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Return Engagements (A Framing), by Việt Lê

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What engages us to return, time and again, to places painful and pleasurable? Wars, wounds and wonder. Forty years onwards, why and how does this still matter? What is the true heart of the matter? Tracing historical violence and contemporary violence, both home and abroad, from the Việt Nam War / American War to the Middle East, to the Black Lives Matter movement and beyond, it is imperative, urgent that we return. This is not separate: the racialized violence on US streets and bloodshed on other shores, then and now. In our returns, our reexaminations and reorientations, something irrevocably turns, shifts. It must.

Return the favor. Return to the scene of the crime. Return home. The many valences of the terms “return” (go back, reappear, pay again, yield profit, produce verdict) and “engagement” (romantic, social, military engagements) frame the images, text, and actions in this creative portfolio. This section explores memory, popular culture and the traumas of history and modernity within and without Cambodia and Việt Nam—two countries linked historically and regionally with each other and the United States. The term “return engagement” captures these artists’ commitments as well as the real and ideological battlefields they maneuver.

Vandy Rattana returns to the Khmer countryside to document the sublime, unearthing still-present pasts in the form of “bomb ponds” left by the 2.7 million tons of bombs dropped during Nixon’s “secret war” against communism in Cambodia and Laos (the bombings in Cambodia lasted from 1969-73; in Laos, from 1964-73). Reconsidering the connections between militarized histories and current rapid modernization in Việt Nam, Nguyễn Mạnh Hùng presents us with tongue-in-cheek sculptural installations and paintings of tanks, planes and other cargo in surreal, uncanny, unsettling juxtapositions. The socialist-capitalist changes brought on by the Vietnamese government’s 1986 đổi mới economic renovation policies are captured by twin symbols in Hủng’s work: fighter jets (the military) and plastic shopping bags (the market).

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Vandy Rattana, Prey Veng, from the Bomb Ponds series, 2009. Digital c-print. 98 x 111 cm. Photo courtesy of the artist and SA SA BASSAC.

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Nguyễn Mạnh Hùng, Green Team, 2009. Oil on canvas, 100 x 200 cm. Image courtesy Galerie Quynh and the artist.

Poet Ocean Vuong also revisits sites and scenes of individual and collective trauma. Collaborative team Lin + Lam wrestle with the politics of return—and possibly diminishing returns—through their Tomorrow I Leave project, in which Vietnamese refugees embark on return tours to their former refugee camps. This project focused on Bidong, Malaysia, is an outgrowth of their project entitled Even the Trees Would Leave (2005), which marked the traces of former refugee camp sites in Hong Kong (some now reused as miniature golf courses). In the works of Vandy, Hung and Lin + Lam, physical human bodies are absent, but their “seething presence” (to use Avery Gordon’s term) still haunt.

Lin + Lam, Tomorrow I Leave, 2010. Digital C-print, 60” x 40.” Image courtesy of Lin + Lam.

Conversely the body—and often the artist’s own body—is central in the practice of Jamie Maxton-Graham, Ly Hoang Ly and Tuan Mami. Through a durational performance, I Drink My Country (2013), artist and poet Ly Hoang Ly deals with the connotations of the word nước (country, water) and the imbibing of ideology. In this work, she swallows (nuốt) water (nước), passes it through her body, and drinks her own urine. As a writer, the assonance of the words nuốt (swallow) and water (nước) speaks of the ways in which bio-power and state politics—at once pleasurable and painful—are part of the body politic. The durational performance I Make Myself a Rock also touches upon nationhood and nationalism through the stereotypical Orientalized female body—which is both the “bedrock” of traditions as well as libidinous and labor economies.

(left) Ly Hoang Ly, I make myself a rock to experience geopolitical issues, 2012. An ongoing performance installation art project, performance – video installation – photography, dimensions variable. Photo credit: Giau Minh Truong. (right) Ly Hoang Ly, I drink my country, 2012. Performance art / video installation, dimensions variable. Videographer: Giau Minh Truong. Images courtesy of Ly Hoang Ly.

Jamie Maxtone-Graham’s Still. Life. series, as the artist playfully writes in an e-mail exchange, pairs a “still” (object) with a “life”: the images inform each other and are “portraits” of everyday things and everyday people, all remarking on the “tenuous balance” of life (the objects are often balanced precariously, forming unexpected compositions). Graphic novelist and illustrator Minnie Pham also offers a still life in the form of a flipbook; in this case, the “still life” is not so still, speaking of cycles of life and love. Gesturing at love and strange intimacies, the suite of Graham’s portraits entitled That Little Distance contain solemn figures, clothed and nude, which inhabit a former state-run Hà Nội factory (now closed). In each evocative photograph, the artist appears nude within the image’s margins—a spectral, shadowy presence—an uncanny double, a harbinger of death, an angel of history?

(left) Jamie Maxtone-Graham, Untitled Still. Life., no.16, 2013. Archival pigment ink on Hahnemühle Photo Rag paper, edition of 7 + 1 AP, 71 x 50.5 cm. (right) Jamie Maxtone-Graham, That Little Distance, no.7, 2013. Archival pigment ink on Hahnemühle Photo Rag paper, edition of 5 + 1 AP, 56.5 x 80 cm. Images courtesy of Jamie Maxtone-Graham and Galerie Quynh.

Conceptual artist (performance, installation, and painting) and arts organizer (Nha San Collective, Hà Nội) Tuan Mami shares a selection of his performance work. For example, in the Rice Seeds Diary (2010) the artist grafts embedded rice seeds into his skin (letting them grow for approximately a month) until his body rejects them. In the series of images documenting the site-specific installation Physicality (2013), the artist collaborated with the manager of a national cactus park by growing cacti within the confines of former army pharmaceutical factory—the strong chemical stench still permeating from the humid walls.

(left) Tuan Mami, Physicality, 2013. Site specific collaborative mixed media installation. Zone 9, Hà Nội, Việt Nam. (right) Tuan Mami, Let It Grows Up-On, 2010. Performance with rice seeds, Aoyama, Tokyo, Japan. Images courtesy Tuan Mami.

Breaking down walls, these artists live and work in Hà Nội, Berlin, Taipei, New York, Phnom Penh, Oakland, Sài Gòn, Berlin, and in between. They remind us that the in-between, the interstitial real and psychic spaces—between wounds and wonder—is at the heart of the matter. Let’s return to the matters at hand, with our hearts in hand.

 


Back to Table of Contents for (Re)Collecting the Vietnam War (Vol. 6, No. 2)


(Re)Collecting the Vietnam War (Student Page)

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(Re)Collecting the Vietnam War

Volume 6, Issue 2: Fall 2015

 

Guest Editors: Cathy J. Schlund-Vials & Sylvia Shin Huey Chong


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Mixed Race Issue (Student Page)

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AALR’s special issue on mixed race, is not simply a reexamination of race or a survey of mixed voices, important as both are. We envision our role as that of provocateur–inspiring new conversations and cross-pollinations, pushing into new corners.

All contributions to the issue are collaborative, “mixed” in nature, bringing together folks across racial and ethnic boundaries, across disciplines, genres, regions, and generations. We solicited work from artists and writers, historians and activists, race scholars and filmmakers, teachers and students, among others. The idea is a network of original projects that not only map out multiracialism past and present but also break new ground.


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Isabel Theselius

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Isabel Theselius, a Swedish artist who works with media images and sculptural ephemera, created a series of paintings based on Wong Kar-Wai films that look as if Edward Hopper had lived and worked in pre-PRC Hong Kong. They are painted in gouache, without the traditional addition of graphite or charcoal for illustrative details, which results in a flattening of an already flat medium-film as projected on a screen-and mimics Wong Kar Wai’s manipulation of color to achieve the desired amount of ennui.

The auteur director Wong Kar-Wai is famous for his use of color and ambient lighting in his films, especially In the Mood for Love, Days of Being Wild, and As Tears Go By, which Theselius captures stills from for her paintings. The reds and greens of street lamps, neon signs, and endless windows in the vertical crush of Hong Kong are made more so by colored filters and push-processing rather than by digital post-shopping. 1960’s Hong Kong may not exist anymore, but the inspiration for this color palette still does-Days of Being Wild is awash in cyans and greens, as if the languid heat of the city drained away the more vibrant warm tones.

Theselius has made several works that use materials or images that remind us of time passing so her choice of Wong Kar-Wai’s films seems appropriate. “Marseilles Soap and the Bridge” depicts her grandmother taking a bath, blowing bubbles with a thread spool by using her greatly treasured Marseilles soap. “Hej Angels” is an installation of videos and crafted curios created in response to the late Swedish artist BOM Lindén’s fascination with the American road trip. The gouache paintings called “Stills” are done in a medium of remembrance, although they derive from a medium of ephemerality.

It is odd to imagine a world where people did not paint from photographs, but indeed, in the mid-19th century photographs were seen as cheaper, more expedient copies of paintings. The French painter Gustave Courbet was criticized in his day not just for his pedestrian subject matter but also for relying on the realism of photographs to frame his paintings. In the 21st century, the importance of a single image has been upstaged by a glut of moving digital pictures. The analog photograph is a dinosaur, living in the shadows of our collective understanding of what we think we see and what we are prompted to imagine.

Theselius uses photography as a bridge between screen culture, the dominant visual culture of today, and painting, a primordial ooze of a medium that maintains the greatest resale value of any art form to date. She seems to prize the gravity of a single photographic image over the whole of a film as if the past is still a concept worth valuing in contemporary culture. Is this a dilettante effort to keep time from passing? Nostalgia will always be a popular theme in works of art or literature. What raises a piece beyond that is a critical commentary on our relationship with it. Is the past a lie? Does our longing for the past taint our belief in the verity of photographs, whether that past is real or imagined? Wong Kar-Wai deliberately constructed his fictional historical tableaus like the epic paintings of Eugène Delacroix, and from a visual standpoint they are attractive inventions that prompt real memories to form. A dimly lit street corner becomes a personal turning point in a past relationship; a family owned bodega becomes a small symbol of hope for a happier future. The relationship between painting and photography therefore becomes one of desire. Theselius’s “Stills” present us with a snapshot of our own desire for the story to be more real than the truth. It is an escapist desire unlike photographer Stephen Shore’s “architectural paintings” that were like 3-D sets of banal city blocks. In choosing beauty and artifice over banal reality as subject matter, Theselius has opened herself up to another level of criticism, one that does not rely on irony. We need to be sold on the importance of beauty, and using Wong Kar-Wai, an artist in his own right, is like using a pre-made vision. It would be interesting to see Theselius create the same conversation about photography, painting and temporality, with purely original images.

 

 

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Spring 2015: Trading Futures

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Table of Contents for Trading Futures

Volume 6, Issue 1: Spring 2015

 


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Table of Contents


Forum

Henry W. Leung, C. Dale Young, Jessica Man, Amin Ahmad, Chris Santiago, Yiyun Li, Dhritiman Chaterji, Aryanil Mukherjee, Christine Kitano, Shana Bulhan Haydock, Terry Hong, Xu Xi, Liz Meley, Diana Khoi Nguyen, Swati Rana, Brandon Som, Jenna Le, Hannah Sanghee Park, Ying Zhu

 

Poetry

Hannah Sanghee Park
  • Creation (Recreation)
  • The Oldest Story (Sonnet Palindrome)
  • The Strange Jar
  • The Enemy Cemetery
Henry W. Leung
  • My Father, Who Died Young
  • Body
  • “Open Heart,” or Happiness Translated as “Wound”
  • Life Sentences: A Sonnet
Christine Kitano
  • An Incomplete Story
  • Gaman
  • For the Korean Grandmother on Sunset Boulevard
Aryanil Mukherjee
  • from Code Memory. photographs by Dhritiman Chaterji
Shana Bulhan Haydock
  • assimilation
Jenna Le
  • Phrasebook
  • Bridgeport
  • Body Dysmorphia
Diana Khoi Nguyen
  • Matrilineal

 

Visual

Ying Zhu

 

Interview

Yiyun Li interviewed by Terry Hong

 

Prose

Swati Rana
  • F Sector Plates
C. Dale Young
Xu Xi
  • Filial Time
Chris Santiago
  • Vladimir H. Chang Plays Mozard
Amin Ahmad
Rick Barot

 


 

Book Reviews

Liu Cixin’s The Three Body Problem and The Dark Forest, review by Jessica Man
Nicholas Wong’s Crevasse, review by Liz Meley

 

Contributors’ Notes

 


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Letter to Carlos Bulosan, September 2015

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Dear Carlos—

To get from Tacoma, where I live, to your gravesite in the Mount Pleasant Cemetery, in the Queen Anne neighborhood of Seattle, entails a drive of thirty-eight miles. Halfway between Tacoma and Seattle is the Southcenter Mall. Seafood City, a supermarket that primarily caters to Filipinos, anchors one arm of the mall’s enormous expanse. Around the market are other businesses that also serve Filipinos: bakeries where you can get bibingka, fast-food franchises where you can get halohalo, and a remittance center where you can send money back to the Philippines. I go to Seafood City often. It is, for me, a place of intense belonging—a feeling, I have come to understand, that is made up of familiarity and a disproportionate amount of nostalgia.

          If you are a Filipino and you go to Seafood City on a weekend afternoon, the crowded conviviality of the place amounts to a sentimental journey that is also a plunge into the actual texture of the present. For those of us who were born in the Philippines and spent their early lives there, nostalgia triggers abound. These include the distinctly blue containers of Sky Flakes crackers, which were a staple of my childhood’s snacks. In the produce section, there are heaps of bitter melon, whose startling taste seems wired to a memory of deeply authentic meals from a provincial past. And then there are the mounds of fish on the ice-filled beds in the market’s seafood section, which bring to mind the markets of home, fondly raucous and dingy when the aisles of Seafood City are pristine and well-lit. The nostalgia I’m describing is sweet, the pacifying adjunct of things that are less so: displacement and loss.

What would you have made of Seafood City? I’m certain that its vitality would lead to something like elation in you, as it does in me. There are now over three million Filipinos in the United States, with more than 100,000 of them in the state of Washington. When you arrived by ship in Seattle in 1930, a seventeen-year-old from an impoverished Filipino backwater, there was only a small fraction of Filipinos in the country, most of them uneducated men who worked in the agricultural fields of Washington, Oregon, and California. These men, with you among them, were merely bodies whose only value was the value of their labor. They were exploited by those they worked for and by everyone else around them, including other Filipinos. These men, as you describe so painfully in America Is In the Heart, had a status that put them somewhere just above the animal and just below the human. To be a Filipino in America in 1930 meant living under constant physical and psychic threat—threat that often turned into real instances of harm.

In 1943, in the Saturday Evening Post, your essay “Freedom from Want” was published. By then your work had appeared in Poetry and The New Yorker, and your first book of poems was published the year before. The country was at war, and “Freedom from Want” was one of four essays that reflected on Franklin Delano Roosevelt’s notion that there were four freedoms that people around the world deserved to enjoy: freedom of speech, freedom of worship, freedom from want, freedom from fear. Delivered in 1941, Roosevelt’s “four freedoms” speech was ostensibly meant to convince Americans of the country’s need to take part in the war that was raging around the world. But instead of addressing the war occurring outside the country, your essay addresses the war that was taking place within. “If you want to know what we are, look upon the farms or upon the hard pavements of the city,” your essay begins. “You usually see us working or waiting for work, and you think you know us, but our outward guise is more deceptive than our history.” In its bold avowal of a “we” comprised of those whose freedoms were tenuous or wholly denied, it is a curious opening for an essay meant to contribute to national feeling. Also by this time, you had worked for many years as a labor activist, and the essay is a forceful protest of the violence that you experienced as a union organizer, and the violence brought upon all of the country’s underclass: “We are bleeding where clubs are smashing heads, where bayonets are gleaming. We are fighting where the bullet is crashing upon armorless citizens, where the tear gas is choking unprotected children. Under the lynch trees, amidst hysterical mobs. Where the prisoner is beaten to confess a crime he did not commit. Where the honest man is hanged because he told the truth.”

When I read “Freedom from Want” now, I’m sharply aware of the uncomfortable set of imperatives that the essay presents: the need to express outrage, and the determination to push forward, asserting one’s value and place in the larger polity. To the readers of the Saturday Evening Post in 1943, whose idea of menace would have been associated with Germany and Japan, your essay must have been a startling if not ridiculous claim about the menace that was in the grain of American life itself. I’m especially moved by a passage late in the essay, when something like pride is tempered by something like pleading: “If you want to know what we are, look at the men reading books, searching in the dark pages of history for the lost word, the key to the mystery of the living peace. We are factory hands, field hands, mill hands, searching, building and moulding structures. We are doctors, scientists, chemists discovering and eliminating disease, hunger and antagonism. We are soldiers, Navy men, citizens, guarding the imperishable dreams of our fathers to live in freedom.”

A document of protest, “Freedom from Want” is also a document of yearning—a document whose voice, I sadly imagine, probably fell on mostly unsympathetic ears. Still, the appearance of the essay in the Post was the high-water mark in your visibility as a writer. Whether it was intended as irony by the editors or not, the illustration that accompanied your essay was Norman Rockwell’s now famous painting of a family gathered at a holiday table, with the family’s matriarch and patriarch standing at the head of the table, presenting the platter of turkey. It is, of course, a white family depicted in the painting—kindly, glowing, and wholesome. Itself a document of yearning, the painting depicts a scene that is achingly happy. The only shadow that informs the painting is time itself, as suggested by the various ages of the people around the dining table. The painting, too, is titled “Freedom from Want.”

More than seventy years after your essay and Rockwell’s painting, maybe Seafood City is a kind of fulfillment. The tableaus of community and family that you see at the supermarket on any given day are, to me, redolent of the sense of wellbeing depicted in the painting. To walk through Seafood City is to register how far we’ve come. Recently, while shopping in the market, I saw a man pushing a cart down one of the aisles. He had two young children with him; his wife was just behind them, browsing a shelf of goods. What drew my eye to them was the man’s t-shirt, a dark-blue shirt with the red, triangular Superman logo on the chest. But rather than the large S that would normally be within the logo, there was an RN instead. The joke represented by the t-shirt and its wearer seems both simple and complicated at the same time. Part of its wit has to do with the fact that the majority of nurses these days are women, and that for a man to claim nursing as a vocation is still a novel thing. But the greater part of the joke is perhaps one that only Filipinos will fully understand. If you go to a hospital in America today, you’re likely to encounter a number of Filipinos working there. It’s estimated that almost twenty percent of Filipino women in the American work-force work as registered nurses. For a Filipino to wear that RN/Superman t-shirt is, then, to be in on the joke that Filipinos are ubiquitous—perhaps, to some, too ubiquitous—in the profession. The t-shirt is also a statement of confidence, conflating ethnic pride with an exemplary cultural figure. As jokes go, the joke should be a pleasant one—one that is, after all, related to the vital economic status that most Filipinos have in the United States today. But for me the t-shirt is complicated in this way: telegraphing a claim for Filipino respectability, the t-shirt can’t help but conjure up the bigotry that gave rise to the assertion in the first place. I suppose one can read too much into a funny t-shirt, and yet I can’t help but see the ironies teeming in it. Like the juxtaposition of your essay with Rockwell’s painting in the pages of the Saturday Evening Post—one depiction of “Freedom from Want” placed beside a bitterly different notion of “Freedom from Want”—the t-shirt worn by the man in Seafood City is a tense representation of one of the many paradoxes in American life.

How far, exactly, have we come? By almost all measures, very far. In the course on Asian American Literature that I teach, the students and I trace the changes in self-representation among the writers we read. From Maxine Hong Kingston’s accounts of a Stockton childhood haunted by Chinese legends to Lois-Ann Yamanaka’s gritty portrayals of rural Hawaiian life, from Lawson Inada’s evocation of the Japanese internment camps during World War II to Timothy Liu’s candid reports on queerness, from Bharati Mukherjee’s stories of fierce immigrant resilience to Jason Koo’s riffs on masculinity—each of these writers, whether knowingly or not, presents an accounting of personhood for the Asian American self, a self that can be situated somewhere on a spectrum figured as alien on one end and assimilated on the other. Where a particular writer lands on that spectrum usually depends on the writer’s time period and the degree of enfranchisement that any Asian American would have enjoyed during that time. When we discuss each writer, the students and I also try to determine the intended reader for the piece of writing at hand. Where one writer’s poems will seem coded for a coterie audience, an audience composed of the writer’s own community, another writer’s memoir will seem to be at pains to appeal to a wide—that is, white—readership.

