Profile: Writer Frances Kai-Hwa Wang

Lucky me! I got to meet my Facebook friend, writer Frances Kai-Hwa Wang, in person this week. Frances was visiting San Francisco for a writers conference en route to the renowned Banana 2 APA bloggers conference in Los Angeles.

With Frances in San Francisco's Chinatown

Frances Kai-hwa Wang

 

 

 

 

 

 

 

 

 

 

 

 

Frances writes the column “Adventures in Multicultural Living” for AnnArbor.com and is a contributor to many books on multiculturalism and education. She’s also an active blogger, teaches at two universities (including the University of Michigan), and is the mother of four children. Whew! Talk about doing it all!

It was great meeting Frances in person at last, after having read her always witty and informative columns. We had a lovely dim sum lunch at Four Seas and talked about everything under the sun, including Tiger Moms, images and stereotypes of Chinese in the media, education, writing, and shopping. (Yes, but of course, we managed to work that into our stop in Chinatown as well.)

At Four Seas Restaurant

 

 

 

 

 

 

 

 

 

I was sad when Frances had to hurry back to her conference but I’m glad that we could get better acquainted. I can’t reveal too many details about her upcoming book project, but I can say it sounds fantastic, timely and oh-so-relevent in this age of globalization and economic anxiety!

If you want to read more by Frances, check out her website www.multiculturaltoolbox.com and her blog http://www.franceskaihwawang.blogspot.com/.

And if you’re going to be attending the Banana 2 APA bloggers conference in Los Angeles on Feb. 26, 2011, Frances will be speaking on the panel “Blogging and Social Justice.”

Lion Dancers on the move on Grant Street

 

 

 

 

 

 

 

 

 

 

Finally, I’d like to add that Frances sure brings a lot of good luck wherever she goes. The week before she arrived in the Bay Area, we had non-stop pouring-down rain, the cold, horizontal, blows-directly-into-your-face kind of rain, which is just miserable and what we’re known for in the winter. Then in comes Frances, and the sun returns. Then while we were in Chinatown, we witnessed not one but two lion dances!  Now is this a coincidence or is this a lucky person to know? (I’m betting on luck.)

Lion Dance troupe drumming for donations in Chinatown

Posted in Anthologies, Asian American Literature, Asian Pacific American, Chinese women, Interviews, photos, Writing Process | Tagged , , , , , , , | 2 Comments

CHERISHED and my pig

The editor of a new anthology CHERISHED: 21 Writers on the Animals They Have Loved and Lost just sent me the first online review. This is certainly a surprise as the book won’t hit stores until April!  My essay “Red the Pig” is mentioned in the review from Tribute Books. FYI, the photo used in the review  is *not* of my pig but just an illustration. My pig looked like this:

Monday, February 7, 2011

 

Barbara Abercrombie – Cherished: 21 Writers on Animals They Have Loved and Lost – Giveaway & Review

The loss of a beloved animal is often best commiserated among fellow pet owners. Those who do not have a four-legged family member in their lives often cannot comprehend the inconsolable void that accompanies the death of a pet. When the earthly bond of unconditional love is shattered, only the memory of it remains. That is the empathetic feeling that is captured in the short story collection, Cherished: 21 Writers on Animals They Have Loved and Lost edited by Barbara Abercrombie. It is a heartfelt look at bereavement and grief throughout the animal spectrum. There is no defined limitation as to what constitutes a pet, and each of the contributors reflects on the specific losses they have endured. For many, it is the first time they have turned to writing in order to express the emotions that accompanied their final good-byes. 

The standout piece of the anthology is “True Love” by Samantha Dunn concerning her horse, Gabe. In a fitting description, she writes, “I see him again each time I go to a movie theater and the logo for TriStar Pictures appears on the screen – the strong white chest, the thundering legs.” What makes this relationship even more remarkable is that at the time, Samantha was living in a trailer park – not the typical residence of a horse owner. Throughout her teenage years, Samantha enjoyed riding and caring for Gabe. It is not until she returned home during a college break that she learned that her grandmother had sold the elderly equine to a children’s summer camp. Samantha never found out if this story was true, or just something her grandmother told her in order to comfort her about Gabe’s final resting place. Choosing not to uncover the truth, this unresolved ending still affects Samantha to this day.

Another atypical pet revolves around May-lee Chai’s “Red the Pig.” Growing up in the farmlands of South Dakota with a white mother and an Asian father wasn’t easy for May-lee and her brother. In order to fit in, they decided to work together in raising pigs. Red was the biggest of the piglets. May-lee named them by color in order to not get emotionally involved, but it wasn’t long before she was posing with Red for her senior picture. As Red continued to grow, the day arrived when he was destined for the slaughterhouse – something that May-lee could never really accept. After the loss of her pig, she knew she “never wanted to live on a farm again.”

