill Clinton to apologise a thousand years of Chinese children for approving Kingston’s revision of the Chinese BALLAD OF MULAN by white racistly declaring Kingston’s THE WOMAN WARRIOR the truth, and the Chinese had it all wrong, with his Humanities Medal in 1998.
What’s a Chinese-American US Ambassador to China to do when asked to drop by the Chinese ruler’s house with his family for dinner and a night Chinese storytelling and our Ambassador is asked to tell THE BALLAD OF MULAN? Does the Ambassador tell the Pres Clinton officially US endorsed White racist lie of Kingston? Or does he tell the truth? The kids are listening. They’d better be listening.
But one more quick glimpse round the world convinces ne the Yellows still don’t care. They’re already trapped by the myth of the first Yellow Whiteman’s Equal in the Movies.
I think it’s interesting that Mei Lanfang the creator of modern Peking Operas and Nancy Wong’s father, Huang Yau-tai the composer, both did works based on Chinese folk literature and both did works telling the story of The Ballad of Mulan. Might the two artistic modernists have been telling China not to reject the old stories and the old words as a source of inspiration?
Wing Tek Lum’s been deeply touched by Iris Chang’s THE RAPE OF NANKING . I’ll be presenting with him at Chinese Heritage conference in Seattle in April. He was an award winning poet recommended to me by Diana Chang in 1972. It would be nice to see him reading the poem to his grandmother, from the 1972 doc CHINAMAN’S CHANCE directed and photographed by Ene Riisna.
Between then and now he’s become a successful businessman in Hawaii, married and the father of a grown daughter.
He’s been driven to spend fifteen years trying to fit into the skins of everyone on all sides of the Nanjing Massacre of 1937. He has ten pages of notes on every poem he wrote for the book. The books he read. The accounts he read. Every poem every sentiment has a literary , not necessarily a Nanjing inspiration. The poet is removed from the experience but the book drips with with blood slow to congeal. THE NANJING MASSACRE: POEMS is a disturbing book. Is the blood dripping from his book earned art or just an effect?
The stark technical factuality of Wing Tek Lum’s language is especially disturbing in light of the semi-documentary films from China on The Rape of Nanking. The difference between being fooled and art requires a discussion of Chinese American critics . A critical discussion of the moral, philosophical, Chinese, Japanese, cosmic and personal and other questions to be answered.
For the critic grounded in the proof of personal experience, the question of the connection between Nanjing and the poet’s personal experience is foremost. The answer is in his book dedication to his daughter. A man in his 60s dedicates a book he’s wrestled with for fifteen years to write, to his daughter who’s grown up and graduated college.
The greatness some sense lives in this work of poetry requires a tooth to tooth Chinese-American – Asian American critical discussion. In Japan the occurrence of the Nanking Massacre has never been acknowledged by the Japanese government. The Nanking Massacre is a political issue in Japan.
BLACK SUN: the Rape Nanking; A semi-doc with black and white pics taken by Japanese journalists.“To test his Kamagura sword, Nakajima Kyogo personally killed seven Chinese during the Nanking Massacre,” is t he headline of a Japanese newspaper.
The Japanese ask why the Chinese are so passive. The Japanese respect the old culture of China and look down on the passive obedience of 30,000 Chinese and their dependence on foreigners Germans and Americans to defend them.
Chinese are asking these questions through the Japanese characters. This is a Chinese film after all.
A question the remains unasked is why the Japanese regard the Chinese as a different race? The Japanese and Chinese can mate and have children, as proven by the Japanese hunger for Chinese women. Their cultures are continuous. A Chinese can pass for Japanese and vice versa. Why do the Japanese think they are a different race? Their mythology is different but mutually understandable and datable.
CITY OF LIFE AND DEATH-(2009) Dir- Lee Chuan- the Rape Nanking
JOHN RABE-D: Florian Galllenberger. “Florian Gallenberger directs this gripping drama about John Rabe (Ulrich Tukur), a German businessman living in Nanking, China, who in 1937 used his Nazi party affiliation to save some 200,000 Chinese civilians from slaughter at the hands of the Japanese army. As Rabe labors to establish an official safety zone to shelter the innocent, he forms an unlikely friendship with an American doctor (Steve Buscemi). Anne Consigny and Daniel Brühl co-star.”