In my course, yours is the first book that we read. Published in 1946, America Is In the Heart is a book of great violence. One part of its violence are the instances of racism, degradation, and exploitation that run through the book like a bloody seam. If most autobiographies and memoirs ultimately tend towards being triumphalist narratives, America Is In the Heart is an adamantly dark account of what it means to be an alien in America, and to be reminded of that status at every turn. The physical violence repeatedly experienced by you and other Filipinos in the book is grotesque. For me, the sharper part of the book’s violence is in the servitude that conditions nearly every encounter you have with any authority figure—white or otherwise—in the book. The narrative told in America Is In the Heart tacitly rests on the premise that you and your kind are not human and are therefore subject to harm with impunity.

One of the many disturbing scenes in the book recounts your interaction with a man who confronts you about your book-reading. You are washing dishes in the back of a restaurant when the man appears and says sarcastically, “Mr. Opal tells me that you are reading books. Is it true?” In the exchange that follows, you are careful to present yourself articulately and with deference, but this only aggravates the man further, who shouts, “Watch your yellow tongue, googoo!” and throws the whisky bottle he is carrying at your head. He then comes at you with a cooking pan, which is when you grab a nearby knife. “Something snapped inside of me,” you write, “and my whole vision darkened. I lunged at the man with the knife in my hand, wanting to murder him.” The man manages to get away, Mr. Opal fires you, and the encounter ends with you shouting, “I’ll kill you, you white men!” Discussing this scene, my students and I are less interested in the melodrama of the encounter—after all, it’s just one of the numerous lurid moments in the book—but in the dignity that you try to bring to the exchange in the first place. One aim of America Is In the Heart is to make a case for you being human, and the restaurant scene is a kind of distillation of that case—and its sad, everyday failure.

If there is any hope in America Is In the Heart, maybe it’s in the fact that you found your way as a writer and that the book was written and published. Because it was published almost seventy years ago, the book often seems the fossil of a truly distant time. But there are many days, very many recent days, when I know that the book’s accounting is only one part of a gross, continuing history. What continues is the question that surrounds black bodies and brown bodies, black faces and brown faces, black lives and brown lives. What continues is the threat towards those lives. The struggle that you describe in America Is In the Heart continues: the struggle to be seen, and seen justly. To exist as someone whose presence is acknowledged, even welcomed, someone whose body is dignified by freedom and safety—this is the struggle that continues. And your book continues to be a chief narrative in that struggle.

I have never experienced the physical aggressions that you experienced—or that is experienced today, each day, by black and brown bodies. Instead, what I have known are the small, mild aggressions that add up to a kind of continuous, lowgrade fever in the self, an everyday adrenaline composed of rage and pride. Walking to work one morning, I am jarred by a car full of teenage boys. The boy in the front passenger seat rolls down his window and makes whooping monkey sounds at me as the car goes by. Or, there is the one time at the artists’ colony in the Italian countryside when another American writer—during a night of wine and chatter when we asked rapid-fire questions to get to know each other better—asked, in a series of questions to me, “Are you legal?” In the room were a MacArthur genius, artists who were known internationally, and other artists and writers of note. One part of me knew I had no business being in that most privileged and refined of places. Another part of me knew I had earned my place there. It took the other writer’s question to remind me of the gap between those two parts—the gap that I lived with each day. As for the teenager’s taunt from the passing car, it registered with me the way it must have registered with you in that restaurant kitchen, when the man said to you, “Watch your yellow tongue, googoo!”

To be a person of color in America is to exist in a place of constant deficit. If you are a person of color in America, you are less intelligent, less legal, less belonging, less visible, less articulate, less knowable, less worthy of being listened to—unless you prove otherwise. And it is very much up to you to prove otherwise. America Is In the Heart, and everything else that you wrote, is beautiful and wrenching because it is in service to righting the deficit I have described. And maybe, without quite knowing it until recently, every word I have ever produced as a writer is in service to that deficit, too. Like you, I was born in the Philippines. But unlike you, I immigrated to America with my family under comfortable circumstances. My parents had good jobs soon after we arrived, I studied hard and got what amounts to an elite education, and I became a writer without having to articulate to myself—as you must have done—that writing was a way of saving my own life. I wrote because I wanted to, and because I was encouraged to do so by those around me. Writing was a privilege, not a wound. The difference is important in this one way: while your writing strove to prove that you were someone who deserved a place in the world, I can, more or less, take my place for granted and write into, not away from, my flaws.

Still, it has taken my whole life as a poet to get to where I am, to be able to observe the difference between us and to honor it as a gift. I used to believe that to write poems meant, in a completely positive sense, constructing a better self—not a false self, exactly, but a self that aimed for a kind of transcendence, a self not mired in its pesky identities. I see now that this was an aim playing into the expectations I had absorbed in all that I had read and from everyone who taught me in my early years as a writer. That art was meant to be better than life—this was the operating idea in my young life as a writer. But what I want now is to make art that accounts for the fully complicated self—a self striated with contradiction, a self grained with ardor, a self busy with the work of making, justice, disruption, mutuality, and contemplation.

Why am I writing this letter to you now? For one thing, letters were important to you. Your first book of poems was titled Letter from America, and this letter is one response to that letter and the whole of your brilliant, broken work. I also write this letter to situate you in time, and to situate myself in time. I write it to account for what has changed and what hasn’t changed. And I write it to envision a longer trajectory of thought and effort for myself. In a larger sense, this letter is also a response to the dozens of Asian American writers, in the past and those who surround me now, whose work helps to define my own. The freedom that I have as a writer was created, is being created, by others—I know this. And it is that freedom, in the form of poems, stories, novels, memoirs, and essays, which must be sustained and increased, so that our literature is as complicated as each person who contributes to it, and as complicated as each person who reads it in grief, in argument, in puzzlement, in pride, in recognition.

You died in 1956 in Seattle. You were forty-two years old, your health corroded by years of crushing labor, violence, and tuberculosis, which finally killed you. And even though you had published books and had renown as a writer and labor activist, you died virtually homeless, reliant on the good will and care of others. For decades you and your books were forgotten, until the 1970s, when Filipino Americans took stock of who they were and brought your writings into a strong, new light. When you were buried, it was in an unmarked grave. It was only later that a group of benefactors contributed money for the gravestone that is now there.

When I went to your gravesite in Seattle, it was an overcast Saturday. It was September 12, the day after the anniversary of your death. There was bad traffic on I-5 and when I arrived at the cemetery it was nearly closing time. I didn’t know the location of your grave, so I went to the office by the front gate and asked where it was. The woman behind the counter looked like she was tidying up for the end of the day, but she agreed to walk me to the area, just nearby, where your grave was. The section we walked into was made up, disconcertingly, of very old and recent gravestones—a reminder that the cemetery wasn’t just a place of worn griefs but also new ones. The woman didn’t know the exact spot, but she knew you were there. We separated and walked among the grassy rows. At one point, the woman’s cell phone rang and I heard her say, “We’re looking for the famous writer.” It pleased me to hear what she said as I walked past the old stones and scanned their names, until I found yours.

 

In gratitude—Rick Barot

 

Yiyun Li Interviewed by Terry Hong

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To become a writer, Yiyun Li left behind everything familiar: her birth country (China), her first language (Mandarin), her family (parents and sister), her scientific training (immunology), and her PhD degree (University of Iowa). On the other side of the world, she switched into the Iowa Writers’ Workshop and began writing in English. In the same year she earned her MFA—2005—she published her first book, the story collection A Thousand Years of Good Prayers. Immediately she began winning Very Important Awards, starting with the Frank O’Connor International Short Story Award, PEN/Hemingway Award, Guardian First Book Award, and California Book Award for first fiction. Wayne Wang would translate two of those first stories onto celluloid, the eponymous A Thousand Years of Good Prayers (for which Li herself wrote the screenplay after Wang allegedly presented her with screenwriting software and directed her to a few notable scripts) and The Princess of Nebraska.

Such the prodigious debut proved not to be beginner’s luck.

Li’s first novel, The Vagrants—one of the most heartbreaking books you need to read—followed in 2009, and was shortlisted for the Dublin IMPAC Award (in case you’re wondering, that’s the world’s most lucrative prize for an English-language novel). A young woman—a political victim of post-Mao China—is about to die. While her voice remains missing throughout, the many residents of remote Muddy River affected by her ensuing death are vividly brought to tragic life: her suffering mother, her resigned father, a pitifully crippled twelve-year-old girl, a wandering older couple who have rescued, loved, then lost seven abandoned baby girls, a privileged government news announcer, and so many more. The arresting novel is a brilliant, wrenching reminder of the far-reaching, inseparable consequences of even our smallest actions.

One year later, Li’s second collection, Gold Boy, Emerald Girl, hit shelves and, of course, landed on various prize lists. In a world crowded with so many billions, loneliness is the one somber detail exquisitely, painstakingly woven through these nine resonating stories. Everyday lives continue, connections fray and disappear, individuals are ignored and become lost…little by little, distance and isolation become the absolute norm. From the old man who never married to the couple who lost one daughter and devise an elaborate plan to have another to an older woman who shelters suffering younger women and girls to a group of six older women who ferret out cheating husbands, Li’s stories haunt and elucidate, giving permanent space to the overlooked, the forgotten who, in their own longing ways, try again and again to connect.

This triumvirate of titles—two collections and the novel—was enough to deem Li a bonafide “Genius” when she was named to the Class of 2010 MacArthur Fellows Program: “Yiyun Li is a fiction writer whose spare and quietly understated style of storytelling draws readers into powerful and emotionally compelling explorations of her characters’ struggles, set both in China and the United States,” her Fellow page¹ intones.  “Her prose in this second language bears the inflections of her mother tongue and culture, lending a vivid and arresting quality to the voices and experiences she presents to English-speaking readers.”

In her first title since the “genius”-honor, Li again explores the far-reaching repercussions of a single death in Kinder Than Solitude, which hit shelves in early 2014. While her mesmerizing Vagrants revolved around the execution of a young political victim, here, three childhood friends take the spotlight when a fourth dies after a protracted illness. Ruyu, an orphan raised by elderly “grandaunts,” is sent to live with Aunt, Uncle, and their acerbic daughter, Shaoai, in Beijing. There, she meets Boyang and Moran, who live in the same residential compound. Just four months later, the three children are implicated in Shaoai’s mysterious collapse. Shaoai’s long-expected death after an unexpected, protracted twenty years prompts Boyang—now a wealthy divorcé—to contact Moran, a Massachusetts pharmaceutical tester with a PhD determined to care for her ill Midwestern ex-husband, and Ruyu, who sells chocolates and keeps house for wealthy Californians. Li’s effortless ability to move fluidly in time and place—between minutes or decades and across continents—always with exacting details, gives this novel a shattering immediacy.

The wait is on for what Li releases next—hopefully sooner than later. No impatience here, of course.

Until then, read on: Li quotes, copies, chats, and argues with dead white men (and a few women, also dead), talks non-political politics, refuses translations, explores lying all the time, practices hermit-hood, and (sometimes) turns off the internet…

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¹ https://www.macfound.org/fellows/33

 

Terry Hong: You confessed in the inaugural piece of the New Yorker’s ongoing series on failed summer-reading projects that Virginia Woolf’s To the Lighthouse may “forever be a great novel I have not finished reading.” Half a dozen years have passed since…so did you ever finish?

 

Yiyun Li: Ha. No! I was organizing my bookshelf the other day and saw the book again. Once in a while, I think I should make a good effort finishing it, but distractions come all the time. I wonder also if it is becoming a psychological block for me!

 

TH: Well, you do mention quite a few other writers in various interviews—so you’re certainly an avid reader. You even talk to the dead ones! Who are the writers who inspire you most, and do they ever help you if/when you get writer’s block?

 

YL: Yes, starting with the dead ones: Montaigne seems an all-time conversational partner, partly because he likes to talk and he is so smug about himself. I like to think about what he says in his essays and argue with him. Tolstoy, I argue with him often, too. Chekhov, I don’t argue with him, but would write in the margin and say how wonderful he is. The good thing about talking with the dead is that they don’t laugh at me. And I can take my time. Other writers who have inspired me: Graham Greene (it’s interesting to see how/where he succeeds and how/where he fails), Elizabeth Bowen, V.S. Pritchett, and of course William Trevor, who is a real mentor. When I feel blocked, I read these writers. Sometimes I hand-copy Tolstoy’s passages just to see what he is thinking!

 

TH: I was just reading a novel about a community of ultraorthodox Jews, in which a young woman tries to convince herself of a life-shattering decision by writing out a sacred passage over and over again. She observes how her writing changes as she repeats the same words over and over…how does seeing Tolstoy’s words in your handwriting inspire/alter your own writing?

 

YL: Well, writing out Tolstoy’s words mostly makes me feel smart. That and I notice little things that might be missed otherwise. Gorky said something about Tolstoy having “a hundred eyes,” and he did see almost everything. So writing out those passages is a way to see what he’d seen that I had missed. Take, for instance, a passage in War and Peace about a cannonball falling into the Russian army. Tolstoy didn’t describe the soldier killed by that cannonball at all, or the explosion, but described the army marching on after the soldier died, and another soldier paused for a beat next to the body before skipping to catch up with the marching. I thought only Tolstoy could do that!

 

TH: For being initially trained as a scientist before becoming a writer, you’ve also had quite the literary education! Did that happen only after you quit your graduate science degree? Or were you always a reader/student of literature?

 

YL: No, I’ve always been a reader. Science seemed like a proper training/career when I was a student, and reading was like a secret hideout. Also, I think the lack of books as I grew up up really contributed to a kind of hunger, which is to always read, and read more.

 

TH: You went from being a scientist to a writer with what almost seems like a simple change of schools—you began as a graduate student in immunology at the University of Iowa and ended up at the Iowa Writers’ Workshop on the same campus. You literally flipped from one side of the brain to the other. How did the transition happen?

 

YL: I also flipped from one side of Iowa River, where the medical campus is, to the other side of the river!

The transition seemed natural—I was studying science, and was one year short of finishing my PhD, but by then I could see my whole career/life unfold in front of me: doing a couple postdocs and then finding a research or a teaching position, grant, research…and I had a panic attack, thinking that I wanted to try something else. And I loved reading, and wrote a little then by myself, so I thought I would give writing a try.

 

TH: So when you chose to become a writer (lucky, lucky us!), since so much of your early life had been spent using the right side of the brain, what part of your scientific training do you think you retained?

 

YL: Discipline—it takes good training and good discipline to be a scientist, and I think it is the same with writing. You cannot sit around and wait for an experiment to finish itself, nor for a book to write itself. I don’t think it is right to sit and wait for inspiration.

Also, curiosity—there is always something unknown, and one can always explore. I like that about science and I like that about characters, too.

 

TH: Backing up a bit here about “exploring characters”: “My major motivation to become a writer…so I can learn about other people”—a quote from your MacArthur Fellow page. So what are some of the things you’ve “learned” about other people through your writing?

 

YL: That’s a good question. I want to quote Henry James: “Never say you know the last word about any human heart.” What I’ve learned about other people is that there is no final word, there is only approximate knowing and understanding them; you can never say you do know or understand a person. Characters are like real people, they lie to you all the time (research shows that an average person tells two to three lies every 10 minutes!). Characters have secrets that they don’t want to reveal even to themselves! What else: mostly people are so complex that they underestimate themselves, and my hope is that by writing I could allow my characters some of the complexity.

 

TH: Does this mean that if you were to rewrite a story/a character’s narrative, you might tell a whole different story?

 

YL: Ah, that’s interesting. Yes and no. I think possibly, yes: a character’s story is not static, and my understanding of a character may change, too, so it could be a different story. But it would still be this character, and fundamentally that character is the same. To give you an example, I wrote a story [“Science of Flight”] set in an English B&B, about a Chinese woman staying there by herself. The editor who worked with me on the story (who happens to be an Englishwoman) found the whole setting in England very “boring”—that’s her word, boring—and she said, “I want you to get rid of this setting.” I was shocked and thought if I took England out of the story, there would be no story, and she said, no, there would be and to set the story in Iowa. That was what I did eventually. And it’s a much better story—different, but about the same character.

 

TH: Your books have always been written in English. I understand you had to take a writing class at Iowa Writers’ Workshop to improve your language skills—and now you’re one of the foremost authors writing in English worldwide. Just how much English did you know when you arrived in the States? And how long before you felt completely comfortable writing in your adopted tongue?

 

YL: My English was okay when I came to this country—I could read and write scientifically—but listening and speaking were quite inadequate. When I first started writing in English, I think partly I was just blindly brave without thinking too much about language or anything. I think it was in the Workshop when I started to pay more attention to the language, and I felt comfortable, though never too comfortable. I still think I’m missing something—the intimacy with the language you grow up with—when I write in English, though that seems not too much of a bother.

 

TH: If English had been your birth language, do you think you might be a different kind of writer now? On the flip side of that, how do you think having Chinese as your mother tongue affects your writing in English? While I don’t speak Mandarin, I know that syntax and structure between English and Korean and Japanese, for example, are quite different. I imagine structure-wise, Mandarin might be quite different from English, as well…

 

YL: I’ve been thinking about this question of language, and I wonder if in my case, English just happened to be the language I use to write. I could imagine—had I landed in another country—that I might have picked up another language, French or German, to write. So not using the mother tongue seems important to me. Perhaps I would’ve given up English (no, not Beckett) for another language to write had English been my mother tongue, but this is a bit hypothetical.

The syntax of Chinese is so different from English—and I think that is one reason that there is limited translation going on because there is no way to translate a thought from Chinese into English and maintain the same meaning and clarity. I notice this is a little different, say, between French and English—more direct, clearer translation seems possible between those languages.

 

TH: Do you read Chinese writers in translation? Have you ever compared original/translated versions? Howard Goldblatt, for example, is one of the “leading” translators working today. Julia Lovell is another name that often appears on translated Chinese book covers. Are they any “good”?—I ask knowing that’s probably an unfair question. I guess the better questions to ask are—Are they accurate? Do they capture the originally intended meaning?

 

YL: I do read both original and translation, especially sometimes because I review these books for English-speaking media. To back up, I did a little translation myself from Chinese to English and I thought it was an impossible task. With Goldblatt’s and Lovell’s translations—I would say, maybe this is hard to explain, that their translations often bring something into focus much sharper than the original texts. I say this as a good thing, as Chinese can be a blurry and inaccurate language, and there are, for instance, many ways to say “time,” but in English we have to use time no matter what the original text is. So oddly, I think the translation often reads with better clarity than the original; on the other hand, there are flavors that get lost because of the language issue.

 

TH: You’re now professor-ing in the English department of UC Davis, teaching creative writing, since 2008. Do you think that teaching writing has changed you as a writer?

 

YL: I think so: teaching really forces me to articulate things that I know by intuition. Writing on my own doesn’t require me to explain things. I remember when I was in the Workshop, I would make very vague comments, and a teacher would always ask what I meant. I think that kind of experience made me understand that you could read and by intuition know what needs more work, but it’s a different set of skills to articulate. However, when I write, I try to tune out these articulations and explanations, as they are the last thing a writer needs when writing!

 

TH: Your parents were strongly discouraging of your writing as child, even your diaries. What happened to those diaries? Have you reread them? What might you have told your younger self then about being a writer now?

 

YL: I think I might have burned most of the diaries before I left China. One or two I may still have, but have never checked to see where they are! I would say to my younger self that any experience—good or bad—is a good experience to understand people and the world.