In “Party Girl,” Monica Holloway explores the animal-autism connection between her son, Wills and their shepherd-collie mix, Hallie. Monica shares, “there was a deep love between them, but it was as if Hallie were a protective aunt, standoffish but fiercely protective.” When Wills was 12-years-old, he returned the favor. After Hallie fell into the pool and her arthritic body sank like a stone, it was Wills who jumped in and saved her. Pretty impressive for an autistic boy who didn’t like getting his clothes wet. As the selection comes to an end, Hallie is rapidly approaching her final days. Monica ends with a poignant thought, “Hallie … has been the one constant through the years, completely devoted but asking nothing in return.” It is a fitting summation of love between pets and owners everywhere.

The subject matter of the book may be one that many readers will be afraid to approach. The loss of one’s pet is hard enough without having to endure the blow-by-blow accounts of other owners for over 200 pages. The repeated scenes of physical deterioration and subsequent euthanization do not make for happy reading. The ending of each story is known before diving in. While it can lead to an experience of continual heartbreak, the collection’s intention is to help a pet owner through the grieving process by being able to gain insight from the coping strategies of others. Whether this is a helpful strategy or not is up to the needs of the individual reader.

Overall, these writers share their personal experiences in order to empathize with other grieving pet owners.

Cherished: 21 Writers on Animals They Have Loved and Lost by Barbara Abercrombie is available for $14.95 at Amazon.com and at BarbaraAbercrombie.com.

Review copy was provided by New York Journal of Books.

Posted in essays, photos, pictures, Reviews, Writing Process | Tagged , , , , , , , , , | 4 Comments

Sueyeun Juliette Lee in the City

Had a wonderful opportunity this weekend to attend a reading by my friend, the poet Sueyeun Juliette Lee, in San Francisco at the California College of the Arts, sponsored by Small Press Traffic.

With Juliette in Berkeley earlier in the week

Juliette read selections from poems from her books,That Gorgeous Feeling (Coconut Press),  Underground National (Factory School, 2010) and

Mental Comittment Robots (published by Portable Press at Yo-Yo Labs, 2007)).

Juliette’s reading was wonderful and inspiring in her use of language, choice of metaphor, and provocative take on her subjects. She first read poems from That Gorgeous Feeling, which examine (in part) how Asian Americans are represented in the media. Opening stanza of her poem dedicated to Margaret Cho:

korea may be gay but I do not believe that you are./

korea is  a peninsula. You and I are people meaning that/

we have hair we comb and things to look at. our lips/

pout and take on the fullness of an adopted meaning.

In her poem/ode to Congressman Mike Honda (D-San Jose), Juliette takes a similarly playful tone:

Go, Mike, Go

“When you dash past, it could be I lose color./ Take this cup from me, I insist.”

And in her poem to Daniel Dae Kim, she describes him as:

a perfect symmetry

of both parts animal, feline and quizzical, and man

Underground National is more overtly political, examining the way nations are formed and deformed (in the case of North Korea) by geopolitical forces. Juliette juxtaposed various maps of Korea—-high-tech, ancient, satellite images, etc.—-as she read her poems, which often took as their point of departure actual news articles, briefing papers about North Korea, academic textbooks, and even dictionary entries. But the way that Juliette incorporates these found texts to subvert their original meanings and explore the way “history collides with human memory” (as her publisher’s website describes the book) is uniquely her own.

Finally she read one excerpt from her chapbook Mental Commitment Robots, in which she says she wanted to examine alternate states of consciousness. For example she said her poem, entitled “I am a hammerhead shark. I make no sound,” is a metaphorical way of examining how race is constructed in society: sharklike, always moving, carnivorous.

As a video of swimming sharks played on a giant screen in the background, Juliette read:

An alternative to an agreement is squeeze, applying accupressure to cartilaginoid joints that give under semantic duress. Pursue me across numerous divides, over chasms of understatement now clothed in subtextual, “common sense” racination. First I am blue and then a movement, a future in a song remanded to the stomach, a pair of milky eyes that refuse to triangulate, a stereoscopic ocean floor.”

Juliette is one of my favorite contemporary poets. As poet Tim Yu has written about her work, “Her poems move effortlessly from lyric solemnity to giddy play, resonating with the influences of Gertrude Stein, John Yau, and kung-fu movies.” I would add Korean American poet Theresa Hak Kyung Cha to that list of influences although Juliette is clearly her own voice and her own person, imitative of no one.