The Rape of Nanking from the diaries of the German organizor of the Security Zone. The Japanese Prince who’s an officer in the Japanese Army says “The Chinese must experience the superiority of the Japanese.” The film closes with a silent print card: The Japanese have never acknowledged the occurrence of the Rape of Nanking. John Rabe saved 200,000 Chinese. The Japanese killed 300,000.
Sorry to say, at the time, I was more impressed by wry and spry alcoholic dope addict playgirl writing in the New Yorker Magazine from the club at the top of her Chinese paramour’s posh hotel in the European Bund with a chilled martini in her hand and a perfect view of the bombing of Shanghai spread before her. Ah, love among the savages.
IT BEGINS WITH A BOOK.
Everything we know begins with a book. The oral tradition has comes to us in books for centuries now.
The Bible was the first book printed by Gutenberg, and Christians learned to read. The Torah and the Koran taught the Jews and the Muslims how to read in the age of print.
THE ROMANCE OF THE 3 KINGDOMS, WATER MARGIN, and JOURNEY TO THE WEST were the first printed book and taught the Chinese how to read, how to be Man (Kwan Kung), how judge talent without jealousy (A heavenly trait), from Monkey how to use deception, lies and spies.
The Bible, the Torah and the Koran claim to be the only books authored by God. The Buddhist Sutras were authored by Buddha.
The books of the Chinese Heroic tradition were written by people, not gods or agents of god and not in the language of the ruling higher ups, but in the language of the low marketplace operas that’s existed for centuries before the Ming dynasty Chinese got their hands on movable type the printing machine.
The Christians, Jews, Muslims, Buddhists demand you read to believe the word of God or Buddha. The Chinese read the 3 books of the Heroic Tradition to be free of anyone or anything telling them what to do.
Chinese of the Ming were aware of Christians, Jews, Muslims and Buddhists on the commercial waterways and the market towns of Kublai Khan’s Mongol rule of the Yuan dynasty. After Chinese rule of China was restored with the Ming, the 3 books of the Heroic Tradition were printed. Also a translation of THE SECRET HISTORY OF THE MONGOL was published and became a bestseller if not the bestseller.
What if the buyers of the 3 books of the Heroic Tradition also bought the SECRET HISTORY OF THE MONGOL? Might the similarity between the expendable soldier of Kwan Kung of 220 ad and the 13th century rules for Mongols written by the illiterate Genghiz Khan ?
Might the perceived union of Kwan Kung and Genghz Khan in the Ming signal the emergence of a popular people’s Chinese literature that identifies itself by its popular and snubbed by snobs status.
The real people’s lit of China might run from the 3 books to THE BALLAD OF MULAN, GENERAL YUE FEI, LIANG HONGYU, MU GUIYING, to the 20th century interpretations of Mulan, Liang Hongyu and Mu Guiying to Dr. Wong Fei Hung portrayed in Kung fu movies, to lesser forms as the movies become commercial.
The Chinese people of the world identify themselves separately from the government or the state of China or any national government. The literature in all it’s forms are the texts of Chinese identity.
The only Chinese possessions every Chinese born around the world, owns as their own around the clock are the stories told in a Chinese childhood and the Heroic Tradition. The Chinese stories and the Heroic Tradition are published by Chinese, Singaporean, Hong Kong, Korean and Japanese and Taiwanese houses in Chinese, Japanese, Korean English, Spanish, French. The United States of America is the only country to ban the Chinese children’s story and the Heroic tradition from public access. Knowledge of the Heroic Tradition is reserved for the unsung eggheads of the CIA, like John Service who dug up the books of China from the small talk of ordinary Chinese overheard in open air Chinese roadside stops for noodles and drinks and searching conversations with Chinese journalists.
Ask the Yellows who should know what’s Yellow and what’s not, your local Yellow newscasters in your Yellow hometowns on the West Coast to describe the stories of a Chinese Childhood and the Heroic Tradition. Watch them squirm and make strange sounds in their throats. The Yellow public and private school teachers that have grown up on the West Coast and teach in schools and universities across America never heard of Chinese children’s stories of the Chinese childhood and the Heroic Tradition.