 

TH: Your parents must have read your books by now? And surely they know that you’re considered a “genius” writer…what have been their reactions to your novelist career? And your books?

 

YL: My books are not translated into Chinese (by my choice) so my parents don’t know a lot about my books. My father reads English so he probably has read some of my books. They are proud, of course, and I think also slightly baffled, as this is not the person whom they’ve raised! In any case, I try to minimize me as a writer when I talk with my parents, so in a way it feels as though I’m still hiding this thing a little!

 

TH: Do you think you will ever allow your books to be translated into Chinese?

 

YL: I wouldn’t say never, so when the time feels right (and when the book/s feel right) I would say yes. At the moment, I don’t think I’m ready. I don’t think China is ready, either. Though when I say this, I know people will get mad at me.

 

TH: I’ve read that you don’t consider yourself a “political writer,” but you also add that you can’t not be political when you write about China. Could you talk more about being in that in-between of political/not political?

 

YL: I think when people think about being political, they mean there is an agenda, or a belief, or at least something to achieve. I don’t like to think of myself as being that kind of a political writer. Being deeply human and being against any politics—those stands also seem political to me, and in that sense, I’m with my characters, that I want them (and for myself too) to live really seriously and consciously, knowing what’s going on in the outside world, knowing what to think, but never in a hurry to come to a conclusion.

 

TH: Do you ever think about what your life might be like had you stayed in China? Have you possibly written your alter-ego into some of your characters?

 

YL: I do. I think I would possibly have become one of my characters—they are oftentimes quiet and they refuse center stage or drama, but live a secret life of emotions and motivations. Though I wouldn’t say the characters are my alter-egos; I like to think they are much more interesting than I am!

 

TH: If one were to use a few words to describe many—even the majority of your characters—one might come up with powerless, isolated, resigned, tragic. How much of yourself, or those you know/have known, do you put into your fictional characters? If someone who knows you well were to choose a few words to describe you, what would those be?

 

YL: Interesting question! I think they might have thought of me as “isolated” though I think it is not true, if I look at all the books around me. (I do live a bit like a hermit.) I don’t feel those other adjectives are close to my experience. What part of myself I put into my characters: mostly my bafflement about the world; and sometimes my stubbornness. Most of my characters are stubborn, and I’m told by many that I’m very stubborn, too.

 

TH: You’re a “gregarious hermit”!—or so I’ve read…

 

YL: Very much so!

 

TH: You certainly weren’t a hermit, though, when you chose to leave China for the other side of the world…and then stayed! You were twenty-four when you arrived in 1996 in the U.S. as a graduate student. Almost twenty years later, you’ve lived just about half your life stateside. You have a Chinese American husband and two American-born sons. Do you feel like an American? Or do you still think of yourself as Chinese? Someone in between?

 

YL: I was just thinking about this today as I have a talk tonight about China and America. I don’t often think of myself as being an American or a Chinese. The best way to say this is: when a person gets up in the morning and looks at herself or himself in the mirror, the first thought is not—I’m an American, or Chinese, or Chinese American. Sometimes not even I’m a wife or husband or a parent. Mostly, here I am, my old self. So in that sense, I think about what it means to be a self more than being American or Chinese. Though if I talk to my parents, they often comment how Americanized I am, and that is one time when I feel like an American.

 

TH: How often do you go back to China? Does it still feel like “home”? Your parents are still in Beijing, yes? And your older sister and her family?

 

YL: We haven’t been back for a while but are going this summer. My older sister and her family just moved back to Shanghai for a few years, and my parents live in Beijing. There was a moment I realized that we started to talk about, instead of “going home to China,” just “going to China for a visit”—which is the moment I realized America was becoming home for us.

 

TH: That’s the sort of nuance that might get lost in translation…

 

YL: Yes.

 

TH: Have you ever considered writing nonfiction? I understand your MFA is in both nonfiction and fiction, yes?

 

YL: Yes. In fact, I’m working on some essays. I like to say that I write fiction when I know what I am doing, and I write nonfiction when I don’t know what I am doing—meaning that writing nonfiction is a way to think through things about my own life, while fiction is all about others.

 

TH: Would you ever consider writing a story in Mandarin?

 

YL: No, I don’t think so. I may translate something into Mandarin (either someone’s work, or perhaps mine) but I don’t think of the language as my natural writing language.

 

TH: Because you would have only become a novelist in America? In English?

 

YL: In a foreign language and in another country, yes. I think it is a mental hermit-ness.

 

TH: Having been recognized as a mental hermit “genius,” is life—especially your writing life—different since you were named a 2010 MacArthur Fellow?

 

YL: Ha. Not at all. Nobody here (meaning in the house) cares about having a genius around!

 

TH: Speaking of fiction, ahem…you were a 2011 National Book Award fiction judge—for which you read over three hundred titles. Did that saturation in fiction affect your writing? Did any of those narratives end up unconsciously lodged in details of Kinder Than Solitude—which you must have been at least trying to write during that year of reading endlessly?

 

YL: I didn’t write at all because you got all these books speaking in your head. I think there are only a handful of writers that I read before I write, for instance, William Trevor. I sometimes read him to cleanse my mental palate.

 

TH: And of course then, I have to ask…since Kinder is now out …what are youworking on now? Besides the essays—are those getting collected for a book? Stories? Next novel?

 

YL: The next novel is always a secret. Well, I am working on some stories, as I have half a collection finished, and thought I would write the other half. The essays—yes, I hope at some point they can get together to become a book. There is a little seed of a novel that can’t be called a novel but a “thing”!

 

TH: Secret—that inscrutable Asian thing, haha! Okay fine. We’ll just make things up and wait for more lies? How’s that?

 

YL: Sounds good!

 

TH: So back in 2010, you publicly announced that you were limiting your internet time to thirty minutes a day. How’s your virtual usage these days?

 

YL: Improved a little, meaning a bit more time online, though not much more. I dallied with social media for a little bit and then left because I thought it was too much time spent!

 

TH: And speaking of the web—I just compiled a seventy-one-page document of “background” on you…ever worry that there is toooo much of your life so easily, publicly available out there?

 

YL: Ha. That is scary, isn’t it—the whole web thing. That is one thing that makes me feel like a hermit. But you can’t control that!

 

The Order of Things by C. Dale Young

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There were many things Alejandro Castillo did not know. For a start, he did not know his given name or the people who were his parents. In this, he was one who embraced mystery not because he had that special talent but because he had no choice. When Father Guillermo Rojas found him on the streets of that small town in Spain, the boy that became Alejandro Castillo could not even speak Spanish. He was dirty and wearing clothes that were filthy and torn. He spoke what people then believed was gibberish. Despite this, the boy had smart eyes, intelligent eyes, and a persistence in his demeanor. Father Guillermo Rojas took in the boy and raised him as his own child. Castillo, because the boy was sitting in front of the old mayor’s dilapidated house that the locals in their mean-spiritedness called “the castle,” and Alejandro, because Father Rojas had been reading a history of Pope Alexander VI. The boy looked like a gypsy, a gypsy who had been abandoned by gypsies. But Alejandro Castillo was, as Father Guillermo Rojas deduced, a clever child. He learned Spanish easily and spoke properly within a year. By the age of six, one would never have known Spanish wasn’t the boy’s original language.

“Your Grace? Did you hear me? Your nephew was here asking to see you.” Alejandro Castillo turned to look at his assistant. It was clear then that he had been caught in daydream. For almost a minute, the Archbishop stared at his assistant before saying a word. Why had Javier come to see him? It had been many years since he had been seen on the island. It was rumored he was living abroad. Javier brought with him a mix of emotions for Alejandro Castillo, most of which were not even remotely pleasant. Javier made it a habit of creating such responses in those who knew him.

“Your Grace? Your nephew?”

“Yes, yes. I was just reviewing the events of the past week in my head.”

“I asked him to come back later.”

“Today? Later today?”

“Yes, Your Grace. I thought you were lying down and didn’t want to simply
announce him to you.”

“Did he seem upset?”

 

Father Juan Marquez had been the Archbishop’s assistant for decades. He likely had many suspicions about the Archbishop, but he was a faithful man of God who felt serving the Archbishop was his calling, his own small way of serving God. In many ways, he took care of the day-to-day activities of the Church on the island. He was the one who spoke to the other two priests on the island, instructed them on finances, reviewed their sermons, etc. His voice was essentially the voice of Alejandro Castillo, the voice of the Church in that small place.
“No, Your Grace. He seemed pleasant, if not somewhat sad.”

“Did he say anything?”

“No. Your Grace. Just that he needed to speak with you. Today, if possible.”

Some men join the military to escape a life of poverty. Others join the work force, enter a life of sales and meetings like I did. But Alejandro Castillo, at an early age, living with Father Rojas, saw that the Church was a Kingdom on earth as much as it was the gateway to heaven. And like his namesake, the Borgia Pope, he decided early that the Church would be his escape from a common life. He entered the seminary as a teenager. And he became a priest in his early twenties, a Bishop by age thirty. Others would have scoffed at accepting the role of Bishop when it was presented as something tied to moving to this island, but Alejandro Castillo had already deduced that being a Bishop in a remote area would allow him to be a prince of sorts. And in this, he was 100% correct.

“I will take my lunch on the back terrace today. When Javier returns, you can bring him to me.”

“Of course, Your Grace. Will he be joining you for lunch?”

“No. Send a boy to tell him to come at 1:30. Set no place for him at my table. I  don’t expect him to be here for very long.”

 

Father Juan Marquez left the room as quietly as he had entered minutes earlier. And in the Archbishop’s mind, the question turned and turned: Why was Javier coming to see him? The boy was a clever one; that he knew. In this he was much like his father. Even in that instance, the Archbishop complimented himself. He knew quite well that Javier Castillo was not his nephew but his own son. And maybe it was the fact he never knew his own given name why he insisted Cassandra Diaz name their child Castillo. Pride, maybe, but also a strange challenge to the order of things.

 

The Diaz sisters were not the first women with whom Alejandro Castillo had sexual relations. I sometimes wonder if he slept with my own mother when she was a young woman, but my sister and I look too much like our father for me to believe that. Before and after Alejandro Castillo’s vow of celibacy, the man had many indiscretions. In this, too, he was like his namesake, the Borgia Pope. But the Diaz sisters were different. In a way, he loved them more than any other women he had taken to bed. He had gone to great lengths to have them, something he had never done before or after. He couldn’t remember which of the two had first caught his eye, but he knew back then they would never acquiesce to his advances the way other women had. So, because he wanted them, desperately wanted them, he convinced the Reynolds man and his jealous wife to have them placed in the convent. Alejandro Castillo was no fool. And neither was his son.

 

At exactly 1:15 pm, the table on the back terrace overlooking the gardens was set with linen, silverware, and china. It was a Saturday, so wine was opened and the correct glasses placed. Father Juan Marquez had already instructed the gardener to pick some of the purple calla lilies from the edge of the pond, and he found them now resting on the side table that sometimes served as a bar in the evenings on the rare occasion the Archbishop had guests and wanted to take after-dinner drinks and a cigar on the terrace. He quickly found the small crystal vase and placed the lilies in it with some carbonated water. He artfully set the three lilies pointing away from each other so that they made a triangle. Always threes because Father Juan Marquez understood the unquestionable power of that number. At 1:25 pm, he left the terrace, after ensuring that everything was in order, and took up his place in the dark entryway of the mansion to greet Javier Castillo. At 1:27 pm, Señora Hernandez brought the covered lunch and set it for the Archbishop. At exactly 1:30 pm, Alejandro Castillo sat at the table. And five minutes later, after the steward had placed the napkin on the Archbishop’s lap, after the wine had been poured and the plate uncovered, releasing its pent up steam, after he could hear the creak of the door confirming Javier’s arrival, he started his lunch.

 

Father Juan Marquez ushered Javier Castillo to the terrace and waved his hand toward a chair set near the table but not at the table. Before Javier Castillo sat, he said good afternoon to the Archbishop.

 

“You have cut your hair, Javier.”

“Yes, Your Grace. It seemed the right thing to do.”

“You look more like a man now with your hair short. How long have you been  here?” The Archbishop continued eating his lunch of grilled chicken and rice with a mango salsa, the knife and fork clinking against the china punctuating his questions.

“Two weeks now. Mama died four days ago.”

“Excuse me? I have heard of no funeral arrangements this week.”

“Mama didn’t want a funeral, much less a burial.”

“Yes, but people will find out she is dead. And they will question who owns the  Reynolds Estate now.”

“Yes, Father. That is why I am here. I plan to stay. I need to stay. And I am her  only child, but there is no will.”

“And your cousin, the Governor General, is aware of this?”

“No, Father. But I need a statement from you in case he questions, something  in writing to say Mama left everything to me, that I am her heir and that the estate is now mine.”

“Why would I do such a thing, Javier?”

“I have never…asked much of you, though we both know I have every right to ask.”

A younger Alejandro Castillo would have been outraged, but instead he was calm and responded: “No, I guess you have never asked much of me.”

 

Alejandro Castillo had never done anything for his son. Javier was always quick to point that out. His stories of his father were incredible. Part of the reason he did little for Javier stemmed from the fact Cassandra Diaz forbid it, threatened to contact the Governor General and even Rome, if it came to that. For two years, Alejandro Castillo believed he had the upper hand when it came to the Diaz sisters. Once they were in the convent, he had them confined, beaten, and tortured. How better to be their savior? How better to bed them? He made himself their savior. It certainly was not the first time a man had done something like that. But in the end, he came to know them for what they really were: brujas. He came to understand that he never forced himself on either of them, much as he loved to believe he had back then, but that they had allowed the entire thing to happen, willed it to happen. At times he had to have known they had orchestrated the entire thing. Once Cassandra had delivered Javier, there within the convent’s walls, everything changed. He learned with time that the Diaz sisters were powerful women, powerful in ways he would never understand. And here sat this man who was the very proof. As he looked at Javier, he had to have seen the Diaz sisters. Javier Castillo had their nose, their aquiline nose. But it was difficult for him to look at Javier Castillo and not also see himself. And this troubled him more than anything. Like his mother and aunt, Javier Castillo was a dangerous man, something wicked and untrustworthy. Like me, the Archbishop knew far more about Javier Castillo than he likely realized.

“If I do this for you, you must do something for me. You must marry.”

“Marry?”

“Yes, a woman. If need be, I can find you a suitable bride.”

“Mama never married, and she ran that estate just fine.”

“Your mother never did the unnatural things you have done…”
The irony of those words must have filled Javier with rage, but Javier’s face remained stony, or at least he believed his face remained stony. To Javier, his face betrayed no emotion, much less shame, which is what his father wanted from him. His father delighted in shaming him. Javier Castillo had felt shamed by his father many times over the years, but this was a new kind of attempt based on facts Javier Castillo felt certain, at the time, he had hidden from his father.
“Well, if you know the things I have done, then you know a marriage for me isn’t going to work.”

“You are manly enough. People do not stare at you the way they do those
flowery boys that work down by the docks.”

 

Javier Castillo knew then exactly to which unnatural acts his father had been referring. Although he had rarely ever seen his father or talked to him, his father had deduced that he did not love women.

 

 

“Imagine my surprise when that friend of the Governor General, the one from Italy who spent a month here with his family, confessed to me that he had fucked a man in my guest house. You were that man.” Javier had never heard his father use a curse word, much less as crassly as that. He had, in fact, had sex with the Italian tourist, but this was so far in the past that even the particulars of it had long since faded away. Javier would guess he had only been seventeen at the time. What confused Javier was why his father had kept this knowledge for so long without acting on it. Why had he waited until that very moment to reveal that he knew exactly the kind of man Javier was? And then, despite the fact he knew he was about to lie to his father, he said: “I will marry. For your statement, I will get married.”

“Good! Don’t misunderstand me. I am not saying you cannot have sex with men. We all have our particular weaknesses. But discretion…Discretion is, however, an important thing. And when you do have sex with men, let it be with someone like that tourist; do not go to bed with a poor field hand. Don’t sleep with poor men on this island period. They cannot be discrete. Trust me on this.”

Alejandro Castillo was finished. And with a single ring of the small silver bell next to him, Father Juan Marquez appeared. Javier Castillo rose and politely said good-bye to His Grace before being shepherded out by the priest who assisted his father. The Archbishop sat on his terrace and quietly finished his lunch.

 

*

The only memory Alejandro Castillo had of the time before he was taken in by Father Guillermo Rojas in Spain, vague and refracted by the passage of time as it was, was that of being in a dense forest. To Alejandro Castillo, memory made the forest a cathedral of trees, the branches high above like the winged buttresses he knew in the great Spanish cathedrals. He had no idea if he had become lost in this forest or if he had been abandoned there. But in the dark crevices of his mind, the ones he refused to examine despite many opportunities to do so, he stored the belief he had been abandoned. Whether or not this was the case was irrelevant. It fueled him, the belief in this abandonment. It allowed him to do the things he had done throughout much of his adult life.

 

The only item Alejandro Castillo possessed from his life before being taken in by Father Rojas was a small wooden amulet. On it, there was a carving of a small axe. And there were times, like this one, where Alejandro Castillo would fish the amulet from the small ornamental box he kept atop his chest of drawers and turn it over and over in his left hand. This amulet was the oldest thing he had, the oldest thing in his small box of memories. As he turned it over and over in his hand, it conjured no memories of his life before he became Alejandro Castillo. The amulet was triangular in shape and worked smooth by its creator and smoother by time itself. The small axe was done with painstaking detail, so that you could see the leather bound around the handle and, at times, even the way leather could be made to reflect light by the repeated clutching of hands, by the way repeated usage could wear down the dark skin of the leather. The old woman who had cared for Father Rojas had given it to him after the priest had died, told him it was what the priest had found in his pocket all those years ago. No money, no papers, no clues save this small wooden amulet. And as it had done his entire adult life, the amulet gave up not a scrap of information to Alejandro Castillo.

 

*

 

Alejandro Castillo wrote the statement for his son, detailing how Cassandra Diaz had left the estate to him. In what must have seemed preposterous to Father Juan Marquez, the Archbishop had requested he be taken to the Reynolds House to drop something off for his nephew. But Father Juan Marquez’s job was not to question, and he arranged for the driver to take His Grace to the Great House at the bottom of Mutton Hill. When the car arrived at the house, after climbing the winding road from sea level, the Archbishop asked that the driver leave him but return in half an hour.

 

Out behind the Great House, the cane fields and orchards stretched for miles. His son would be well off without need of the Church or anyone else. You can imagine how, at that moment, Alejandro Castillo felt a certain relief, though he would never have been able to assign such a name to that emotion he felt. Before he reached the front door, before he even crossed the entire front terrace, the door opened and a young woman lowered her head. “Señor Castillo is in the sunroom.” She directed the Archbishop, who found his son sitting there reading a newspaper. Sitting near him at the window of the sunroom looking out at the grounds drinking a cup of coffee was a young man that, from his dress, was certainly an American.

 

“Your Grace? I did not know you were coming.”

“I wanted to drop off those papers you requested.”

“Leenck, this is Archbishop Castillo, my uncle.”

 

The way Javier tells it, Leenck smiled and said hello. He and the Archbishop exchanged a few words, enough to confirm for Alejandro Castillo that the man was definitely from America. His English was certainly inflected with the sounds of that vast continent. It did not have the small biting consonants buried in the English spoken by the men from England, nor did it have the mellifluous rhymes inherent in Spanish or even the English spoken by those who first spoke Spanish. Alejandro Castillo told Leenck he had some family matters to discuss with his nephew and requested some time alone with him. Although presented as a request, it would have been obvious to Leenck that this was a really a command. And so, Leenck rose from his chair, slugged down the last of the coffee in his cup, and rushed from the sunroom.

 

“I asked you to marry and then I come here and find you with a man.”

“He is not that way, Father. He came to the island to see my mother but she had  already passed away. He is sick and dying and knows he won’t make it back to the States.”

“Oh. I just…”

“Assumed I was not being discrete, to use your term?”

“I have the papers. Let us focus on that.”