If you haven’t had the opportunity to read more of Juliette’s work, I highly recommend all three books!

Posted in Asian American Art, Asian American Literature, Asian Pacific American, photos, pictures, Writing Process | Tagged , , , , , , , , , , | 1 Comment

Writing Tips for Women of Color (& everyone else, too!)

Women In Art: May-lee Chai on women of colour writers

[I was very honored to be featured on the Canadian blog: KickAction, a blog for Girls Action Foundation, which is a feminist, anti-oppression non-profit in Canada. I was interviewed by the blogger: J. Rosel Kim. You can follow her on Twitter @jroselkim and read her blog here: JRoselKim Blog. I am pasting the interview from Kickaction.ca below.]

Submitted by jroselkim on 8 February, 2011 – 11:59.

May-lee Chai is a writer, and an educator, based in California. I had first encountered her through the Angry Reader of the Week series in Angry Asian Man (a great resource for Asian-Americans and Asian-Canadians), and was impressed by her articulateness as well as her impressive bibliography. Her books have been recognized and listed by many awards, as well as translated into other languages. When I contacted her via Twitter about this Q&A, she was gracious enough to provide me with thoughtful answers about working as a woman of colour writer, and the health scare that turned her to book-writing.

I’ve noticed a common theme of migration in your books, as well as your own life. How has your own history and background influenced your writing career? How do you decide to write about the things you do?

I’ve moved a lot and lived in several countries. Both my parents moved a lot in their lives and childhood. My father as a child of WWII had to move multiple times in order to escape the advancing Japanese Army in China. My mother in America didn’t live through war, but her family moved 27 times by the time she was 17. After they married each other, they moved us all as a family to very different kinds of environments. I don’t have a sense of having a hometown or a place I can return to that is, definitively, “Home.” I think perhaps this may be why I’m drawn to stories about migration, war, disruption… but I’ve never tried to analyze myself seriously and figure out why I’m drawn to certain topics.

Your works have been translated into many languages – how involved do you get in the translation process? What kind of communication do you engage in with the translators before and during the process?

Sadly, I’m never involved in the translation process! Foreign publishers either contact my agent or my American publishers. I’d love to be involved, but no one’s ever asked me any questions.

However, I’ve translated a book (from Chinese to English): the 1934 Autobiography of Ba Jin, the famed 20th century Chinese novelist. My publisher worked very closely with Ba Jin’s daughter and a member of the Ba Jin Association in China so that we could have the translation rights as well as family photos. Ba Jin was unfortunately deceased by the time I had found a publisher, but his daughter actually let my publisher go through private family albums. I was able to tell my publisher what kind of photos I’d like for the book and I had a whole CD to choose from by the end of the process.

I can understand why most commercial publishers don’t have the time to deal directly with the author in another country, but I think it’s kind of a shame that authors are usually not involved in the translation process.

You worked as a reporter for the Associated Press before turning to writing books. When and how did you decide that you wanted to switch to fiction (and non-fiction) writing?

I decided to take the plunge into novel writing after I had a cancer scare. I had a fast growing tumor and, suddenly at age 24, I thought I might be facing great illness and even death. Before that moment, I never dared to devote myself to writing a whole novel. It seemed impractical. I didn’t know anyone who wrote novels or short stories. But when faced with the prospect of dying without having at least tried to write a novel, I realized it was time to pursue my dreams.  Fortunately, my tumor turned out to be benign and my first novel was published after I wrote it. But if I hadn’t had that wake-up call, who knows if I ever would have dared?

In your opinion, what are some challenges that are unique to women of colour writers?

Stereotypes are still persistent and, alas, they often sell very well. So in addition to having to write really, really well (as all writers should do), we also have to battle stupid notions of what we should be writing about and how we represent ourselves and our characters. It’s really insulting, for example, to be told, “Your English is too good!” I’ve heard that criticism because some people in publishing think Asians need to sound like fortune cookies. Fortunately, I do think the stereotypes are changing. But I’d be lying if I said the stereotypes weren’t a problem.

What are some tips you have for young women of colour writers? What are some resources they could use?

Don’t give up. Read, read, read. Know your field. Read the classics and contemporary authors. Read world literature. Make connections to other writers. If you find a writer’s work you like, write to that person and say so! It’s easier to fight the stereotypes when you have friends helping you, so reach out to others. As for resources, there are some great blogs out there. For example, I love Angry Asian Man and Disgrasian. They have tons of news and make fun of the stereotypes about Asian Americans, which helps. SharifWrites and LargeHeartedBoy have interesting interviews and essays by all kinds of writers. Your  blog– www.jroselkim.wordpress.com –is a great resource!