The USA is the only nation to favor an American religious institution’s Cameron House lies about Chinese men and misogyny supported by Maxine Hong Kingston’s White racist revision of THE BALLAD OF MULAN with a Presidential Humanities Medal in 1998.
Almost a hundred years from the USS Maine blowing up in the American newspapers and the Teddy Roosevelt and the United States into an imperial power colonizing inferior countries for their own good, whether they like it or not. The sheet music to be played and sung gathered at the piano were songs of White sailors or soldiers under a Mexican, Japanese, Chinese, Cuban moon lip to lip with a beautiful foreign maid. Clinton’s southern White racist view of Chinese lit as inferior to White reeks of Arkansas’ contribution to the Christian mission in China that bloomed and proliferated in the age of American Imperialism The Spanish-American War of 1888 won the US Cuba and the Philippines and Cuban and Filipino brown people that resented being thought inferior by the US and others that loved it.
Bill Clinton made Teddy Roosevelt’s 19th century White racist paternalist pats on the head official US Policy in 1998. Kingston discovers the truth of Far Mulan the 6th century woman warrior. All of Chinese history and lit that carries her story is fake. The USA bans the teaching of Chinese literature and demands the teaching of the Cameron House fake. And sure enough, not one university in America, not one college, not one high school teaches the Chinese children’s story and the Heroic Tradition. Thank you, White Racist San Francisco. You stand out as the only city influencing a whole nation to condemn another country’s history, culture and literature and declare Kingston’s White racist fake Far Mulan the real. The truth.
It’s too bad that the teaching of Chinese literature is not represented by any Chinese American organization in America. It seems, there should be, after a hundred and forty years since 1849, the Chinese Americans should have a Washington DC based lobbying organization expert in speaking for Chinese arts, literature and sciences and Chinese migration from China and Chinese immigration to the United States. No such Chinese organization has ever existed. The proof: no org has the record of successes an org would have, if it existed.
The problem is larger than a few Yellow writers who don’t have the people they deserve. 5 thousand years of Chinese history and lit has been abandon by the people who prefer to read themselves as distortions of another culture.
As a Chinaman critic of literature in America, I’d like to know why the White racist Christians of San Francisco refuse to read and understand the Chinese children’s stories of the Chinese childhood and the 3 books of the Heroic Tradition, the way the Chinese understand the Bible and White lit from Adam & Eve, Jack & Jill. Why do the White racists refuse to know us as well as we know them? Why have the Yellows become White racist Ornamental Orientals in America? Only in America.
The Seattle Asian Art Museum (SAAM) is a museum of Asian art housed in a historic art deco building located on the grounds of Volunteer Park on Seattle’s Capitol Hill.
The museum’s permanent collection includes a world-renowned collection of Japanese, Chinese, Korean, Indian and Southeast Asian art. In the Fuller Garden Court the museum maintains a series of visiting art exhibits from various cultures across Asia.
The CAHS Tour of the Seattle Asian Art Museum also include a tour of Volunteer Park and Lakeview Cemetery during our 2013 Conference for $12. (Preregistration Required. For more details visit our page about Registration.)
Media can change the way we view the world whether in the form of a book, documentary or painting. In this insightful work, Frank Chin speaks out to perceptions of Chinese in literature in relation to the presence of Asian Americans in our society.
You can download this impacting document A Chinaman Speaks Up For Chinese Lit or click here for Frank Chin‘s biography. For a chance to hear from Frank Chin register for our 2013 Passage to Seattle: Past, Present, and Future Conference on April 19th to the 21st.
A CHINAMAN SPEAKS UP FOR CHINESE LIT
By: Frank Chin
“Everyone knows Chinese men are cruel to Chinese women,” is an old saying in San Francisco, especially among the Chinese of America.
The first mention of Chinese men ruling their women with cruelty in any English or European language literature comes from San Francisco’s Cameron House in 1888. Since then Chinese-Americans of the 20th century have become White famous for repeating and elaborating on and the Cameron House Christian San Francisco lessons they learned in “American school” in their autobiographies.