“Well, I am glad you decided to help me. The Governor General was here
yesterday, inquiring as to whether I would be staying on or not.”

“Of course he inquired. His father was born in this house. He was born in this house and grew up here. It is a wonder he didn’t put up more of a fight back when the rest of his family died off. But he was always deathly afraid of your mother.”

“I may not have the Reynolds’s last name, but I do know my own family’s
history.”

“I wasn’t implying otherwise. I wrote up the papers. You should keep a copy of it at the bank. There are special…”

“Deposit boxes set up for things like that there.”

“Yes. Well, I am sorry I disturbed you, Javier.”

“It is fine, Father. You are the only family I have now.”

“I don’t think your Tia Flora would appreciate a comment like that.”

“Tia Flora died, Father. She died within a day or two of Mama.”

 

The Archbishop tried to hide his surprise from Javier, and in this he was almost outstanding. But what he couldn’t hide was the grief on his face. It was clear that he had loved the Diaz sisters in his own way, but his heart loved Flora Diaz more and in a very different way than it had her sister Cassie. In those confusing days in the distant past, the Archbishop had felt real heartbreak when Flora left the convent. And when she left the island it had hurt him in a way he had not anticipated. Of the two sisters, Flora was the one he likely loved, really loved. He never had her hands bound when he visited her in the convent. And, unlike her sister Cassandra, he never had her gagged before visiting her. Javier knew all of these things but kept this knowledge close to his chest.

 

“How did she die?”

“I’m not sure, but a neighbor found her in her kitchen. I suspect she had heart problems. I had seen her about a week or so before it happened.”

 

The Archbishop excused himself, but as he was walking out, he turned to Javier Castillo and invited him to dinner the following evening. He even, as a gesture of good will, asked him to bring along the young man, Leenck. Javier Castillo had what he wanted, but he figured it best to just say yes. Alejandro Castillo was, as he had pointed out moments earlier, the only family he had left.

Dinner the following evening was to take place at 6:00 pm. That morning, a messenger boy from the Archbishop’s mansion had delivered a note from Father Juan Marquez instructing Javier to be at the mansion with his guest at 5:30 pm for cocktails on the side terrace followed by dinner at 6:00 pm sharp. At exactly 5:20 pm, the car arrived from the Archbishop’s mansion to pick them up. Shortly thereafter, from his bedroom window on the upper floor, Alejandro Castillo watched the car pass through the gates to his property and enter the grounds, watched it snake up the long driveway to the front of the house. He did not need to alert Father Juan Marquez. Father Juan Marquez was already at the door waiting to greet the Archbishop’s guests. In every version of the story, Father Juan Marquez is always ready and waiting.

Javier Castillo and Leenck were seated on the shaded side terrace looking out at the sea. They exchanged small talk that betrayed they knew very little about each other. Javier didn’t even know why he had taken in this foreigner who was dying. But he didn’t question himself. Death and grief inspire a different kind of loneliness, and Javier Castillo was not one to dwell too deeply on the root causes of his feelings. He rarely questioned himself at all. At 5:45 pm, the Archbishop appeared on the side terrace and a young steward rushed out to pour him a glass of red wine. The Archbishop was not in his usual attire; he was, instead, wearing an ordinary white button-down long-sleeved shirt without the white collar and a pair of dark grey pants. He looked, for all intents and purposes, rather ordinary.

“Father Castillo—I mean Your Grace. I almost didn’t recognize you.”

“No need for formality with your Uncle, Javier.”

“Sir, it is good to see you again,” said Leenck.

 

The Archbishop joined them, exchanged pleasantries, and finished the glass of wine just as Father Juan Marquez showed up to call them to dinner. At exactly 6:00 pm, they were all seated and the first course was presented. The dinner was mostly silent save the occasional comments made by Father Juan Marquez to explain each course as it was brought to the table. After so many years, Alejandro Castillo barely heard the everyday things his assistant said. He didn’t even look up at him when he spoke about things like the filet of red snapper and where the fish had been caught that morning. For Alejandro Castillo, Father Juan Marquez had become a kind of voice narrating parts of his life. For him, the good Father had become background noise.

“How long have you been an Archbishop?” asked Leenck, breaking the silence as they finished their main course. Alejandro Castillo answered and wondered why Americans were always so obsessed with occupation and the things relating to it. The dinner had dragged on with none of the three exactly sure what to discuss or how to act. As dinner was being cleared, Father Juan Marquez appeared and announced the driver would be ready to take the two young men back to the Reynolds Estate shortly. But then, to everyone’s surprise, including the Archbishop himself, Alejandro Castillo announced that no, no, the young men would be staying for dessert and drinks. Father Juan Marquez could not hide the surprise on his face and simply said he would have the back terrace set up.

 

“Where in America are you from, Leenck?”

“Well, I have lived most of my life in California, but I was born in Spain.”

“In Spain? I am originally from Spain. Where in Spain?”

“Several miles north of Barcelona.”

“This is incredible. Javier, this is where our family comes from!”

 

Javier seemed lost in thought and, as they entered the terrace facing the garden, he simply nodded and stared blankly out at the fountains, the well-manicured strips of grass and all the intervening beds of f lowers with their purples, the occasional reds and whites, the garden mirroring the colored vestments the priests wore throughout the year.
“But your name? It is not a Spanish name.”

“No, my family lived deep in the woods and not in the town. I am not sure exactly where the people of my family originated, but they had been separatists and rejected the Spanish culture and language. Honestly, I think many today would call them a cult.”

“Do you visit them?” The Archbishop was animated in a way he had not been in over a decade. This young man who was dying was like a strange window into his own past. And as he looked at him more closely, he began to feel an uncomfortable sensation in his chest. His heart seemed not to beat in its usual tick-tock of a metronome way it always had. Instead, it seemed to be fluttering, lurching in a rhythm he had not experienced previously.

 

“No. I never visit them. I had a falling out with my family when I was a young man. I left. I moved to Barcelona. I learned Spanish and English. I got a job with a financial firm and learned the trade. Within a few years I moved to New York and then to California. I have never been back to Spain.”

“I came here from Spain as a young priest just promoted to Bishop. I haven’t been back except once about ten years ago.”

“And your brother? Is he in Spain?”

“My brother?”

“You know, my father…” Javier interjected before lifting a glass of port to his lips.

“Oh, sorry. Yes, my brother. He passed away many years ago.”

“So, is Javier the only relative you see?”

“Yes, I suppose that is true.” Mimicking Javier Castillo, he said: “Javier is now my only living relative.”

 

As Alejandro Castillo said this, he noticed what I would later notice, that in profile his son looked very much like Leenck who was also, in that moment, in profile as both of them were watching a pigeon strutting along the edge of the fountain. It was as if the two profiles had been cut from the same stone by the same sculptor. The noses were different, but the foreheads, the eyes, everything else seemed similar, especially the mouths. But Alejandro Castillo didn’t fully think on this the way I have. It was just a passing thing noticed and then passed over, left to lie unquestioned.

“Oh, this is such a funny thing, you coming from that part of Spain. Well, in some way you are like a brother then.” Alejandro Castillo probably could not believe that such words had come out of his mouth. He was not the kind of man to say such things. Clearly the surprise and excitement of this man hailing from the same part of the world from which he had come had gotten to him, affected him more deeply than he could explain. Alejandro Castillo never thought of himself as homesick much less a man buoyed by nostalgia. “I have some brandy I save for special occasions; we should all have some.” The Archbishop rang his silver bell and Father Juan Marquez ushered them all to the library, where the three men sat facing each other in a small triangle, a small triangle of leather armchairs. Father Juan Marquez had opened the room twenty minutes earlier and turned on the ceiling fan, had the fourth armchair removed and the remaining three positioned accordingly, placed small tables on the right side of each chair to accommodate their glasses, and set the brandy on the side table by the mantle along with three brandy snifters. He had done this just in case. As the three men sat down, Alejandro Castillo again studied the faces of his son and Leenck. There in front of him, it was then difficult to ignore that the two men really did have the same shaped eyes, the same hairline and forehead, and even the same mouth. Both of them had mouths that looked a great deal the way his own mouth looked each morning in the bathroom mirror as he shaved.

 

“How much do you remember of Spain? Javier told me you came here to see Cassandra.”

“Well, a friend brought me here to see her, but we had a falling out and I haven’t even seen him the entire week I have been here. He may have gone back by now.”

“Well, you don’t look sick like the people who come here to see Cassandra.” The Archbishop continued to use the present tense the way so many do when referring to someone who had recently died.

“I actually am very sick. I just don’t look it right now. Leukemia. I have good days and bad days.”

“Well, we must get together again before you leave the island.” Again, such a statement from Alejandro Castillo was surprising considering what I know of him, but one must accept a story the way it is told without too many questions. The surprise that is inevitable usually justifies such inconsistencies. But as Alejandro Castillo sat there talking to Javier and Leenck, he picked up a pen and began his nervous tic of flipping it over and over in his fingers, the pen rotating in a counterclockwise circle over and over vertically in his left hand.

 

“That is funny,” Leenck said. “I have that bad habit too.” As he said this, he pulled a small wooden triangle from his pocket and began doing the same motion with his fingers, flipping and flipping the item over and over with his left hand.

“What is that?” asked the Archbishop as he put the pen down next to his drink on the small side table. As he said this, Javier Castillo rose and excused himself to the terrace to smoke. This went almost unnoticed by the Archbishop, who was at that point utterly transfixed by Leenck and the way he flipped the wooden triangle over and over in his left hand.

“Not sure what it is exactly. A wooden coin?”

“Where did you get it?”

“My father. Apparently, the men in my family are all woodworkers. I think they have been woodworkers for centuries. My father told me a long time ago that every boy born into the family gets one made for him. It is the only thing I have kept from my time growing up in Spain. I guess I brought it with me because, well, I doubt I will make it back to California…”

“Let me see it. May I? See it?”
Alejandro Castillo took the small thing Leenck had been turning over and over in his hand. Wooden. Triangular in shape. Polished smooth. And there in the center was the same small axe he had studied patiently and repeatedly for years. He looked again at Leenck and saw again many of the features he could see on Javier’s face, on his own face. He turned the wooden amulet over and over in his left hand instinctively. In that moment, Alejandro Castillo was lost in his own head, that forest in his dreams suddenly present and dark yet vivid in detail. And for a brief
moment, he believed he could smell the forest he had not set foot in for a lifetime. Can you blame a man for such ridiculous things when placed in such a circumstance?
“You do that as if you have held such a strangely-shaped thing in your hands before,” Leenck offered.

 

Alejandro Castillo did not respond. He could not respond. He handed the small wooden triangle back to Leenck and excused himself. Within a minute, Father Juan Marquez appeared and announced the driver was ready. He then fetched Javier Castillo from the terrace and ushered both of them outside to the car. As the car made its way back down the long and winding driveway to the main road by the sea, Alejandro Castillo watched the red tail lights navigate the almost darkness of evening transitioning to night. He turned to look at the small ornamental box he kept on his chest of drawers. He could hear Father Juan Marquez call out to him to check if he were okay, and he responded that he was fine but tired, that he had maybe had too much to drink. Alejandro Castillo stared at the small ornamental box in which he kept his own wooden triangle. He would never again open that box. He would never again hold that small wooden triangle almost exactly like the one I found years later, the one I know belonged to Leenck and which I have kept all these years.

 


Fiction Review by Jessica Man

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The Three Body Problem. Liu Cixin. translated by Ken Liu. New York: Tor Books. 400 pp.

The Dark Forest. Liu Cixin. translated by Joel Martinsen. New York: Tor Books. 512 pp.

 

The first installment of Remembrances of Earth’s Past, The Three Body Problem, crossed the Pacific in 2014. Authored by one of China’s premier science fiction writers, Liu Cixin, and translated by Chinese American sci-fi rising star Ken Liu, it offers a vision of alien life from a distance, still centuries away from earth, voyaging toward us in ships obscured by the darkness and silence of space. Their fleet will not arrive for centuries, but through their mouthpieces on Earth, they make their intentions clear: Earth will be their new home someday, with or without human cooperation. It’s nothing we haven’t been warned about, either by the countless alien invasion stories told over the past century and a half, or by physicist and cosmologist Stephen Hawking, who turned our attention in 2010 to the historical results of “first contact” events.¹ Unappealing, and certainly contradictory to the hopeful stories of Star Trek and the like, but according to Hawking, much more likely. Junot Díaz has gone one step further and argued incisively that the conceit of first contact, like many other sci-fi tropes, was formed in the destructive wake of Empire: “If it wasn’t for the history of colonialism and imperialism, Star Wars doesn’t make sense. If it wasn’t for the extermination of so many indigenous First Nations, most of what we call science fiction’s ‘contact stories’ don’t make sense.”²

The Three Body Problem, which has since won the 2015 Hugo for Best Novel, is a book about the trauma of first contact—political, philosophical, personal. It is simultaneously and inherently a story about colonization. Liu’s work explores the same conclusion as Hawking and Díaz while predating them by years; Three Body was originally published in 2006. It isn’t difficult to make the jump from real-life narratives of colonization to science fiction. In an article also translated by Ken Liu, Liu Cixin writes that in the Chinese science fiction of the last century…most extraterrestrials appeared as friends or mentors, who, endowed with God-like patience and forbearance, pointed out the correct path for us, a lost f lock of sheep… [Canadian First Nations’] experience with contact with an alien civilization seems far closer to the portrayal in Three Body.³

However, neither Three Body nor The Dark Forest, the second installment of Remembrances, is quite postcolonial. Three Body is an anti-colonial work, which presents us with an interesting situation: these books are a critique of Empire coming from within an empire, exported to be consumed by other colonial powers. In that sense, introducing aliens as villains is probably one of the only ways to present a non-inflammatory critique. An external threat carries none of the historical charge and weight of real-world conflicts. But this is a sort of double-edged sword: although it downplays our own biases and allows us to see the conflict without conscious prejudice, it also forces us to examine it without context, leaving out the very real and tangible effects of colonialism in our world. Any discourse generated by this book is both enlightening and self-defeating—but, of course, by no means useless. Visions of different worlds, of different futures, are inherently political, whether they are apocalyptic or utopian. They are arguments about political values and issues, trying to persuade us to choose one path or another. Using the framework of Three Body, Liu engages us in the issues of colonialism and indigenous resistance as best as he can.

 

*

 

Remembrance of Earth’s Past gives the West one of the first ideas of what modern science fiction looks like from inside China. It’s not unfamiliar. It has humanitarian themes at its core and provides social commentary on humanity’s self-destructive behavior. The book opens on images of China in the throes of the Cultural Revolution, advertised domestically as a movement toward modernization, but here portrayed in hindsight as a time of terror for political dissidents, where families and friends were turned against each other in a confessional surveillance state. Focal character Ye Wenjie has her first contact with the “madness” or “insanity” of humanity. As a young girl, she witnesses her father’s execution by the Red Guard during a show trial, where he is accused of promoting Einstein’s theories of relativity and disavowed by his wife for collaborating with the capitalist West. Betrayal after betrayal turns Ye’s view of humanity on its head, and by the time she is confined to a secret research facility in the mountains of Inner Mongolia, she wants nothing more than to be cloistered away from greater society. In a sense, the Red Coast Project is her monastic retreat, providing a space of contemplation before she makes her next decisions.

Here we are given spiritual and scientific narrative. Liu places special emphasis on the effect that spiritual states have on the course of history. When Ye Wenjie hits the button to send a second message to Trisolaris, setting an irreversible series of events into motion, it is both the result of a discovery about the structure of the sun and the ignition of hope in Ye’s heart. Ye comes out of her despair and makes plans for the redemption of humanity; her former friend and ecologist Mike Evans does not, and makes plans for the destruction of humanity. The two resulting factions, Redemptionist and Adventist, are quasi-religious organizations vying over what kind of fate the world deserves.

Although nominally secular, the events of the book are phenomenologically religious. The image of the three-body problem, three spheres orbiting and gravitationally affecting each other in perfect space, appears like a vision to several characters during times of personal distress, and the Redemptionists almost regard solutions to the problem as a spiritual exercise. For Ye, like a Christian saint, it appears during childbirth, in the guise of the three burning suns of Trisolaris; for Wei Cheng, like a Buddhist ascetic, it appears during meditation. Wang Miao, our protagonist at the turn of the millennium, is the only one who arrives at enlightenment in a purely scientific manner, but he, too, is motivated by disturbing visions—a doomsday clock only he can see, the flickering of the cosmic microwave background. The Trisolaran system, as portrayed in the video game Wang Miao explores, has treated its three suns the same way for millennia, sometimes as auspicious omens and sometimes as harbingers of doom.

Perhaps colonialism is born out of spiritual as well as material crisis. But this sets up one of the central questions of the novel: does the hardship of the Trisolaran environment excuse their intent to divest humanity of its natural home? Does the difficulty of modelling the three body problem, and thus their inability to prevent the repeated near-annihilation of their species, justify their colonial enterprise?

 

*

 

The Dark Forest was translated by prolific Danwei.org editor Joel Martinsen, and voyages into the dim oceans of philosophy Liu hints at in Three Body. Now that the threat of invasion has been established, the plot examines global reactions to danger and despair. Veering away from questions of imperialism and the ethics of conquest, Dark Forest leads us through the “Crisis Era,” a centuries-long global crisis of faith and character. Luo Ji, a hedonistic, individualist, layabout academic, has a brief encounter with Ye Wenjie in her old age. She tells him to study cosmic sociology, laying a set of foundational principles for him to ponder for the coming decades. He is chosen by the United Nations and the Planetary Defense Council, along with three other strategicians and scientists, to come up with a plan for the salvation of the world, and is granted nearly tyrannical amounts of power. These four men are called “Wallfacers,” and their inscrutable thoughts are the last hope of humanity in an age where the Trisolarans have gained access to every form of data storage on Earth—except the human mind, which remains opaque.

This volume is much more explicitly spiritual than its predecessor. World leaders can perform miracles through technology, destroying planets, granting absolute faith or despair, attaining a cultish, messianic status where reactions to their every move can be summed up as: “God works in mysterious ways.” Luo Ji is the only one who does nothing, initially; as two other Wallfacers are proved to have given in to despair and used their resources to plan for the destruction of humanity, he retreats to a luxurious estate and pursues beauty, love, and leisure. He uses his UN-granted power to find the woman of his dreams, who manifests as Zhuang Yan, a painter with a gentle nature who awakens Luo Ji’s virtuous self. Zhuang Yan’s effect on Luo Ji is not unlike a visit from Guanshiyin Pusa; she counters his selfish desire with her own 觀/perception of the world’s suffering.

Although it is not a romantic novel, Dark Forest is somewhat of a Romantic novel, with some Gothic affectations. Luo Ji arrives at his great scientific revelation through contemplation in natural solitude, which instills in him an awe and terror at the natural sociological principles of the universe. Not quite the same struggle that would have been appreciated by a Romantic philosopher, of course, but it bears an intriguing similarity. The transformation of the benign void of space into the eponymous “dark forest” filled with hostile predators has the electrifying, hair-raising feel of horror to it.

Luo Ji calls his solution to the problem of invasion a “spell”; he calls his home “Eden”; the most intractable barrier to human victory is faith; even after the Second Renaissance, religious feeling abounds, and his Wallfacer status transforms him briefly into a figure like Athena or Christ; even his last confrontation with Trisolaris is a dialogue in a wasteland with the quasi-demonic presence of the sophons. The same spiritual crisis that plagued the Trisolarans has found its way to Earth centuries ahead of the fleet. Self-preservation battles against collective preservation, instinct against intellect. Every action a character takes must be analyzed thoroughly—is it justified? Is it ethical? Who benefits, and for what purpose?

