
Growing up in a subculture where being a doctor or a lawyer is admirable, telling your Asian parents you want to write books is like telling them you want to wash dishes at a Thai restaurant for the rest of your life. And I have washed dishes, in a pizza joint. But growing up without prominent Asian American voices or heroes can be arduous. So what did I do? I gave up break dancing, dropped out of high school, and started gangbanging. At that time, they were my heroes and they took me under their wing and showed me how to be street smart. I don't blame my past actions on not having any heroes, but I think having inspirational people -- aside from your own parents -- can go a long way.
Trying to discover my roots was like trying to find a hooker in a library. If you remember correctly, we were running on hard copy encyclopedias, outdated social studies books, and mostly White writers crafting us their memoirs on their journeys and voyages around the world. Not a single prominent Asian American writer in sight. If there were, none of the intellectuals could roll one off their tongue like they could an Asian joke they told each other at their social gatherings. And this was the state of minority literature in this country, exclusive to elitist authors and a few select African Americans.
When I got into college after navy life, I majored in English with a concentration in writing. If I got a nickel for every time James Joyce's
Ulysses was used as a reference in my undergrad studies, I'd have been as rich as the head of the English department. Every literature and writing class I took, these lecturers and professors could not get enough of this
Woman Warrior in Maxine Hong Kingston. Every reference to Asian American literature had the word Kingston in it. Every now and then, celebrity Amy Tan would be injected into the discussion. These two female Asian American writers constituted AA literature. I read them front to back,
Woman Warrior and
The Joy Luck Club. But still, this was not my cup of green tea.
As the fight progressed to get an AA studies program, some intellectual up there in a suit finally caved to the years of protesting and granted our university an AA literature professor, but not an AA studies program. He was Berkeley trained and certified, like a true English Language scholar. Like any eager student plotting a cultural revolution, I registered for this class and got introduced to real AA literature.
Class Reading List:Aiiieeeee!: The Anthology of Asian American Writers edited by Frank Chin, Lawson Inada, and Jeffrey Chan.
No-No Boy by John Okada
The Chickencoop Chinaman/The Year of The Dragon by Frank Chin
Jasmine by Bharati Mukherjee
My Reading List:The Accidental Asian: Notes of a Native Speaker by Eric Liu
Donald Duk by Frank Chin
The Chinaman Pacific & Frisco R.R. Co. by Frank Chin
The Rape of Nanking by Iris Chang
YELL-Oh Girls! by Vickie Nam
I was so enthusiastic about AA literature I read all these within the course of one semester. To me, and every other person that follows AA lit, there were two sides: The Kingstonians and then the others. One catered to White mainstream society with fairy tale fluff and the others were subpar and not acceptable to the
New York Times Best Seller list. Which one did I fancy? I chose the latter. Evidently, every intellectual English Scholar at every Ivy League institution fell in love with their
Kingstonians.
As I sat in an advanced fiction writing class the following year, I wrote a couple of semi-autobiographical short stories based upon my own life. In conjunction with that, we read selected stories from
Best American Short Stories 1999 edited by Amy Tan. Even though I got an A in the class, to say the least, I had some run-ins with this professor about literature. He said he wanted to "feel" and "taste" my culture in my writings. This told me off the bat he thought of me as a person alien to American culture.
Being the big mouth that I was, I told him something to this effect:
"Look. I'm no Amy Tan and won't pretend to be. This whole idea you have about creative writing, you associate that with my appearance. I'm not gonna write a story about papaya salad and how the smell of it is a metaphor for freedom from tyranny. You guys have it all wrong. Because I'm an ethnic minority you think I have to write a story about coming to America. I'm sorry, I'll save that one for later."
At that point in time, I knew that his thinking was no more different from a know-nothing literary agent or a snobby publisher looking for the next Kingston. My chances of actually writing a story so far from this Kingstonian approach had no place in the literary or the publishing world. I've already heard stories from AA peers and others about how literary journals and magazines have marginalized them because they did not meet this par. And, yes, it is a sad story in itself.
So where does this lead us down the road? As Kingston's
Women Warrior continues to be the most widely taught literature book at the university level, talented AA writers will find no place on the book shelves of community libraries and American universities, no less a place in an American literature class. If this continues to be the path we take, I'd like to be no part of it. As the publishing industry continues to flop as we speak, I could only grin and look the other way.