Marco Polo saw no misogyny in his travels to and from the Mongol Kublai Khan’s rule of China and his grandfather Genghiz Khan’s Silk Road from Korea to Budapest. Hegel, the German philosopher saw the Chinese as inferior to Christians because, though they had a geist they didn’t have enough civilization for any zeitgeist, but no misogyny. Joseph Conrad in VICTORY, and LORD JIM used the Chinese couple as a deus ex machina who don’t walk from place to place but materialize out of nowhere to serve a White hermit with problems, for free and disappear to take care of themselves. Somerset Maugham in THE LETTER, and other stories, saw Chinese as cunning, devious, resentful of White superiority and men and women loyal to each other. The Social Darwinist from Oakland, Jack London saw the Chinese as less than the White man, in THE CHINAGO, a South Sea Island combination “Chinaman” and “Negro,” the Chinago happily chops crops for the White man. Mark Twain, said the Chinese were no worse than dogs, no comment on misogyny among Chinese or dogs; and Bret Harte in the PLAIN SPEAKING OF TRUTHFUL JAMES (THE HEATHEN CHINEE) about a northern California town on the railroad running the Chinese out of town because of card cheat saw no misogyny. And San Francisco’s own Pierton Dooner’s THE LAST DAYS OF THE REPUBLIC, a Social Darwinist horror fantasy novel of the Chinese takeover of the United States of America in the Bicentennial Year 1976 there is not a word of Chinese misogyny. But Dooner suggests that White women found Chinese men irresistible. The Chinese invasion of America was accomplished “through the loins.”
The lie of Chinese misogyny was invented by a White woman who hated Chinese men, missionary Donaldina Cameron when she came to San Francisco in 1898, and her Cameron House missionary Charles Shepherd’s 1925 novel, THE WAYS OF AH-SIN, dedicated to Donaldina Cameron. The stereotype was made the San Francisco gospel by three books celebrating Donaldina Cameron as the “Avenging Angel of Chinatown” by Carol Green Wilson (all published by Stanford University Press).
The Cameron House stereotype was given a Chinese voice in Jade Snow Wong’s ghostwritten YWCA – Cameron House advertisement FIFTH CHINESE DAUGHTER, Virginia Lee’s 1960 San Francisco novel, THE HOUSE THAT TAI-MING BUILT; Maxine Hong Kingston’s San Francisco autobiography THE WOMAN WARRIOR.; Amy Tan’s series of Chinese hating novels THE JOY LUCK CLUB and her silly novel that only Whites could take seriously THE KITCHEN GOD’S WIFE, where she makes a devil of the Chinese Santa Claus, the Kitchen God.
White people have the right to be White racist. White people do not have the right to re-write Chinese the lives, the histories or the writing of the Chinese Whites don’t happen to like. And Chinese writers do not have the right to lie about Chinese literature (THE BALLAD OF MULAN, the Kitchen King and the Kitchen Queen) without being corrected and properly identified as Yellows writing White Racist lies. Mulan was not tattooed by her parents. The Kitchen God’s wife is not dishonored. The Kitchen God has all the power of Santa Claus to drive people to suicide.
The White literary critics have proven over the last century that they don’t know and don’t care about Chinese literature and worse, they don’t know Chinese children’s literature and refuse to read the real. I’m sick and tired of a full century of “objective” White racist reviews of Chinese writing about Chinese children’s literature.
Let’s begin the 21st century with the truth…at least in reviewing and criticism.
Here’s the literary truth –the facts that Donaldina Cameron, the Social Darwinists of Stanford University, Chung Mei Home for Chinese Boys, Quong Ming House at Oakland’s Mills College for Girls and the school districts of Oakland and San Francisco forbid to be taught.
The Chinese books that are the equal of the Christian Bible, the Jewish Torah, the Muslim Torah are Luo Kuanzhong’s ROMANCE OF THE THREE KINGDOMS, Shi Naian and Luo Kuanzhong’s THE WATER MARGIN (OUTLAWS OF THE MARSH) and JOURNEY TO THE WEST (MONKEY) by Anonymous.
The three books are not books of religion. Chinese do not identify themselves by religion belief, or superstition. Chinese identify with books of knowledge of the 3 principles – the triad – of the universe. Heaven, Earth and Man. 3 KINGDOMS is Kwan Kung’s story. He is the Man. WATER MARGIN is Heaven, represented by Song Jiang, who recognizes talent without jealousy and assigns the outlaws their duties in their moving community of 500,000. MONKEY who is not a man, not even a monkey but a rock, is Earth, and the embodiment Sun Tzu’s “All warfare is based on deception,” and his 13th chapter on, the use of distractions, secrets and secret agents. Monkey is a rock of Deception that learns the ways of man and priests and gods and the pretentious Buddha himself and learns beyond Nirvanah and is still learning.