 

*

 

The science, as in most “hard” science fiction, is a way to set up ethical dramas. Alongside collective destruction, Three Body and Dark Forest fixate on the theme of self-destruction. Throughout the narrative, characters call human self-destructive tendencies “insane,” to mean that they contravene the survival instinct in an irrational and selfish way, ignoring chances for redemption. Ye Wenjie and later the Adventists despair because of the “insanity” of human beings; Ye Wenjie and later the Redemptionists place their hopes in the benevolent nature of the Trisolarans. Among the problems the Redemptionists hope to solve with external help are human greed, abuse of the environment, and political corruption. However, once it is revealed that the Trisolarans are uninterested in anything but their own survival, it becomes clear that whatever faults humanity may have, they pale in comparison to the threat that faces it. Problems like state corruption cannot be solved under destructive occupation, so the Redemptionists end up putting them aside and focusing on one thing: the preservation of humanity and the termination of the threat.

Although the Trisolarans will not arrive on Earth for centuries, they have sent two messengers in the form of atom-sized supercomputers, the aforementioned “sophons,” to interrupt the progress of science by performing little miracles, leaving humanity unprepared to make the technological leap required to defend itself from invasion. The sophons interrupt physics experiments that could lead to massive scientific breakthroughs, and freeze practical scientific progress that could lead to the development of a successful human resistance. By the third act of Dark Forest, however, humanity has massively accelerated the development of existing technology. With their own fleet of thousands of unbelievably powerful ships hovering in orbit, defeat is inconceivable. The reader is shortly forced to conceive of it, though; although Luo Ji awakens from hibernation into a world filled with technologies he could barely have dreamed of during his previous life, the Trisolaran technology is completely incomprehensible: a small probe obliterates the entire fleet and emerges unscathed. The last of humanity’s faith evaporates. The world falls into despair.

What does this mean? Perhaps that the struggle against the colonizer with superior firepower is not only material; it is psychological, spiritual, existential.

 

*

 

The Adventist-Redemptionist diagnostic introduced in Three Body ultimately ends up being materially inconsequential. After Wang Miao and an American general collaborate to steal the records of Adventist communication with the Trisolarans, they receive a message: You’re bugs! Neither party can compel or dissuade the Trisolarans from their course of action; it was predetermined from the moment Ye Wenjie began communication with them. The dichotomy collapses into pro- and anti-colonization, or as it’s treated by Three Body and eventually Dark Forest, pro- and anti-humanity. That’s the spearhead of Liu’s critique: colonization is the material obliteration of a people. The case we are dealing with in the trilogy is a fantastic, dislocated version of real-world struggles. Again, this means that the effects of real colonialism are not apparent. However, this allows Liu to make a blanket statement without being perceived as a reactionary, and permits his work to pass safely to a Western market without being dismissed as a political tract. Without explicitly pointing a finger at real-life analogues, he can demonstrate the parallel behaviors of real-life colonizers and fictional ones while avoiding incendiary comments. He can probe us for our answers to the central question without revealing it as a dialogue on invasion. Is self preservation a reasonable justification for eradicating another, less “advanced” civilization? By the final chapters, we receive a resounding “no.” The sly mirror turns its face to us again. Did the hardship of the Separatist environment excuse their intent to divest Native Americans of their natural homes? If our beliefs about colonization are consistent, the answer should be “no,” but we are living in a world that acts on “yes.” We are on the side of the humans, both Adventist and Redemptionist, by the end of Three Body. We want the indigenous humans to survive, and fight back as fiercely as possible, but this review is being written on stolen Piscataway land.

 

*

 

Humanity has been pitted against alien colonizers time and again in the Western canon; this conceit is not new. Worldwide government and corporate conspiracies, the threat of alien invasion, video games with ulterior motives, a protagonist out of his depth, a scorched earth, futuristic metropolises—none of these are new concepts to the American audience. Anyone familiar with the genre might draw comparisons with the multilayered political struggles of Ender’s Game, the long technical passages of Cryptonomicon, the political and ecological concerns of Dune, or the quick prose of early “console jockey” fiction like Neuromancer. The last comparison, although appropriate, would be the weakest. In fact, the prose of Three Body is one of the most common complaints that Anglophone readers have about the book. It appears to be stilted and rushed, the work of a novice rather than a potential trans-Pacific breakthrough. This is emphatically not either translator’s fault. In fact, it’s not even the author’s fault. Colloquial Chinese writing does not sound like colloquial English writing. Its grammar is different enough from English, and the Chinese cultural aesthetic is different enough from the Western, that the prose may seem somewhat alien.

The immediate reaction may indeed be to blame a clumsy translation by Ken Liu, the translator of Three Body and future translator of Death’s End, the final book in Liu Cixin’s trilogy, or Joel Martinsen, who began to acquire Chinese as a second language in high school. Apart from some inevitable stylistic differences, Martinsen’s translation does not differ enormously from his counterpart’s. A 1.5-generation bilingual Chinese American immigrant from Gansu, Ken Liu has been establishing himself as an author to watch in the American science fiction scene. His most lauded work so far is a short story entitled Paper Menagerie, which swept the 2013 Nebula, Hugo, and World Fantasy Awards. It is emphatically a work about dislocation and disconnection, in some ways echoing the kind of intergenerational relationship one would find in Amy Tan’s Joy Luck Club, in other ways subverting it. The piece weaves together the various complications and tensions of growing up as a mixed-race child. His first novel-length work, The Grace of Kings, was published in April, a fantasy epic that draws from an aesthetic he calls “silkpunk.” This was the novel he put on hold in order to finish translating Three Body. With such a resume, along with his fluency in Chinese and awareness of Chinese literary culture, it’s not difficult to see why he was entrusted with the translation. 4

The fault lies in reader unfamiliarity with the source language, which is neither the reader’s fault nor the translator’s. Not only does Chinese function as a topic-based rather than a subject-based language, the ways in which information is communicated have been formalized much differently over the last few millennia. As a result, even the most graceful translation of the most colloquial Chinese writing may sound clunky, overly stiff, and inappropriately formal. This often leads to perceptions of Chinese literature (and the fine arts in general) as naturally cold, removed, and focused on representations of feelings rather than evoking an emotional response from the reader. This is not an uncommon sentiment amongst Western audiences exposed to Eastern works. One of the most notorious examples of this cultural disconnect is Berthold Brecht’s analysis of Chinese traditional operatic theater, jingju. Upon seeing the careful, calculated motions of the actors, and the highly symbolic content of the actors’ performances, he concluded that jingju was meant to “alienate” the audience from the performance by eschewing naturalistic theater and forcing them to engage as critics rather than as participants; he subsequently formulated a theatrical technique commonly called the “alienation effect.” This technique, although interesting and influential in its own right, was based on a Westerner’s view of jingju. Because Brecht himself felt alienated, he supposed that all viewers must have experienced it the same way. But that isn’t necessarily true—is it not equally possible that the Chinese audience engaged jingju the same way an English audience would engage Shakespeare? These are aesthetic values that developed independently for thousands of years. Isn’t it possible that people could learn to engage either with as much emotional investment, as different as they are from each other?

I suggest that we change our frame of reference. Ken Liu has brought us an
authentic translation, if not one that is terribly aesthetically pleasing to those of us who are used to the stylistic conventions of the Western canon. 5

*

 

Although we directly share centuries of economic and political history, our view of China has been colored by accompanying centuries of propaganda. American opinions of the Chinese have swung back and forth between “pitiable barbarian” and “fearsome barbarian.” These opinions even extend to American Chinese, who have historically been considered to be so non-assimilationist that they are indistinguishable from Chinese nationals anyway. Part of this historical paranoia lies in the stereotype of the deceptive Chinese: the swindler, the spy, and the ruthless businessman do not operate according to Christian morals of honesty and transparency. Arguably the most pre-eminent villain in science fiction is Ming the Merciless, a tyrannical alien residing on the planet Mongo (i.e. “mongoloid”). It’s not too unreasonable to draw the connection between alienness and foreignness. After all, foreigners were the first aliens. The white Flash Gordon gets to represent Earth, and Ming the Merciless gets to represent Mongo. The closest reversal of this trope even approaching equal stature in the Western cultural lexicon is George Takei, a Japanese American actor, playing Hikaru Sulu in the television series Star Trek.

In that light, for readers on this side of the Pacific, Three Body and Dark Forest are an alien’s science fiction. Fear of Chinese domination of the American economy is the fear of (neo)colonization. From inside the subject of our xenophobia comes a piercing reflection of our past. For Chinese American sci-fi enthusiasts, it is that and more—the world that might have been ours, under other circumstances, has opened a window into one of the most tumultuous times in its history, and predicted a destiny for itself that is lofty and cynical, strange and familiar. Possibilities for the past, written out alongside possibilities for the future.


 

1. Ki Mae Heussner, “Stephen Hawking: Could Alien Contact be Risky?” (ABC News, 26 Apr. 2010, http://abcnews.go.com/Technology/Space/stephen-hawking-alien-contact-risky/story?id=10478157).

2. On the The FanBrosShow Podcast (8 Nov. 2013, Chico Leo, DJ BenHaMeen, Tatiana King-Jones, http://fanbros.com/junot-diaz-episode/).

3. Liu Cixin, “The Worst of All Possible Universes and the Best of All Possible Earths: Three Body and Chinese Science Fiction” (Tor.com, translated by Ken Liu, 30 Oct. 2014, http://www.tor.com/2014/10/30/repost-the-worst-of-all-possible-universes-and-the-best-of-allpossible-earths-three-body-and-chinese-science-fiction/).

4. In fact he’s on record as saying that the preservation of Liu’s voice and technique is a higher priority in his translations than making a Western reader comfortable with his use of literary conventions. See “An Interview with Speculative Fiction Writer and Translator Ken Liu” (21 Aug. 2014, Karissa Chen, Hyphen Magazine, http://hyphenmagazine.com/blog/2014/8/21/interview-speculative-fiction-writer-and-translator-kenliu).

5. Though we might remember that certain complaints, in particular about flatness of characterization, haven’t deterred the public from making such SF works as Neuromancer, The Matrix, or Blade Runner immensely popular; nor has the plot-driven nature of those works detracted from their immense influence on the development of the genre. Characterization is by no means a strength of Three Body, but privileging plot over character is informally a hallmark of idea-driven SF.

How to Bury Your Dead by Amin Ahmad

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Your grandmother dies one muggy May afternoon in Connecticut, six thousand miles away from her beloved apartment in Calcutta, India.

She dies alone in a hospital room. Your moon-faced grandmother is not wearing the crisp white widow’s sari that she has always worn. She has removed the ivory bangle that she wears to help her arthritis, and her small gold earnings. Your grandmother, who, despite her arthritis, cooked thousands of meals in her sootblackened Calcutta kitchen, who fed the entire family her famous chicken rizzala, who was always chasing away the crows that slipped through the barred dining room window, your grandmother, who had her own rickshaw-wallah, a dark-skinned man who pulled her in his rickshaw through the streets, your grandmother who listened wide-eyed as a girl to her big, gleaming radio every night, mystery serials and romantic stories, your grandmother, who told you a story about her sister who died as a baby from an opium overdose, this grandmother of yours, whose mind held labyrinthine connections to all your scattered relatives in the bazaars and suburbs of Calcutta, who was always making nimbu-pani lemonade for these distant relatives when they visited, staying for a morning or for a few days, this grandmother, whose mind held six wars and flaming riots and deaths and famines, this very same grandmother of yours, she dies alone, in a sterile hospital room in Connecticut, in absolute silence.

She dies while you are on a train, on your way to see her. You were supposed to visit a week ago, but it is the end of senior year in college, you were in the middle of exams, and your aunt, who was caring for your grandmother, was not clear about exactly how sick she was. You had been to visit your grandmother a month ago, and she was deformed—the surgeons had removed part of her tongue and her jaw to combat the cancer—and mumbled, but she was alive. Every morning she rubbed coconut oil in her hair, then bathed, and sat, like a cat, in a patch of sunlight on your aunt’s massive red couch. She peered out of the picture window at the neatly trimmed suburban lawns, the glittering, empty sidewalks, the blue mailbox on the corner. She turned to you with her ruined face, and mumbled, Where are all the people? What have they done with all the people?

You moved closer to her and pulled her to you, till her mangled face rested on your shoulder. No, this is not true. You did not move an inch. You were not your grandmother’s favorite, that honor went to your brother, who is fair-skinned, like her. You could not find a way to answer your grandmother’s question. It hung between you, till she said she was tired. You helped her up and she shuffled down the gloomy corridor to her room. She lay down and you covered her with two comforters, because even in spring, America left her cold.

She dies alone in the hospital because just that morning she asks your aunt to buy her a doll. Your grandmother mumbles that she has always wanted a doll, the kind with hair you can brush, with eyes that open and close. So your aunt leaves her alone in the hospital room and goes to Toys R Us and buys a huge doll with a pale dimpled face and wavy blonde hair. The line is long, and it takes a while, and when your aunt gets back to the hospital your grandmother has already been declared dead.

Your aunt is inconsolable and cries steadily all day, even as she drives around Hartford with you sitting next to her. She sobs quietly on the road, and at traffic lights she clutches the steering wheel and lowers her head and moans. You have to gently tell her that the light has changed, to direct her through the blighted, burntout streets of downtown, till you find the old-fashioned Italian funeral home that has started a sideline in Muslim burials. Your grandmother has already been taken there, and a group of squat, elderly, orthodox Muslim women have arrived to wash the body and prepare it for burial. They have had a lot of experience with death and have a brisk, practical approach. Interrupting your aunt’s crying, they say that they need six yards of white muslin cloth. You and your aunt drive to an Indian fabric store, and the people there understand immediately what the cloth is for, and wrap it, with solemn ceremony, into a brown-paper package.

On the way back to the funeral home, your aunt says, All she wanted to do was go back to Calcutta and die there. Why did I bring her here? Why? I should have let her be at 205 LC. You understand instantly what she means: your grandmother has a small, cramped, ground-floor flat at 205 Lower Circular Road in Calcutta, and this is the heart of your family. This is where you gather for massive Eid lunches, the entire family overflowing the divan and two battered leather armchairs, and sitting, cross-legged, on the beds. The door to 205 LC is always open and there are always people arriving and your grandmother is always in the middle of cooking biriyani, and the smell of roasting meat and potatoes and saffron fills the house. After lunch your grandmother falls asleep with grandchildren jumping up and down next to her and loud conversations are conducted over her sleeping bulk. 205 LC Road is your grandmother. Except that now your grandmother is dead.

Your aunt vanishes into the funeral home to help the women wash your grandmother’s body. You sit outside on a patch of crabgrass and look across the street at a gas station. Cars pull in and out and you hear snatches of R&B on the radio and the chunk-chunk of gas nozzles cutting out. For long periods of time there is only the occasional swish of a car speeding down the block. Your grandmother found the silence of America unnerving. At 205 LC there was always the ticking of the pendulum clock, the cawing of the crows outside, the wail of Hindi film music from transistor radios, the shouting of women on rooftops as they dried clothes. Somewhere, there was always a man hammering. These sounds made up the basic warp and woof of life. To listen to nothingness upset your grandmother.

You are called back to the funeral home to see her. She is lying on a stainless-steel table, swathed in white muslin, her head covered, one long strip wrapped around her jaw. Your grandmother looks like a waxwork effigy of herself. You have the irrational thought that your real grandmother is back at 205 LC, squatting by her two-burner stove and wiping sweat off her face with the pallu of her white sari.

There is no question of burying your grandmother here, in America. No question of putting her into foreign soil, alone, exposed to snow and car exhaust. She will be put into a pine coffin, and then enclosed in a lead-lined box; this in turn will be encased in a sturdy plywood box, securely screwed down. Then, covered in labels, with a custom’s clearance pasted on her, your grandmother will be airfreighted, via London and Dubai, to Calcutta. Your aunt has a friend at Air India who is helping with this.

You do not stay to see your grandmother boxed up. When you return to your aunt’s house, you stand at the doorway of your grandmother’s bedroom. She must have left in a hurry for that last visit to the hospital, because her glasses are still on the dresser, as is a jar of her beloved Pond’s Cold Cream, and three creased and muchread Agatha Christie novels. You get into your grandmother’s chilly bed. As you lie there, your body heats up the sheets, releasing your grandmother’s distinctive smell, soft and clean. You try to cry but you cannot.

She dies in Hartford, Connecticut, and is buried, three days later, halfway across the world. You cannot travel to Calcutta for her burial. India is too far away and too expensive, and besides you are starting a summer internship in a few days.

You imagine the scene at the Muslim Cemetery: the beggars at the gates, reciting the Koran and asking for alms; the outdoor taps where mourners wash their hands and feet; the tall, spindly palm trees rising above the rows of graves; the red, sticky soil; your Calcutta aunts gathered at the grave site, heads covered, hands clasped in prayer. As is the custom, your grandmother will be buried, still wrapped in white muslin, on a plank, and her grave will bear no name, just a hump of earth.

No one has ever taught you to pray, but your grandmother made you memorize two lines, and now you add them to the prayers being said, six thousand miles away: La illaha il Allah, Mohammad rasul Allah. Lying in your grandmother’s bed, you say them over and over, till you fall asleep.

She dies in Hartford, Connecticut, and a year later you have to travel six thousand miles to visit her grave. Your uncle picks you up at the airport and drives you to 205 LC, down the long, straight driveway, past the spindly mango tree that your grandmother used to nurture. Your grandmother does not come out, dressed in her white widow’s sari, to greet you. Her tiny apartment is exactly the same: once-yellow walls now gray, the pendulum clock ticking high on the wall, the clay figurines in their glass case furred with dust. You go to the corner by the dining table and there find the same metal jug full of well water, and you pour yourself a glass, and it tastes the same, of earth and minerals.

That afternoon you visit your grandmother’s grave. The kabristan was once far outside the city, but now has been swallowed up by it. Inside the shady grounds you can hear the tinkle of bicycle bells and the put-put-put of motorcycles. Nearby slum dwellers use the graveyard as a short cut and saunter through, freshly bathed, clutching plastic shopping bags. You try to feel something, but all you can think about is sitting outside the Italian funeral home, looking across the street at the gas station. You remember how the evening had darkened and the cars’ red taillights looked like the eyes of wild animals.

In the evening your eldest aunt—the one who looks startlingly like your grandmother—invites you for dinner. She has made chicken rizzala, using your grandmother’s recipe, and it tastes the same, rich and fragrant with onions and yogurt and scented with cardamom. You ask about your grandmother’s funeral, and your eldest aunt says that it was raining that day. The mourners were gathered at the gravesite, but it was hard to cut open the lead-lined coffin. Lacking power tools, the gravediggers finally pried it open with hammers and chisels. It was getting dark by the time your grandmother was finally interred. You think of the wet, red earth, and the way it squelches between your toes and spatters your clothes. You imagine the scar of the freshly dug grave, the sticks of incense guttering in the wind.

After dinner—you eat with your fingers, like everyone else—you wash your hands in your eldest aunt’s bathroom, passing through her bedroom. She uses the same golden, translucent soap, Pears, that your grandmother used to. After you wash your hands, its smell clings to you. On the way out, you see that your eldest aunt has built a new cupboard by the door, a tall, handsome structure gleaming with coats of varnish.

Your eldest aunt sees you looking at the cupboard and says, You know what that is?

You must look confused, because your eldest aunt says, This is the wood from your grandmother’s coffin. It was solid American plywood, three-ply, it was a shame to waste it. So I made a cupboard out of it.

You cannot believe that your aunt did this. You walk over to the cupboard and touch it with the palm of your hand, feeling, under the stickiness of the varnish, the soft grain of American wood. You stand motionless and your eyes fill with tears. Your aunt notices and says, There, there, and, It’s okay, she’s in heaven now.

You want to ask your eldest aunt for a minute alone, but that is an impossibility in an Indian family, she will not understand what you mean. Instead you stand with your palm flat against the wood of your grandmother’s coffin, eyes tightly shut, trying to stop the tears from flowing. You cannot stop crying, and you cannot explain to your aunt that you are not crying for your grandmother. You are crying for yourself, because with your grandmother gone, you have lost the center of your world. This is what your life will be like from now on. You are naked and homeless and alone.

Commemorating the 10th Anniversary of Sept. 11 (Student Page)

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Commemorating the 10th Anniversary of Sept. 11

Guest Editors: Rajini Srikanth & Parag Khandhar


9/11 Anniversary E-Issue



AALR-cover_v2i1.5-Fall2011_v5

On the ten-year anniversary of September 11th, experts of every camp and affiliation will compete to dictate its legacies for our collective memory. The danger isn’t simply that the loudest voices will dominate—it’s that only a limited range of voices will make it into the conversation at all. So many of our communities have borne witness to so much over the past 10 years; it behooves us to critically consider the moment and its aftermath—the various political, legal, and civil rights repercussions, particularly for the communities most directly affected, South Asian, Arab, Middle Eastern, and Muslim American. But how can we do so, when so many of the voices of affected communities remain unheard? How do we remember and reflect on this moment as Asian Americans when the public conversation is so circumscribed?


9/11 Anniversary E-Issue



 

Asian American Literary Review Special Issue on Mental Health Testimonial Tapestry Project: Call for Submissions

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Seeking short narratives/testimonies (50-100 words) and visual art related to Asian American mental wellness and mental illness for a 2017 special issue of The Asian American Literary Review (AALR), an arts and humanities intervention that rethinks how we understand mental health in Asian American communities. While many note the prevalence among Asian Americans of mental health issues such as depression, suicide, addiction, and psychological oppression, there is still a limited vocabulary and narrow understanding of Asian American psychological or emotional dis-ease, trauma, grief, and/or healing within our communities, even among scholars and social welfare or mental health practitioners. To address these silences and gaps in knowledge, we invite short narrative and graphic submissions on topics of Asian American mental wellness and mental illness to be included in a “Testimonial Tapestry.”

 

The “Testimonial Tapestry” is intended to be a fold-out, graphic poster accompanying the AALR journal issue representing a collection of narrative and visual art testimonies. Placed together like a quilt, the tapestry pieces will give physical and collective form to the often solitary, silenced, inner, and amorphous aspects of Asian American mental health. The creation of the “Testimonial Tapestry” will be a collaborative process; some selected submissions may be invited for further development in partnership with other submitting writers and/or artists in order to create original, collaborative pieces for inclusion in the tapestry.

 

The co-curators of the Tapestry seek submissions that speak to the following suggested themes and topics. We seek a range of submissions reflecting diverse and multidisciplinary mental health perspectives, experiences, issues, and positionalities within processes of wellness or illness, such as crisis, healing, surviving, and thriving. We welcome diverse contributors, including Pacific Islander, Southeast Asian, South Asian, queer and transgender, academic and non-academic writers of all ages, and diverse tones/styles, from quietly contemplative to angry and provocative. Therefore, the list below is neither exclusive nor exhaustive. We invite text-based and visual submissions (e.g., drawings, paintings, graphic images, photos).

●Mental illness, disease

● Trauma, injury, damage, (dis)ability, pain

● Suicide, depression, bullying, identity crises

● Psychology of oppression, coloniality, war, violence, terror

● Mental health, wellness, healing, survival

● Reparation, accountability, responsibility

● Unspeakability, irrevocability, death, silence

● Intersectionalities of race/ethnicity, gender, sex, sexual orientation, class, ability, age, generation, and national/transnational identities in relation to mental health

● Racialization, aspirational whiteness

● Family dynamics, family and/or partner violence, familial expectations, shame/shaming

● Racialization, aspirational whiteness

● Family dynamics, family and/or partner violence, familial expectations, shame/shaming

● Transgenerational, intergenerational, or historical trauma

● Navigating mental health care systems, traditional and alternative therapies

● Cosmologies/philosophies of mind, body, wellness and illness, religion, spirituality

● Grief, mourning, remembrance, witnessing

● Representing, speaking, testifying, documenting pain, injury, or trauma

 

Submission Information:

Text-based submissions must be in Microsoft Word or PDF format; visual submissions must be in JPG/JPEG or PDF format. Submissions must also include contact information (name, email, phone, mailing address), as well as a brief description of visual art submissions. Accepted submissions may be published anonymously if the author so chooses.
All submissions must be submitted by uploading to the AALR Testimonial Tapestry Submissions Dropbox folder through the following link: https://www.dropbox.com/request/dYCZwbABeaZxzwk5Qvsx

Due: March 15, 2016

Questions: Address inquiries to Eliza Noh and Tammy Ho at

AALRtapestry@gmail.com

 

Open in Emergency: A Special Issue on Asian American Mental Health

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Open-in-Emergency

 A Special Issue on Asian American Mental Health

 

For some time we’ve agreed there’s a crisis of Asian American mental health–see the alarming and oft-cited CDC reports on Asian American suicide and suicidal ideation rates. But beyond these statistics, we haven’t agreed on the breadth of the crisis, what constitutes it, what contributes to it–or how to deal with it. We are grasping only some small fraction of Asian American precarity and unwellness.

 

This special issue of The Asian American Literary Review, slated for release in spring 2017, is an arts and humanities intervention, at once a reexamination of Asian American mental health and an Asian American reexamination of mental health. Novel in form and approach, Open in Emergency: A Special Issue on Asian American Mental Health rethinks Asian American un/wellness with particular attention to:

  • adopting a broader vocabulary of vulnerability and woundedness;
  • locating un/wellness in the context of social structures and systems of violence;
  • reconsidering existing, predominantly medicalized, understandings of mental health as fundamentally part of the crisis; and
  • centering alternate understandings of un/wellness emerging from Asian American communities.

 

The collection explores these approaches through a wealth of original multimedia art, writing, and scholarship, including a deck of original tarot cards; a foldout testimonial “tapestry”; a “hacked” mock DSM: Asian American edition with alternate approaches to mental health; a “treated” pamphlet on postpartum depression; a stack of daughter-to-mother letters; and threaded throughout, creative and critical marginalia.

 
Guest-edited by Mimi Khúc, with guest curation by Eliza Noh, erin Khuê Ninh, Tammy Ho, and Long Bui, the issue features contributions by poets/writers Tarfia Faizullah, Solmaz Sharif, Aimee Nezhukumatathil, Matthew Salesses, Jennifer Kwon Dobbs, Brandon Som, Sejal Shah, Shawna Yang Ryan, Maya Soetoro-Ng, Rajiv Mohabir, Sueyeun Juliette Lee, Lydia X.Z. Brown, Adriel Luis, Gerald Maa, Sharline Chiang, Pooja Makhijani, Abigail Licad, Peggy Lee, and Sine Hwang Jensen; artists Kristina Wong, Johanna Hedva, Simi Kang, Monica Ong Reed, Erin Genevieve O’Brien, and Julie Thi Underhill; scholars Konrad Ng, James Kyung-Jin Lee, Jigna Desai, Eliza Noh, erin Khuê Ninh, Cynthia Wu, David Kyuman Kim, Kathy Yep, Jennifer Ho, Audrey Wu Clark, and Chad Shomura; and many more.

 

For more information, contact us at editors@aalrmag.org.

F Sector Plates by Swati Rana

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The ocean curved itself around. Beta could see the story of the storm, starting far out to sea on one side and making its way inland. He wrapped his shawl tight. Long tendrils of rain were falling down as the waves rose up to meet them. They looked like a giant octopus coming ashore. As the light waned the wind blew harder and the sand and sea became indistinguishable. A bit like monsoon season, only everything was less wet and more dead.

He imagined he could step out on one side and find himself on a balcony in the warm rain with his father. A rare hail would’ve just fallen, and for a little while, maybe twenty minutes at most, they could make castles out of hailstones and pretend they were at the sea with buckets of sand, or in the mountains with piles of snow. The rain would come quickly, in broad sheets, melting the hail and whipping everything sidewise. They would happily greet the warm water, and soon paper boats would be tumbling down the gutters, taking the year’s waste with them.

Lightning came in great flashes now, brightening huge swathes of ocean. It was dark in between the flashes. And he felt terrified, more so than made sense given the warmth of the chair and the quiet of inside. Something had happened. Whole flocks of birds had tumbled into one another and shed their wings like husks of corn. They had lain about all naked and folded over while rats plucked out their eyes like seeds. And soon the rats too were gone.

*

They would publish a report of their joint findings soon, Allen assured them. In the meantime, it was vital that they each work at their own task. He gave much the same speech from day to day. Beta, Aleph, and Gamine would put on their lab coats and hunch over their gloveboxes, plating out samples. They worked silently and efficiently in the lab. Only Gamine sometimes knocked things over as she moved around. The fierce white light over everything made her nervous, Beta thought. That, rather than Aleph’s proximity.

They spent their afternoons at the beach, in the mild water. Some days, they stood on shore and watched the great oil slicks go by. Beta imagined they were whales and he could ride them all the way to Alaska.

It had occurred to him that they lived somewhere very nice. The sands were gold and the water was blue. Only the sun had nothing to do with it. The sky was the same steely grey from one day to the next. He remembered reading poems about the sun breaking through clouds, but these clouds had no breaks. He thought about asking Allen if the sun had died, but then thought better. He was supposed to have his own answers.

Allen came with them and left after he had seen them safely to the beach. Once, he had hinted that there were hundreds of sectors on the peninsula, all working on the great domain. But Beta never saw anyone else, and couldn’t figure out where they might eat lunch, or hide. The beach ran the length of the peninsula and went around impassable bends. He had walked inland and come across the same tall fence. He would study the faded signs and little ribbons of color tied to the posts, marking the dead on both sides. He kept hoping to meet someone, but Allen said they had given up and left the team in peace.

Just past the fence he could see that the sand stopped and small grasses took root. But there were no animals. He looked for his own image in the mirage of distance where waves of heat rose up from the pathways that ended here from all sides. These roads were used once, he decided. But there was nothing to go on.

*

The afternoon had that hot day romance. From where he floated between the swells he could see Gamine wading near the shore. His mother wouldn’t like her. But his father might. And anyway, she liked Aleph, or seemed free with him and quiet with Beta. He knew her beauty marks and dimples and her striped knees, but little more. And now, from the water, he could tell that she was afraid. She kept trying for a casual look in her eyes because Aleph watched her. But each wave was a little terror, and she stayed carefully outside their reach.

When Aleph ran off for exercise, they sat quietly on the beach, sharing their lunch. It was standard issue: sandwiches on brown plates with little ramekins of dessert on the side, colored differently for each day of the week. To make believe, they acted as though each had something different.

“Mine’s spaghetti and meatballs,” Gamine said. “What’s yours?”

“Chicken curry and rice.” They traded and ate happily. When Aleph was far away, Beta became more like himself. Once he braided Gamine’s hair down the side. But Aleph noticed and became sullen and Beta stopped touching her hair.

Another day, they saw a seagull. He waded out to his knees and cried, although he couldn’t have said why. Gamine waited for him, just outside the water, and took his hand. He felt so grateful. But then he expected to feel more, and he could tell she wanted something else.

*

He fell sick the next two days and had to stay in bed, staring up at the ceiling until he was sure Gamine forgave him or had forgotten. The fabric of the world seemed to him as fine as ever before. He watched, reminded of those afternoons his mother hung sheets from windows to block the sun so that they might lie together in the cool pattern of darkness. “Beta, bring me some water,” she would ask, and he never hesitated, because he wanted to feel awake just then. When he gave her the water, she said blessings were upon him.

He never slept afterwards. Rents around the fabric where sun seeped through worried him. He worried he only saw the edges of a vision. He knew so little of what his mother ever knew, and so much more than her. The edges dimmed instead of brightening.

*

A package had arrived from his mother all the way from home. Rich tea biscuits, potato rings, a jar of mango pickle, all wrapped in pieces of the same sari. This extravagance didn’t seem to suit her. For a moment he wondered if Gamine had sent the package by way of forgiveness. But with all its stamps and labels it seemed to have come from the other side of the world even though there was no musty Indian smell, and the sari looked much too new to have been torn up and wasted for wrapping.

The cookies did make him feel better. They put him in mind of street vendors and their unforgiving food. How they would ride on their scooter on Sunday afternoons in Chandni Chowk, handkerchiefs wrapped around their faces. He held on tight, and his mother held on tighter. The link was unbroken. He felt safe wedged between his parents, even though the road slipped and quibbled and all of humanity jostled for its place. Vegetable market first, ice cream for him and golgappa for his mother, and all the while his father reaching carefully inside his pockets for change. The same handkerchiefs that wiped their hands and mouths wrapped around their faces when they headed home with the last of sun. He would invariably fall asleep without falling, or dreaming. It felt nice.

*

Aleph was at his most efficient in the lab. Beta couldn’t deny the appeal. Smart and handsome, his father would have said admiringly. While his mother tsked beside him, as if to say we should be encouraging our son instead. As his younger cousins saw it, Beta’s way was paved with stars. He was the only son of a rich family, the one who left the village. He was the one who was picked for Delhi Public School and passed the IIT entrance exams. He was the one who was packed off to America, with a shiny blue Samsonite suitcase in his hand. But the older ones could tell he was lonely. He couldn’t remember their grown up faces, but he assumed that because he had grown older and sallower they had too.

The letters never explained, though they came regularly. For Beta, home was a thought that had lost much of its elasticity, an unworked thought without any strength or pleasure. Beta, are you married yet, the letters would say. Beta, I’m saving my gold ring, the one with the diamonds in it, for your new wife. Beta, don’t make an ordinary choice. That last was from his father, whose belief in Beta’s greatness had never yet dwindled. It was harder than his mother’s square mediocrity and less sustaining. He wasn’t sure whether the world was large enough for his father’s ambition.

Beta tried to get their project straight in his mind. Allen said they had to wait to leave their outcropping of land. They were an infinitesimal part of a great puzzle, Allen explained. As lead scientist, Allen’s job was to fit their little piece to the whole. They had to inoculate the flasks, plate out samples, and monitor bacterial growth by total and viable counts. He liked to describe the colonies he saw, and he often wondered what Gamine and Aleph found. But they were never to ask each other about their work.

Beta was used to rules and didn’t mind. There had been long queues and piles of paperwork and countless bribes that had brought him over to this side. He counted himself among the lucky ones, sent forth by his family under an auspicious sign. There was no doubt he would follow the lines.

*

“Look, right there,” Beta said to Allen, turning over the sea stars. This was his own discovery, and it seemed important. Beta had been walking further than before from the grey building that housed their work. And he came to this rocky stretch of beach, which looked like it bent around the coast to another sector. There were tide pools half filled with oil and water. This one had sea stars. He remembered about never touching and turned them over with a stick. Their bottoms were all wrong, whitish and cottony, like drawings that had never been colored in. The stick seemed to just disappear into them.

“You think it’s a fungus of some sort?” he asked Allen. “I thought we might collect some samples and bring them back to the lab.”

“It’s nothing, just star fish. They’re always white underneath.” He looked at Beta, and then past him to where the coastline creeped around to the other side. The tide was low but the water came right up to the edge.

“Why do you come so far,” Allen said. He poked cruelly at the sea stars and threw the stick into the pool. “Stay close to home. We have work to do.” Beta watched him walk back to the sector. He must’ve been quite old, in his sixties maybe. There were things Beta admired about Allen, his neatly pressed pants, the wirerimmed glasses that he cleaned meticulously with tiny cloths he kept in his pockets for just that purpose. He was probably an immigrant too, from Shanghai maybe. Or was it his parents or their parents. Beta wasn’t sure. It hadn’t occurred to him to ask anything that wasn’t about work. This sea would remind Allen of home, Beta thought. Somewhere, where the waters stretched outward, was the other shore. And if Beta went far enough in that direction, he could see his father sitting on the verandah reading the paper while his mother peeled potatoes by his side.

He looked for the stick as soon as Allen was far enough away, but he couldn’t see it. The sea stars were stuck to the sides. He could barely make out what was past them, through the murky water. The bottom seemed to be white, maybe in reflection of the sky. He rolled up his sleeve and stuck his hand in but it seemed to go right through the bottom. The whole hand disappeared into that murky whiteness. Something wasn’t right. He felt around left and right, but couldn’t seem to find the stick. It had been a nice one too, all mottled and smoothed from the waves.

*

Beta woke up at night feeling sick. His legs tingled and were cold. He saw Gamine asleep in the bunk across the room. He heard soft footsteps. Someone came into view and then went out, as though pacing down the middle of the room. A strange light was shining on the blinds from inside. He blinked his eyes and thought he saw his own face looking down at him from above. He could see that something was wrong, some distortion through waves of water or heat. He pushed himself up, scared.

He tried to convince himself that the dream was a dream. They had run past the lone figure at the barricades and locked themselves inside while the march came around from the other bend. Some plan for surprise. Only his tongue had caught and swelled until he ripped it out and looked for a place to throw it. People came out of their offices and tried to get outside. But his friends stopped them. He moved deeper and deeper down the grey halls with their amber light. And his tongue stared up at him, twitching from side to side.

No garbage cans. From cement to carpet, to cooler lights. He found the remains of a small feast, a colander of chicken fingers with fancy mayonnaise, and threw his tongue there thinking it would burn up in the fire. But there was no fire. And the chicken fingers started to look like fingers and he wanted to get outside. Wall of soldiers around the bend.

Gamine was watching him from her bed, through her thick eyes. He felt for his tongue in the dark and started to say something. But she rolled over and the moment passed. She would never admit to looking at him in the middle of the night.

*

No one was up and down the beach that night. Oil platforms dotted the horizon and lit up the sky like monstrous lanterns. The sand was sandy and the sea was salty wet. Beta walked on the hard-packed parts and looked along the waterline for small treasures. The moon helped. He had seen it rise over the bluffs to the South, a large yellow eye with a wisp of cloud slowly uncovering itself and growing smaller.

He headed for the ship that had washed up on shore. He was pretty sure no one else knew about it. Between the flashes of lightning of the latest storm, he had seen something lodge itself far down the coast. Now he could see that it was big. It was already changing the shape of the sea around it. Some parts were clear where the moonlight hit at just the right angles, but the rest faded into darkness. He knew nothing about boats, but he would’ve guessed this one was used for fishing from the big spires that rose up from it and the posts that crisscrossed at regular intervals. It was dirty too, and rusted. Whole colonies clung to it. Sea stars, mussels, algae, barnacles, and other creatures he couldn’t identify. He couldn’t translate the writing on the side.

The boat was high, much too high to climb into. And besides, he couldn’t be sure that it was stuck there in the sand. The waves were unsettled and looked ready to reclaim it. He walked around, wondering if there were some way inside. He almost ran into Aleph standing on the moonlit side, looking out to sea. It was too late to turn around. But Aleph didn’t seem upset or surprised.

“In a book I read when I was young, the seas dried. A comet was coming and all the little creatures were sure they would die. But they wanted to get home to their mothers and fathers before it happened. Only they’d come in a boat, and now it was useless. So they made stilts out of trees and walked all the way home across the ocean bed,” Aleph said.

“We could use some stilts,” Beta replied, not quite sure what to say. He could tell that Aleph was thinking of climbing into the boat. He wasn’t sure he liked the vision of an empty sea bed stretching out before him, or the sound of no waves as far as he could hear. The waves were comforting. They kept time and felt like change even though they came repeatedly. Besides the ocean was bigger than in any story, and they would never get across with stilts.

“The best part of it was that it was impossible,” said Aleph. “They figured out how to use the stilts, and no one fell off and broke their neck. The trip was so short that they didn’t need food. And they slept safely on sea mountains through the night. They found treasures and saved themselves from a giant octopus.”

Beta thought about getting on the boat and waiting for it to be sent out to sea. If he was sure it would go out in the night, he might climb on it. But he couldn’t face the idea of waking up in the morning and finding himself in the same place with Allen’s face looking up over the side.

Tide was coming in. The boat seemed to shift and they jumped instinctively out from under its shadow.

*

“Stop staring,” Gamine said as she took off her clothes.

Beta couldn’t help it. He was looking behind her to where the boat had been. A big gap in the sand and a strange ripple in the current proved that he hadn’t been dreaming.