All three books have been available in good translations all the White racist 20th century long. That’s how committed to converting the Chinese to Christianity San Francisco has been since our arrival in 1849. Christian conversion is White hatred. The Christians don’t know the Chinese, but they know the Chinese are wrong. That’s hatred.
In September of 1998, Pres. Bill Clinton gave his Humanities Medal to Maxine Hong Kingston for her autobiography THE WOMAN WARRIOR for “telling the truth about Chinatown.” Chinatown, San Francisco.
He became the first head of state in the history of the world to officially co-sign a lie about another nation’s children’s story, with a medal. Maxine Hong Kingston’s WOMAN WARRIOR was the latest echo of the San Francisco Cameron House lie that Chinese civilization was founded on cruelty to woman. All that is learned from the fake Chinaman’s fake writing about fake Chinese literature is fake.
The real is available in English translation. Read it. Then judge. Contrast the FOUR (PATRIOTIC) BEAUTIES, four portraits of beautiful women of history who used their beauty to distract enemy kings while the Chinese troops took over the state. One from prehistory, one from Han to 550 and THE BALLAD OF MULAN, the first appearance of a sexy woman who attracts men by beating them in single combat and a superior leader and strategist. She reads Sun Tzu as a child and organizes the boys on horseback to play out her strategies. The children have horses like the Mongols and ride them for play? She makes her own decisions, tests her men and chooses her mate. Mulan’s BALLAD is chanted to generations of children and in the 10th century inspires Liang Hongyu, the Little Drummer Girl, and the remarkable Mu Guiying, the Bandit Queen to lead the Yang family armies against the same nomads that Far Mulan fought centuries earlier. Mu Guiying becomes celebrated in MU GUIYING TAKES COMMAND the modern Peking opera by Mei Lanfang the creator of modern Peking opera.
There is more to Chinese men and women than White racists dream of in Pres Clinton’s imperialist 1998 Humanities Medal to Maxine Hong Kingston for the San Francisco Cameron House conquest of Chinese literature. His signal to China is clear, “Send us your White racists, your Chinese ignorant, your pliable, your obedient looking for a White master.”
That’s a hell of message to hand the Ambassador to China . No wonder there are Chinese and Chinese Americans who don’t trust the Chinese- American Gary Locke who’s doing an excellent job of representing the views of the United States of America that officially hates everything about China. He is caught between the Chinese truth and official American White racist versions of the Chinese as a race of wifebeaters. Broken pieces America likes. The whole they can’t abide.
I can see Alan’s pov. Lawson Inada doesn’t remember saying, “Someday we’ll have the people we deserve.” Unfortunately he was over optimistic. Alan was feeling he’ll never have the people he deserves.
For a long long time now I’ve had the sense that Asian America doesn’t want to live. Since the 90’s, the Japanese Americans won redress for the illegal camps and instead of rising to lay their story straight they retreated into heroic self-pitying silence to cuddle their windfall . George Takei was just on the MSNBC hourlong The LAST WORD with Lawrence O’Donnell. George who naturally speaks with his deep voice that sounds artificially generated combined with his high school high vocab phrasing from the radio eloquent 40’s made him the racially nonspecific non-Whiteman of STAR TREK. O’Donnell welcomed George giving him the billboards to read between commercial breaks.
George, in his own segment, was eloquently teary eyed over Obama’s nod to gays in his Inaugural Address. George and Roger are artists. Unfortunately they’re self-righteously cowardly artists. They refuse to see Masaoka and the JACL wiped out other JA orgs and church groups, arts groups, and journalists , wiped them out with police, Naval Intelligence and FBI help. The JACL Lied to the Nisei. Got them in camp where they wanted them. Flash! The JACL way out of camp is to volunteer the men to pay for their way out of camp by dying overseas in battle. Nisei blood is good publicity.
Good publicity is more important, more accessible than good law.