In her unflattering bathing suit, Gamine looked like his mother. He was reminded of a family trip to Goa many years ago before hardly any tourists knew about it. They drove through a dark forest with some kind of tree he didn’t remember. Very little light came through. It was their first time in a car. He sat in the back with the windows rolled down. Mummy was sick up front and they kept having to pull over even though they didn’t want to. There was something in the road up ahead, driftwood maybe, or someone’s dead body. Papa wanted to stop, but his uncle grew shrill about some local rebellion and they rolled up their windows and drove around.

It was his first memory of fear. Had things always been scary inside his head before the rest of the world caught up to them? It was the window that had made him afraid. It marked a distance that he could still see beyond. He was the person who was passing through while others had stayed behind.

He remembered the photo better than the memory. He was ten, or maybe nine. Short and stubby and scratched on his knees and elbows. His mother and father were standing straight next to him, each holding on to one hand, while the panicked swirl of the waves came up around their ankles. His feet had sunk into the sand. And so had his uncle’s, while he was taking their picture.

Gamine looked determined. “I’m going swimming.” She placed her glasses on top of her folded dress. “Watch out for these.”

“Let me come with you,” he said.

“No. You stay here. Go for help if I don’t come back.”

What if she died and they blamed him? What if she left and went somewhere with other people and birds? Aleph was a strong swimmer but he was off on a run. Beta considered not listening to her and jumping right in afterwards.

She started out big, ankle deep, with the waves far off behind her. The polka dots stretched around her rear. He kept hoping she’d look back and call to him.

He imagined her face looking out, the cleft in her chin poking forward. She was at that part where the waves keep getting higher but her head wasn’t in. He looked out further and could see a big wave coming. But she was focused a few feet ahead, getting wetter and wetter. When the wave hit her, she was small, too small, her little black head bobbing up and down. She couldn’t decide whether to go through or above so she went under and disappeared in the brown foam. He was excited. He looked down at his hands. He felt desire, not so much for her as for something to happen.

The next two waves were big, but she came out alright. She was figuring it out, ducking under and bobbing up on the other side. She kept to where she could stand and smiled now and again, at him maybe, or every time the waves picked her off. The forest of kelp was on the far side, so she stayed close to shore. But the waves kept taking her down the coastline. He waved to her, and she waved back right before she slipped in to where the water went dark and oily. The waves creased over and she came out like a seal pup, mottled brown.

He could tell she was upset, so he walked out to meet her. But she marched right past him back to their things. This was it, he thought, one of those turn around moments where the feeling you went with is not the one you have when you come back. She looked like a sad penguin fussing. She’d put her glasses back on and was drying herself, rubbing at the oily patches of skin. He sat down beside her and kept looking carefully out to sea.

“The first time I went swimming they lined us all up on the edge of the pool and pushed us in,” Gamine said. “I fell and the water and the smell of it came in through my eyes and my ears and my nose. I could see the bubbles flying to the top and my teacher’s face through the water. I think he was yelling at me to swim. When I finally figured out how to stand up, he was no longer watching. No one was watching. Not being noticed was worse.”

She had hated it when he moved. She had wanted to drift down the coast with him watching her, and to look back and see how far she had gone. The oil had ruined it. He had ruined it.

“You won’t get it out that way,” he said. “Let’s go and find a solvent.”

“You think I don’t know,” she replied. There was no feeling in her voice. “The oil’s nothing,” she said, gathering up her things and leaving him behind.

*

It was so quick, barely a whisper in the hallway outside their lab. “You and your stupid romance. Look around you. Things aren’t right,” said Aleph. He grew so impassive when Allen came around the corner that Beta thought maybe he had never spoken. But his arm hurt where Aleph had grabbed him and he felt it throbbing as he came out into the open.

He tried to look casual as he walked to the fence. There was no way outside except maybe under the sand, which seemed possible. He bent over and scratched the packed grains. Not too hard. But he was already parched and there was no water to be had on the other side as far as he could see. Aleph, on his run, came closer and closer and stopped. Through all that glare, he could barely make out his face. No, it was Allen walking to fetch him, something about a change in their sampling regimen.

*

“Where are we going?” Gamine asked. Her voice came in snatches, and he put it together from every other word. Aleph never slowed down. His back was wide and unfriendly. Beta kept trying to come around the side to see his grim face set against the world and the wind. It was sort of inspiring.

The wind whitened the waves at their peaks. It blew hard and cold, colder than Beta remembered. Allen had said something about squalls headed their way. It was early in the morning. They still had on their standard issue robes and papery underthings. For a second he thought he heard the fabric ripping and felt down in alarm. Gamine gave him one of her rare smiles. Sand was getting in all the places. It felt really good.

“Dig,” Aleph had said, when they arrived at the small hollow where the sand had piled up from one part of the fence to the next. He gave them each one of the plastic dinner plates he’d been carrying. It felt wrong getting the plate dirty, more than the digging. Beta thought about running back to his bunk and sliding between the sheets with the sand in all the folds. But he could no longer see the building. Gamine had already started, and he knew it would be worse to turn around alone.

It was a chain link fence. The lattice was thin but buried deep. It bowed in and out and rattled with the wind. They could have easily cut through with the right sort of tools. But the wind had done some of their work for them. Aleph and Gamine were going in turns, trying to get to the bottom. He saw the sand kept falling back in and began to move the pile away from them.

The weather had turned everything a shade of steely grey. So when he squinted, he could barely see the fence. The other side looked much the same as theirs, with the sand blown over. Shreds of seaweed had caught on the metal. His arms were tired from doing nothing for so many months, and he thought of breakfast. He could smell Gamine over the wind. She looked sweaty and formidable, like she’d caught whatever fever Aleph had brought with him. Aleph was fading away, just two feet from him. He was down to his last move, Beta could tell. And he felt better about never having made any himself.

Gamine suddenly stopped. “I can see under!” she yelled. The sand had whipped grey streaks on her legs. And her hair kept getting caught in her open mouth. It was probably full of sand by now. They crawled below the fence one by one. Gamine let Aleph go first. He might have been crying as far as Beta could tell. But he couldn’t seem to stand up on the other side to get a good enough look. Beta couldn’t stand either. His legs had gone weak, or maybe the ground had gone soft. There was nothing to push up against. He felt sick, really sick, and threw up all over his hands. The same grey color. He rubbed his arms in the sand to get rid of the smell.

The others were beside him and he could tell they didn’t feel good either. Gamine pushed up and up and got into a crouch, but it wasn’t worth the effort and she came right down beside him. “Keep moving,” Aleph said. “Ahead.”

It felt more like defeat than an adventure. The wind came straight at them, tearing everything to shreds. Everything became whitish and the roughness of the sand even disappeared. He was reminded of the bottoms of the sea stars. A great big ball welled up in his throat. He felt it swell and retched, but nothing came out. Everything was plugged with cotton.

*

When he woke up that night, he knew this at last was the other side. The dream had been a sweet wonder.

“You see now?” He heard Allen’s voice. It was gentle and reminded him of home.

“Papa’s dead,” he said. It was a good guess and Allen did not refuse. “You wrote mummy’s letters.”

“Yes, I wanted to keep you alive in the old way. These sectors, they’re for bereavement. We live somewhere else. We help each other. We do things in our minds,” Allen said.

Beta blinked once or twice and started to focus. It was a blue and black room, long and thin, like the inside of a vein all drained out. There was a bed, but how he knew this he could not have explained. Lights shone at intervals, vitreous, whites of eyes. Tubes came in and out. Pumps beeped and bellowed. Somewhere under their noise his own breath kept time, and the breath of another and another.

“Is Aleph awake? And Gamine?” he asked.

“They’re sleeping.” Allen said.

Beta could understand. There was pain. He was of a piece with it. He could not go where there was no pain, he realized, except to his mother’s letters, and the thought of Gamine with her fat brown thighs, and Aleph’s mincing smile.

Piles and piles were heaped around the edges. Beta looked at them and Allen brought something closer. It was a plate, with wires poking out from all sides. One surface was grey and blank and brittle, like those slates he’d had as a child. The other reminded him of a porcelain doll, smoothly featured. A beautiful face with little touches of paint for the lips and the eyes. Allen was proud of them. He brought him more and more. It was a tender gesture, like that of a mother.

“It’s the F Sector,” Allen said. “I make the faces. I save you from your lives. We’re allowed as many as we like. Sometimes they need a new plate, sometimes they die. But I keep the faces.”

They were people Allen knew, Beta realized. “Whose face am I wearing?”

“My son’s.” Allen said. “And Gamine is your daughter?” asked Beta. “What about Aleph?”

“I made him for myself, so you wouldn’t be lonely.”

Beta smiled. But the plates hid more than they showed. They were a kindness for someone else. The vision burst. Of hundreds, lying side by side with their sad guardians. They slept so sound. Allen turned down the lights.

*

Beta’s parents had two white metal chairs on their balcony. They had high backs, and when he brought them face to face he could just cover the space between them with a bedsheet and fit himself underneath. The morning sun would be coming down hard on the balcony. The coolness of the bath would have vanished and the wet hair plastered to his head would have started to dry. Mummy was in the bathroom now, and he knew not to disturb her. They let each other have this quiet, when the birds had gone silent and the day was starting to settle into place. He could see the neighbor’s balcony, and past that, another and another. When he went under the sheet they were invisible. Once in a while, shapes would come close, a bird, a daytime ghost, but they weren’t really scary and they mostly kept away. Under the paisley flowers and the lines of marching elephants on the sheet, he felt safe and invincible.

“Where’s my Beta?” Mummy would ask when she finally came outside. She’d walk along the length of the balcony and look over the side. She’d look around in all the corners and call out from each one. “I miss you, Bittu. Come back home now.” When her voice changed like that, whether with love or impatience, he knew to come out and run into her arms. She would never have lifted the sheet and spoiled the game.

 

“Philomena, Kuya Bongbong of Magsaysay Street” by L.M.S.P. Burns

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Katrina, Edgar, and Vicente had the “Purple Man and his disciples” at the Kam Shopping Center. We—Gerlie, Totoy, and Baby—had Philomena on Magsaysay Street. Philomena talked to herself, swatted insects with powers of invisibility flying around her head. Though she did not come to Red Cross every day, where my mother worked, she came regularly enough for us to wonder every other week if anyone has seen Philomena. Whereas Jesus of Kam Shopping Center (as christened by Edgar) rushes to a corner, curls himself up into a ball, and shrieks at the shoppers entering and exiting the automatic doors of Star Market or Longs Drugs, Philomena taps three times to the left and three times to the right before crossing any entryway. Ninang, anong trip ni Philomena? We would ask Auntie Annie. She would say anong anong trip? Ano bang alam ninyo sa trip trip? Dismissing us, saying what the hell do we know about drug trips. Sometimes, Philomena can be heard, screaming, and seen bending to one side or another, as if she’s scolding someone short next to her. One of the nurse interns at the Red Cross explained that Philomena is so smart, all her knowledge got confused in her brain.

I raise Katrina’s, Edgar’s, and Vicente’s “The Exorcist Lady” with one Kuya Bongbong. Kuya was here then he was gone. He came back but he seemed still gone. Some afternoons he was left with us, for us to him to keep him company; kami daw ang magbantay sa kanya. Baby, my youngest sister once whispered to me—we are younger than him, how can we watch over him? Most of the time he sat quietly, eerily quiet. He looked like he was listening intently. We only noticed this when he would turn his head suddenly, as if following a sound. We were tasked to make sure he didn’t wander off to follow the voices he heard with his bionic ear. We didn’t try to talk to him because it just seemed like we would be interrupting, we would pull him out of his reality. Once in a while we heard a murmur. None of us was brave enough to ask him if he needed something. But the least bravest was the first one to bolt, to tell one of the grown ups in the office that we think Kuya is trying to say something. Whoever was smart enough to go first was complimented for carefully looking after Kuya Bongbong and for expressing concern. And the other two who stayed made sure Kuya is fine.

One afternoon, my brother, sister, and I were playing a game “Guess who I am.” Totoy got up, walked over to the door, tapped the left side of the entry way three times then the right side. It was my turn, I stood on my tip toes, clasped my hands, took a deep breath to make myself taller and skinnier, pulled my head forward, jutted out my chin. I turned my head to the left suddenly, bird-like, as if following a sound my left ear heard. Without moving my head, I looked side to side with just my eyes. My sister and brother began to giggle but quickly stopped. Just then, Auntie Annie’s palm hits the back of my head. We asked Ninang, What is Kuya’s trip? Iyan talaga ang nagtri-trip. Ganyan ang mangyayari sa inyo pagka-mag-do-droga kayo. Matutuyo ang utak ninyo. Like the kids in the alley snorting glue, that is what will happen to you and your brain if you do drugs. Ang bastos ninyo. Hindi ba kayo naaawa sa kanya? Tinatawanan pa ninyo. What is so funny about having a fried brain from drugs?


“Taking Them to Our Lady of Kalihi” by Brian Ascalon Roley

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Over the years, I have taught (and continue to teach) Rolling the R’s in creative writing classes for the same reason I assign As I Lay Dying. As with all of my favorite books, when I share it what I actually want to share with people is that initial reading experience—the excitement, the enchantment, the exhilaration—which I hope will be sparked in them too. I wish I could share with them my jolt of recognition that came from seeing Filipino objects, family life, religious artifacts, and people in an American setting. Normally I can’t; but there are other fruits to this manuscript and its parts. I remember, the first time I read Rolling, being blown away by the bravery of an author being willing to put himself into a narrator’s thoughts, to capture them so truly and honestly and to express them without fear that people would mistake them for his own. (Faulkner advised young writers: do not judge your characters. Does this mean that Faulkner embraces every dark, venomous barb voiced by Jason Compton? Of course not. No more than he thinks in diagrams of coffins, or believes Jesus is blameless for killing Nancy. He’s telling us not to hold back, to get rid of the self-protective armour. Comedy is a self-defense mechanism against uncomfortable emotion—embarrassment, hostility, taboo-breaking, humiliation, awkwardness, shame.) There is a certain kind of ironic distance—and certain kind of judgement— most writers put in place, especially when humor is involved, to make it very, very clear to the audience that the author does not share these ugly thoughts, these wrong opinions. But the author ends up holding back, and our encounter with the character becomes diminished (or, worse, dishonest). Something is missing.

The spark of my first reading must also involve language, the rhythms of it when emotive and imaginative, how it can power you through a chapter. I loved the way Zach could move seamlessly from a prose story to end it as poem, without really knowing when a line was crossed. He taught me that you can do what you want, once we are hooked by character and language and the momentum they can create.

It is one of those special books, like As I Lay Dying, that allowed me to write my first novel, American Son.

The great thing about Rolling is that you can pick and choose pieces to share, depending on need.

If I ever feel like a student is stuck, I let Zack Zamora show them the way. If their prose is stilted and scared (or their details generic and uninteresting), I let “Our Lady of the Mount” whisper lyricism into their ear, blow an eye for interesting detail into their eyes. If their people are afraid to narrate, I show them “F for Book Report” and tell them to pick a narrator and favorite book and let them articulate. To ones like the young woman from Appalachia with the lyrical accent who was ashamed of the way she speaks, I have them read that same story, then tell them to read “Our Lady of Kalihi” and reset their story to where they are from. If they feel confined in a scene by the present, I point them to “Portrait” and its memory of a bloody Easter and its razors and self-lacerations; you should see their shocked faces. They say, I didn’t know you could do that. Here’s another one: open the book to a random page, read it and sleep and dream with an empty page by your beside, for when you wake. You never know what you might end up with, I tell them. Like me, you might be surprised.

“Teaching ‘Rolling the R’s’ at SFSU” by Wei Ming Dariotis

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I started teaching Rolling the R’s when I first taught the Pilipino Literature class (AAS 363) at San Francisco State University in 1999, and continued to teach it over the next decade in AAS 206: Introduction to Asian American Literature, and in AAS 214: Second Year Composition, when I taught the course focused on queer Asian American literature and when I taught it focused on Asian American men’s issues. I’ve taught this book a lot!

One of the biggest challenges for students is the book’s language (Hawaiian Pidgin is not easy, as I found out in 1997 when I first taught All I Asking for is My Body, by Milton Murayama—students complained that the title was missing a verb!). I am not a native speaker of Hawaiian Pidgin, but Linmark’s work, like other books written in this dialect, will reward the diligent reader who takes the time to quickly look up a few words and phrases. The language is rich and challenging. Much like Zorah Neale Hurston’s capturing of a specific Southern dialect in Their Eyes Were Watching God, Linmark’s achievement in setting this language down in written forms is not to be underestimated. As a creative writer I can attest that writing in “standard” English is the easiest because there are so many models and it is what we are trained in, while writing in dialect is notoriously difficult because we have to rely mostly on our own knowledge. While the tradition of writing in Hawaiian Pidgin is rich (see Milton Murayama’s All I Asking for is My Body, Darrell Lum’s No Pass Back, and anything published by Bamboo Ridge Press), Linmark’s work provides another dimension by focusing on speakers who have Tagalog in their family background, rather than Japanese or Chinese, which dominated Hawaiian Pidgin literature.

As a teacher, I find the interrelated short story and poetry forms eminently useful in the classroom, especially the poem, “They Like You Because You Eat Dog,” which of course echoes the title of Jessica Hagedorn’s novel Dogeaters, and is also usefully compared to “The Look-Alike Women” in Her Wild American Self by M. Evelina Galang. The structure of the book can be introduced to students as being like a group of friends talking each time you get together. Some of the same stories get retold, with information unfolding more deeply each time.

Thematically, I find the way the text deals with the sexuality of children supremely nuanced. This is difficult stuff to write about, especially because he is so good at capturing that pre-adolescent voice, and at the same time letting us know as adult readers that what the kids might think is ok is maybe not so good (compare to Galang’s Wild, which deals more with gender roles and immigration, but somehow manages to be less overtly sexual).

In particular, having a proud young queer protagonist who is the smart (and smart-ass) bright center of the book really makes this a joy to teach. If taught well, this book has the potential to help all students feel more like insiders and less like outsiders. Additionally, given the Association of Asian American Studies controversy (it happened in a hotel ballroom in Hawaii, and I was there!) over LoisAnn Yamanaka’s narratives about the depiction of Filipino men in Hawaii as sexual perverts (Blu’s Hanging), Linmark’s open discussion of complex dimensions of queer Filipino sexuality provides an important perspective, if not an example of how to do it in a way that allows more space between the narrator and the author.

“Kalihi in Farrah/Farrah in Kalihi: Marginalization and Appropriation in ‘Rolling the R’s'” by John Charles Goshert

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you remember your voice / because you are American
because you are a dark Pilipino-American / and that they will balisong your tongue
because they can tell you speak / unlearned English.
—Michael Melo

Undoubtedly, the United States has long exploited the lack of basic historical literacy among its people, especially among those who tend to benefit from hierarchies and power dynamics that are invisible or euphemized within dominant historical narratives. During the 1990s, queer theorists grappled with the ways in which, alongside unprecedented mass culture recognition of historically marginalized people, power was being concentrated by dissolving Americans’ self-understanding as citizens, as members of a common, public culture. As Lauren Berlant explains, the period’s ascendant narratives “[downsized] citizenship to a mode of voluntarism and privacy” (5), which fundamentally shaped marginalized people’s experiences of sudden visibility in mass culture. Practices of inclusion remain managed by melioristic narratives that depoliticize and dehistoricize what visibility means, while obscuring ways of imagining more politically confrontational alternatives. With these concerns in mind, when I began teaching post-Stonewall LGBT/ Queer literature and culture courses over a decade ago, I knew that texts I assigned would need to meet some essential criteria if they were to be included. They would be out, and not rely on euphemism and code to treat sexual content; they would be sex affirmative, and whenever possible, sex positive; they would be politically conscious and politically diverse; and they would situate sexual identity within a field of intersecting gender, ethnic, sociocultural, geographic, and class contexts. This anniversary forum is an opportunity to focus on one of those texts and examine its location in the course sequence at a critical intersection of LGBT/Queer and Asian American literary and cultural histories.