Masaoka learned on his winning debate team that people are moved by emotional publicity and not by good law. The JACL filled the camp papers with good publicity. The Leave Clearance Form of August 1943 with the trick questions 27 & 28 backfired. Bad publicity. Meantime Masaoka Volunteer Number One is in Camp Shelby in the deep south writing drafts of his heroic Final Report to the JACL.
The Sansei artists are afraid of the JACL. They’re afraid to look at the resisters from Hirabayashi of 1942 to the Draft resisters of 1944. They act the mindfucked way I wouldn’t be surprised to find was a trait in the Jews who survived the horrors of the death camps. But the Jews from the instant of their release were run by an urge to never forget- To get their story told. And told again.
It’s the Japanese Americans that want to forget.
The artist is an artist because he communicates a sense in common with his people. They attract and hold the people’s attention and they’re grateful for the entertainment.
Unfortunately, the people the entertainers entertain, drop them like phlegm. The audience is fickle that way. Rejection is the usual fate of artists.
The Jews killed Kurt Gerron a great entertainer – Gerron was the man who set the style of singing Mack the Knife in Brecht’s Three Penny Opera. Gerron was Marlene Dietrich’s big lovable fat pimp who gave Marlene a sparkling comic timing. Gerron was so entertained by his talent that he ignored Peter Lorre and Marlene Dietrich’s pleas from America to get out of Nazi Germany. A sucker for entertaining, he entertained the Germans with an expertly staged lie about Jews with real Jews. He got off the train at Auschwitz and was killed by the hand of Jew before the Nazis could gas him. Talk about total rejection! Jackie Chan the star, director and co-producer of “1911: Revolution” about Dr.Sun Yat Senʼs
revolution that threw over the 2,000 years of Dynastic rule in favor of a century of wars over the definition of modernity and democracy.
in 2012 said Hong Kong Protests Too Much, Needs Limits
by Peter Barefoot on Friday, December 14, 2012 4
[Translation of above captions: Top: 2009 December 1, photographed in Beijing Gehua Mansion, picture from Southern People Weekly, taken by Jiang Xiaoming. Bottom: 1992 January 15, Jackie Chan (first row, third one from the left) and other people in Hong Kong show biz organized an international anti-gang violence parade, in hopes that Hong Kong British authorities would take this problem seriously.]
Jackie Chan: Hong Kong Criticizes and Demonstrates About Everything, Should Be Restricted: During an exclusive interview with Southern People Weekly, Jackie Chan said that Hong Kong had become a city of parades [demonstrations]. “Protesting China, protesting the leaders, protesting everything, demonstrating about everything. There should be regulations on what can be demonstrated against and what canʼt be demonstrated against.” “We have returned to China now, how can we still be criticizing Chinese leaders all the time? Whoever amongst you has what it takes can come govern, but you guys donʼt have it in you, and all you do is criticize.”
The Japanese Americans in camp between the ages of birth to ten years old seem to have been terrified and broken. Like it or not, the JAs are the lasting gnawing insult to the White racists inside all Yellows born in America. The Japanese American critics- the guardians of literary truth and fact of what is written died out with James Omura’s CURRENT LIFE in 1942. There hasn’t been a critic or a reader of JA writing since …ever…eversince…..The very few Japanese American writers to have won and kept the attention of White and amazingly, an Asian American audience John Okada, novelist NO-NO BOY, Kitchen-table historian Michi Weglyn, (Years of Infamy) poet, Lawson Inada (BEFORE THE WAR, DRAWING THE LINE). Dandy dresser David Mura autobiographer (TURNING JAPANESE ) novelist (FAMOUS SUICIDES OF THE JAPANESE EMPIRE.) Where is the Japanese American critic that reads each of the non-JACL books and notes their cautious approaches to admitting the heroic Nisei of the 442nd proved their unquestionable love of their families held hostage in concentration camps at home, which made their asserted loyalty to the USA questionable.
The lack of Yellow critics of Yellow work and works on Yellows we’ve gone from 1960’s JACL approved GO FOR BROKE! that gives “Nisei” to the world and a hint of animosity between 442nd from Hawaii and the mainlanders from camp. Hollywood next takes us to the JACL approved FAREWELL TO MANZANAR that has lost the word “Nisei” and fabricated facts for audience reasons.
To the recent stage-play bowdlerized version of Okada’s NO-NO BOY and the thankfully still gestating play of George Takei’s life with boys playing George of different ages and George himself playing Mike Masaoka as the Abraham Lincoln of his people. NO! NO! That’s not the story. Whoever George plays in the play about him, at most it promises to be the same old JACL approved wise Mike Masaoka leads JA into the White hearts of America with the march of the 442nd.
Where are the Yellow critics speaking up for vet of G-2 Intelligence in the Pacific Theater and nitpicking the making of George Takei’s play?
Where are the Yellow people?
Yellows don’t care about plays by or about Yellows..
Yellows don’t care to read what Yellows write about Yellow America.
Alan Lau’s Literary editions of the International Examiner was well laid out and looked good but the text had no standards of Asian knowledge. Because there was no Asian knowledge among the Asian American educators and artists and journalists reading Asian American work the text didn’t live up to good looks. Asian American criticism was written with loads of style , empty good intentions and not a featherweight of Asian knowledge.
Asian American lit seems without the quarrel of knowledgeable AA critics in a magazine of AA lit crit- A lit without critical knowledge? A lit without critics? Asian American lit without an Asian American Publisher? All these subtractions add up to an Asian American lit without an Asian American people. Whose fault or accomplishment is that?
So much AA lit the good the bad, and the ugly books of AA Lit come from Seattle were written in Seattle about Seattle, to Seattle- Wong Sam & Associates, (ENGLISH-CHINESE PHRASE BOOK) Kafu Nagai (AMERIKA MONOGATARI) Monica Sone (NISEI DAUGHTER), Bill Hosokawa (NISEI; THE QUIET AMERICANS) John Okada (NO-NO BOY), and parts of GUNGA DIN HIGHWAY were written in David Ishii’s Queen Anne Hill apt in the year after the Day of Remembrance.
Where are the people? There are Yellow writers known among Whites but the Yellows don’t read them. Yellow writers that satisfy White tastes are praised in the White media by White reviewers and critics and the Yellows don’t read them?
The White racists made their stand on AA Lit in their books of American literature. The Doctors and Professors of American Humanities listed Maxine Hong Kingston as an expert on the Chinese myth and folktale in THE ENCYCLOPEDIA OF AMERICAN LITERATURE.
The AA’s stand on AA Lit is they don’t have a stand. China and Taiwan and Hong Kong see America’s White racist stand on AA Lit and the years of AA lit’s yielding the real Kwan Kung to the White fake Charlie Chan and stroke their chins. China seems to have adopted the great socio-economic philosophy of Walt Disney. Their Cultural Revolutionary Nostalgia Park is a success. Do you detect a difference between the Hong Kong of today and the Hong Kong Jackie Chan imagines? Or is it the other way around? Singapore, and Macau also have claim to “Asian-American” identity.
I put it to you, a Prof of AAStudies – What inspires AA to continue to exist as Yellows? From where I sit surrounded by tv sets radios and my busy round the world buzzes on my computer the Yellows of America are doing their best to exist as if they weren’t there. It’s become a way to con their way out of existence in style, nothing but style.
Among Seattle’s most popular tour is the Market Ghost Tour, an exterior 75 minute tour. It has earned national awards & is rooted in history. We also have a great one hour walking tour that connects you to how the Market is run and introduces you to some of the families that have helped create it. ‘Ghost’ is defined in many ways including ‘returning or haunting memory or image.’ Every culture in the world shares ghost stories reflecting the identity & culture of a place.
In the Pike Place Market stands the city’s first mortuary, part of an old graveyard, and a former brothel (now housing) that still has a red glow cast on its side. Join an expert guide on these award winning historical tours.
All tours meet at the Market Ghost Tour espresso bar and shop at 1499 Post Alley, just below the Pig.
Special Tour – Friday, April 19, 7:00 pm (75 min.) Register soon! Space is limited.
$14.50/adult (regular price $16.50)
$12.50/srs/military (reg. $14.50)
$9.50/children (reg. 11.50)
FREE/6 and under
Can’t make the Friday tour? Use your CAWSHP registration card for discount on other shows.
For more information please visit the Market Place Ghost Tour website at: http://seattleghost.com/