Set in 1970s Hawai‘i, Rolling the R’s resonates with confrontational politics and poetics the period’s young Asian American writers developed to explore the dominant racial, gender, and sexual discourses that structured their marginalization. Specifically, Linmark recalls cultural reappropriation practices by members of the Aiiieeeee! group, such as Frank Chin and Jeffrey Paul Chan, who used ironic affirmation of dominant stereotypes and narratives as a key strategy of undermining their efficacy. Chin, for instance, reconfigured the historically pejorative “Chinaman” as a term that could describe an outlaw political-linguistic hybridity; the empowering Chinaman identity, he believed, was best understood as a “miracle synthetic” which confounded persistent attempts to contain, and in turn, continue to marginalize and degrade Asian Americans (Chickencoop 8). Similarly, LGBT Asian American literature and criticism extend this disruptive tendency by exploiting the ways in which Asian Americans have long been “queerly” positioned along ethnic, national, gender, and sexual axes, both within and against dominant U.S. historical/cultural narratives. Certainly subjected to profound forms of discrimination and marginalization, queer Asian Americans are also uniquely positioned to identify and intervene in what Chin described in 1970 as “all the space that no one was occupying” (Chinaman 111). Exploring points of contact between ethnicity, gender, and sexuality, and doing so within the histories of American national identity and colonialism, Rolling is a key text in the 1990s “emergence of a distinct and visible queer Asian American identity…willing to engage actively in the discourses of both Asian American and queer politics but unwilling to bifurcate… identities into the racial and sexual” (Eng and Hom 3-4). Furthermore, Linmark’s position as a Filipino American writer, his predominantly Filipino American characters, and their Pinoy cultural sensibility, present additional challenges to normative categories by drawing on the especially fraught position Filipino Americans occupy as ethnic-national ciphers within dominant U.S. culture and its literary history.¹

Although densely populated, especially for such a brief text, Rolling focuses on a small group of preteen Asian and Asian Pacific Islander Americans who are immersed in the novel’s 1970s popular culture context and articulate its recurring themes of ethnic and sexual marginalization. Here I show how two consecutive chapters illustrate Linmark’s mapping of marginalized people’s responses to assimilation pressures and how his explicit treatment of ethnicity helps readers grapple with similar pressures in domains of gender and sexuality. By exploring the ways in which young people’s ethnic, gender, and sexual abjection often produces internecine conflict, Linmark also encourages readers to see his characters’ attempts to develop critically inclusionary strategies of resistance. Rolling thus contributes to an LGBTQ reading sequence that provides a diverse critical, and explicitly political, historical context for assimilation pressures which have dominated mainstream discourse and political agendas for the past two decades. The novel responds to these pressures by juxtaposing normative and disruptive—or assimilationist and resistant—responses to dominant American cultural trends and motifs, whose tendency is to obscure and marginalize precisely the queernesses those young Asian Americans represent, as well as the threat they pose to a reductive ethno-sexual order.

Most striking about Linmark’s novel is its ability to articulate the experience of marginalization along various axes that resonate with each other yet do not simply cohere into a single undifferentiated whole. Linmark maintains significant (if not essential) distinctions among ethnic, gender, and sexual identities, even as he examines how marginalization touches each in similar ways, and together, amplifies experiences of abjection. As he shows, pressures to assimilate are ubiquitous; and—whether ethnically, sexually, nationally, or in some combination—when dehumanized and degraded by dominant narratives, vulnerable people are especially susceptible to promises of rewards for acquiescing. The juxtaposition of chapters, and the ways in which events are articulated through various and often conflicting perspectives, illustrate the stakes of individuals’ and communities’ responses to assimilation with either concession or resistance.

 

One of those chapters, “Our Lady of Kalihi,” examines the price of concession, when, in the wake of a storm that fills Kalihi with the island’s garbage and decapitates the local Madonna, the Roman Catholic parish bankrupts itself to rebuild the statue of its patron saint. Although these efforts may have led inevitably to financial ruin, Linmark focuses on specific features of the replacement image purchased by Kalihi locals’ donations:

It was so expensive it came with a free crown and a makeover fit for a Halston runway show: Sophisticated with the jaguar eyes of Bianca Jagger, pout of Sophia Loren, cheekbones of Laura Hutton, arched brown of Brooke Shields, and the attitude of a Studio 54 Disco Mama…She does not look at you serenely as before, but points her catty eyes toward the ships anchored at Pearl Harbor, prowling to see which sailor will crown her Notre Dama de Noche (21).

On the surface a cautionary story about economic exploitation, the chapter is also concerned with the statue’s contribution to Kalihi’s abjected status. Purchasing an object for worship that stands monolithically as a reminder of the distance between Kalihi residents and images of desirability, locals perform and reinforce their own subordination as objects for sexual and economic exploitation. In this case, the agent of subordination is no longer any of the external ones identified throughout the novel—white tourists, Pearl Harbor, elementary school curricula, TV shows—but now internal, apparently emerging organically from among the locals themselves and their parish priest.

In contrast to Father Pacheco and his congregants’ uncritical reproduction of their own colonized status, Linmark surveys Kalihi’s outsiders to show how a more critical, ironic appropriation of ubiquitous images threatens to short-circuit dominant-marginal relationships, particularly along ethnic and sexual axes. While “Our Lady of Kalihi” shows how mainstream images reinforce the abjecting distance between locals and normative ideals of beauty and desirability, Rolling’s next chapter, “Kalihi in Farrah,” identifies ways in which marginalizing images are susceptible to the kinds of reappropriation that Chan and Chin believed would produce a stereotype-disrupting “noise of resistance” (65). As on the mainland, the late 70s Farrah Fawcett craze affects every young person in Kalihi, from straight teenage boys like Ernesto Cabatbangan, who finds in her the ideal object for his sexual desire, to Edgar Ramirez and Katrina Cruz, whose responses range from exuberant fandom to precocious analyses of Charlie’s Angels’s “socio-politically charged issues…such as prostitution, lesbian undertones, and Orientalism” (23).

While most Kalihi locals relate to Farrah as an external object of interest/desire, the chapter focuses on Filipino immigrant Orlando Domingo’s queer reproduction of Farrah’s trademark hair and fashion styles. Rather than simply mimicking the model, Orlando embodies Farrah as a means of articulating a queer Pinoy identity that destabilizes injurious linguistic and cultural stereotypes. Farrah provides Orlando an alternative orientation to the English language and U.S. history, the normative institutional uses of which conspire to degrade him; no longer (only) standing for Filipino, “F [is] for Farrah” (23), and by wearing his hair like Farrah’s, he transforms the pejorative “Flip” into a site of collective resistance for himself and other “Filipino Farrah wanna-be queens” (24). Informing them that “A Flip is a Flip is a Flip” (24), Orlando’s re-appropriation of pejorative language and stereotypes empowers the queer Asian American community. Moreover, Orlando’s increasingly outré appearance confronts the Kalihi community’s unexamined commitment to normative behavior and prompts corrective action “before our boys catch this madness and start huddling in skirts and pom-poms” (24).

If Ernesto’s desire to be inside Farrah reproduces normative, consumptive responses to the pop culture phenomenon, Orlando responds by locating—and simultaneously transforming—the Farrah inside himself. Juxtaposing these reproductive and disruptive orientations to the Farrah image, Linmark recalls similar strategies by Chan and Chin, who “mean to reverse the charges with our writing…to inject our sensibility into the culture and make it work there” (79). Ernesto’s straight, masturbatory focus on Farrah’s image reinforces a normative Orientalist logic that renders any reciprocal relationship (sexual or otherwise) between white women and Asian American men unthinkable outside the realm of symbolic fantasy. The Ernesto-Farrah relationship also obliquely echoes the position of Asian American women, whose persistent representation as exoticized objects for white sexual consumption similarly denies their agency and centrality in sustaining Asian American identity and community. In contrast, Orlando’s Farrah performance incites panic among supporters of the ethno-sexual norms on which Kalihi’s values rest and, moreover, confounds official attempts at sanction when Principal Shim “squirms at the thought of Orlando turning the tables and charging him…with discrimination against a Filipino faggot whose only desire is to be Farrah from Farrington, as in Farrah, the Kalihi Angel” (25). Now imagined as a sacred messenger, Orlando not only provides Kalihi’s straight Asian American boys with a disruptive alternative image of their ethno-sexual identities, but more broadly presents an alternative to a community that, in the novel’s preceding chapter, had placed its faith in a bankrupting and abjecting disco Madonna. His noise of resistance thus introduces a sense of precarity into normative dominant-marginal relationships and the pop culture symbolic order that maintains them.

The conflicts in Linmark’s novel shape an argument about resistance as a collective, yet ironically heterogeneous, endeavor of ethnically and sexually marginalized young people and their allies who develop community through sharing experiences of both degradation and self-assertion. By engaging simultaneously with concerns of two periods of LGBTQ history—revolutionary gay consciousness building in the 1970s and the Queer Nation/queer studies movements in the 1990s—Rolling contributes to developing a historical consciousness among readers who desperately need one. If, as Jen Manion writes, “[w]idespread ignorance about the history and diversity of LGBTQ people and communities still stands as a significant obstacle in the movement for freedom and equality” (125), a diverse core curriculum that includes work like Rolling can challenge homogenizing, melioristic historical narratives and encourage students to critically historicize their own moment as one of possibility, rather than simply resign themselves to it. There may be nothing essentially wrong with contemporary tendencies to see marriage—or other currently dominant issues like childbearing, adoption, and military service—as worthwhile personal goals; however, for Manion, marriage’s apparently unquestioned social status as the “single most significant gay rights issue of our time and the shallow, polemical, and ahistorical debates that framed it…signal not how far we have come but rather how systemic and powerful heteronormativity really is” (116). Surrounded by entreaties from dominant culture and prominent gay organizations to make themselves desirable to the very society whose institutions marginalize and degrade them, young LGBT people are rarely encouraged to seriously entertain ways of mobilizing queer sensibilities to change the self-understanding of dominant culture instead.

By exploring intersections of ethnicity, gender, and sexuality, and examining how “sexual and racial difference come into existence only in relation to one another” (Eng and Hom 12), Linmark’s novel joins a set of core texts that trace an affirmatively heterogeneous queer historical narrative. Equally important, the novel also provides readers with opportunities to explore connections between LGBTQ and ethnic critical traditions, including those in which we might least expect to find them, as with Chin and Chan’s work in the 1970s. In both ways, Linmark’s novel incites a desire for historical literacy among students and provides opportunities to explore supplemental texts that productively problematize the novel. In my own course, Linmark’s setting in the 1970s connects with literary texts of the period which students have already read, such as Rita Mae Brown’s Rubyfruit Jungle (1973) and Larry Kramer’s Faggots (1978). That setting also provides an opportunity to introduce critical texts that illustrate revolutionary consciousness raising and the intersections of identity axes, such as Latino author John Rechy’s The Sexual Outlaw (1977), which echoes Linmark’s cautions about assimilation as a form of self-abjection. Likewise, the novel’s publication in 1995 connects it to the period’s literary texts, such as Tony Kushner’s Angels in America (1990, 1991), and to critical queer theories, such as Urvashi Vaid’s Virtual Equality (1996) and Thomas Yingling’s “Fetishism, Identity, Politics” (1995), which question institutional legitimation strategies in queer studies’ “canonical moment” that prevent us from sounding relations between sexuality and “other ‘species’ of difference like race, class, and gender…as carefully as they might be” (155). Twenty years after its initial publication, Linmark’s novel not only remains a significant Asian American work and contribution to queer Asian American writing, but in fact increases in significance for today’s readers who must grapple with contemporary pressures to assimilate into the very norms and narratives that have produced and continue to reinforce marginality.


¹ See, for instance, Gonzalez and Campomanes’s Deleuzian assessment of a Filipino American identity and literary history which confounds normalizing discourses with a sensibility that requires “unrecognizable different or alternative kinds of imaginations of nationality in Filipino literatures and predicaments” (84).


Works Cited
Berlant, Lauren. The Queen of America Goes to Washington City: Essays on Sex and Citizenship. Durham: Duke UP, 1997.

 

Chan, Jeffery, and Frank Chin. “Racist Love.” In Seeing through Shuck. Ed. Richard Kostelanetz. New York: Ballantine, 1972.

 

Chin, Frank. The Chickencoop Chinaman and The Year of the Dragon: Two Plays by Frank Chin. Seattle, U of Washington P, 1981.

 

 

—. The Chinaman Pacific and Frisco R.R. Co. Minneapolis: Coffee House P., 1988.

 

Eng, David, and Alice Hom. “Q&A: Notes on a Queer Asian America.” In Q&A: Queer in Asian America. Eds. David Eng and Alice Hom. Philadelphia: Temple UP, 1998. Print.

 

Gonzalez, N.V.M., and Oscar V. Campomanes. “Filipino American Literature.” In King-Kok Cheung,  Ed. An Interethnic Companion to Asian American Literature. New York: Cambridge UP, 1997. 62-124.

 

Linmark, R. Zamora. Rolling the R’s. New York: Kaya, 1997.

 

Manion, Jen. “The Absence of Context: Gay Politics without a Past.” QED: A Journal in GLBTQ Worldmaking 1.2 (2014): 115-31.

 

Melo, Michael. “Unlearning English.” In Returning a Borrowed Tongue. Ed. Nick Carbó. Minneapolis: Coffee House P, 1995. 152-56.

 

Yingling, Thomas. “Fetishism, Identity, Politics.” In Judith Roof and Robyn Wiegman, Eds. Who Can Speak?: Authority and Critical Identity. Urbana: U of Illinois P, 1995. 155-64.

 

 

“A++++: Zack Linmark’s ‘F For Book Report’” by Micah Perks

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For the 100th year anniversary of Rolling The R’s I wanted to talk about my “bestest bestest” part, “F For Book Report,” the part I’ve taught over a dozen times in classes at UCSC.

“F For Book Report” begins with the teacher’s directions to the students about how to write a book report, which includes a list of traditional questions about theme, character, and conflict, and ends with an exhortation in caps: “NO PIDGIN-ENGLISH ALLOWED.”

The author of the report, Katherine Katrina-Trina Cruz, has chosen to write on Judy Blume’s Forever. Forever defined the 80s generation, at least for girls. In middle school many of us first read about masturbation and menstruation in Judy Blume. Then Forever blew our minds in high school. It’s a frank love story in which the teenage girl has sex and never regrets it. So, Forever: iconic book, but iconic middle class white girl book, and Katherine Katrina-Trina Cruz is about to appropriate it to tell her own story.

Katherine starts out following the directions: she gives a “concise summation” of the book in unemotional, standard English. But by the second paragraph her energetic voice begins to break through the form and the language: “I feel like I know (the main character) so well, even though I one local and she live all the way east coast side.” By the third paragraph of her book report, Katherine has burst into outrageously honest wisdom: “I feel kind of sorry for Sybil cuz all she do is spread spread spread…Sybil, she not too smart. That’s why she not the main character.”

Even though she thinks Forever is one of the “bestest bestest” books she’s ever read, Katherine has some criticism. She thinks the fact that the male main character names his penis Ralph is “unbelievable.” “I swear only haole guys would name their botos Ralph. Only haole guys would give their botos names period…When Erwin and I make love…I talking about tongue-kissing, ball-tickling, ear-licking, everything. None of this Ralph shit.” Take that, Judy Blume! Can you hear the sly joy behind the voice? Like Mark Twain or George Saunders, you can tell Zack Linmark is always having a party on the page.

Towards the end of the report, Katherine suddenly directly addresses her teacher: “I recommend this book especially for you, Mrs. Takemoto, cuz you might learn a thing or two about love and the painful truth that nothing last forever, not even love.” She goes on to reveal that her mother is sleeping with Mrs. Takemoto’s husband. Her advice: “tell him to fuck off…(because), like I said before, love don’t last forever…”

It appears here that Linmark is giving the finger to traditional literary form and content, and he is, but he also maintains extremely tight control over form, voice, and theme. A fabulous irony is that, although we know from the title that Katherine has already gotten an F for this report, she’s actually followed the teacher’s directions with unconventional brilliance. She’s answered all her teacher’s “universal” questions: is there a moral? Would you recommend the book? Does the main character get what she wants? This tricky balance is at the center of the whole of Rolling the R’s. Linmark is all rule breaker and all classic rigor, he’s Peter Pan and he’s Baryshnikov, and like both, he makes flying look easy.

“For Zack (that is for AALR to celebrate ‘Rolling the R’s’)” by Karen Tei Yamashita

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It’s been awhile. Well, if we’re celebrating how many years of Rolling, is it one hundred already? Okay, it’s not that long ago, but this is not about Rolling. It’s about Zack, Zack as a newbie teacher of creative writing. It’s all very fuzzy now, but I think my colleague Micah Perks and I convinced Zack to come to UC Santa Cruz to teach creative writing for a year, which year I don’t remember. At first he moved into a room in my house dis-occupied by my traveling daughter. But after about a month, my daughter moved back home, so Zack kindly agreed to move into his office. Well, agreed is not really true, but this is a writer who has said that his home is his email address, and it was a pretty big office. Micah helped him haul in a futon bed from her house, and he set up camp in the Kresge creative writing annex. Besides our offices, the annex had a small lounge, a kitchenette, and a bathroom. Perfecto. After awhile, he made friends with another professor who also lived in his office at Kresge College, and pretty soon, Zack knew where to take showers, where to wash and dry his clothing in the coin-operated student laundry, the route to the gym, how to order out for pizza, how to raid the student cafeteria. This business of living out of one’s office was apparently a time-honored tradition. Well, we are talking Santa Cruz. If you arrived in the morning, you’d find Zack coming out of his office in his bathrobe, hair shoved upward in the wild sleep pattern of that evening. He’d yawn and stretch and look at you like, did you bring me my coffee? Then he’d say that he’d been up all night writing, which is what writers usually tell you in the morning, like it’s a badge of something. I want to say here that Zack finished his novel Leche while living in that office, and I felt that we had contributed significantly to his literary career. But then, he must have revised that first draft another ten times, so we could never make that generous claim. The other claim we wouldn’t want to make is that we initiated his teaching career.

The thing about teaching is that you figure if you do what your teacher did, it should work. Even if your teacher was a hard-ass who crossed out all of your precious words and circled one lousy sentence, saying This is it, and somehow you were tough enough to come back and write from that one leftover sentence and then get published, I guess that’s the teacher you emulate. I wouldn’t say that Micah Perks and I have cultivated a warm and fuzzy creative environment like the two mothers we are, but we are not tiger moms by a long shot. Micah Perks has always thought of herself as the bad cop, and I’m the good cop. I say to students: You need to work on this. I shake my head. Wait till Micah sees this; she’ll fix it. Actually, everyone knows we’re pushovers. So when Zack arrived, we thought Zack will really fix it. When Zack wasn’t fixing haywire student writing, wasn’t teaching or in his office writing, he was usually at my house, eating dinner, watching TV, and snoring on my couch. One day he appeared in the doorway and announced defeatedly, Karen, I screwed up. Maybe I was bringing the pot roast to the table. What’s that supposed to mean? No really, he said. Today I told the students their work was shit, that I wanted to vomit. I put the roast on the table. Oh yeah? I laughed. Vomit? Ha! What are you worrying about? It’s fine. They need to hear the truth. Let’s eat. Okay, I admit this was a missed opportunity for mentorship, but what did I know? I never got an MFA. In fact I never participated in a workshop, but here I was teaching. Shouldn’t Zack know better than me? At the end of the year, Micah reported the bad news. Zack’s teaching evaluations were horrible. She quoted one student evaluation over the phone: Listen to this: He said my work was shit and that it made him vomit. I ran out of the classroom and couldn’t write again for the rest of the quarter. Needless to say, this was not the end of Zack’s teaching career. I probably lied or avoided the subject and wrote recommendations to get him jobs in Hawaii and Miami, and there are hundreds of students since then who will attest to his superb teaching skills.

I miss that year of Zack. Maybe some students had a rough time, but if you circle one sentence in these many years of teaching, Zack was it.

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