What are you working on at the moment? Where can people find updates about your upcoming work(s)?

I’m working on a novel about a man who uncovers a terrible crime but can’t reveal it outright because he himself is involved in shady activities. It’s still considered “literary fiction” as opposed to a straightforward detective or crime novel, and it features people who have to leave their home and hide in a faraway city. Somehow I just can’t leave that “migration” theme, can I? For updates, readers can always check my blog.

Posted in Asian American Art, Asian American Literature, Asian Pacific American, Interviews, Questions from readers, translations, Writing Process | Tagged , , , , , , , , , , , , , | Leave a comment

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Biutiful: An Act of Faith

BIUTIFUL starring Javier Bardem has restored my faith in filmmaking. Why? The truly beautiful performance from Bardem and the very moving story about globalization’s underbelly (or rather, frankly speaking, its most despised participants: migrant workers and their go-betweens). Also the best use of ghosts this side of Korean filmmaking!

[youtube=http://www.youtube.com/watch?v=m_OrqZQV8p8&w=640&h=390]

Bardem, who has been nominated for an Oscar for his performance, plays a man dying of cancer with very little time to tie up a lot of loose ends in his life. Many people depend upon him–not the least of whom are his two young children. Others include a group of illegal African and Chinese migrant workers in Spain; various middle-men, including factory managers, a construction site foreman, and a crooked cop; and the families of the dead who pay him to tell them their loved ones’ last thoughts. Yes, in a twist that would seem out of place in less deft hands, Bardem’s character Uxbal has the psychic ability to communicate with the newly departed.

This theme, far from being hokey, is essential to director Alejandro González Iñárritu’s vision. Death is not seen as a release from life’s troubles nor the gateway to a munificent Heaven. Instead as another psychic mentor in the film tells Uxbal, death is the beginning of a long, arduous road.

This notion is echoed in the sentiments that the dead whisper to Uxbal. They worry about thefts, the pains in their bodies (one man says his body is a sea of mud, his hair on fire). They do not impart words of wisdom or comfort. . . just as BIUTIFUL does not provide pat answers to the serious issues of economic inequity, exploitation of global migrant workers, and desperation that the characters endure.

Yet I did not find BIUTIFUL ultimately depressing. Far from it. The fact that a renowned director and successful actor who could have his pick of Hollywood roles chose to make this movie about the least powerful people among us gives me hope. The film does not disparage or condescend in telling the story of the difficult lives of its characters. It also does not turn any of them into paper saints. They are all complex, flawed, interesting and at times infuriating characters portrayed believably by the actors in the film.

Obviously, this film is not “lite” entertainment. It is not meant to distract us from our daily worries. And if your daily worries are overwhelming at the moment, this is probably not the film to see right now. But if you are invigorated by great acting and moments of visual poetry, BIUTIFUL provides a profound journey indeed.

(Note: a friend of mine has pointed out that the gay couple who run a sweatshop in the film could be used by homophobic and ignorant individuals to justify their bigotry. That is unfortunately possible given the climate of hatemongering that we live in…even though I don’t think it’s the intention of the filmmaker or his cast. Straight characters–male and female–also exploit those who are less powerful than themselves for profit. Straight people are not shown as being in any way morally superior because of their sexual orientation.  In fact one of the most exploitative characters–he’s willing to dig up his father’s coffin and sell the space so a shopping mall can be built–is clearly shown to be heterosexual by his many sordid liaisons. The film is not a critique of sexual orientation or a study of sexual orientation. It IS a study of people who exploit poorer people, often because that is the only way they themselves can keep from falling into a greater poverty. That being said, until there is equal representation of gay characters in movies–and truly complex explorations of gay characters in mainstream movies–I think my friend’s concern is a point well worth mentioning.)

Posted in Art, China, Film, Reviews | Tagged , , , , , | Leave a comment

Chinese New Year: Time for the World’s Largest Annual Human Migration

Around the world, Chinese in the Diaspora and in China are spending the start of the Lunar New Year (February 3, 2011) by celebrating the arrival of the Year of the Rabbit!

Families gather to eat hearty meals, give red envelopes with lucky money inside to children and unmarried young people, and set off firecrackers (originally to ward off evil spirits, now to celebrate the new year). Here in San Francisco, over the course of the entire month there will be street fairs, lion dances, the Miss Chinatown USA Pageant, and the largest Chinese New Year Parade outside China.

But for hundreds of millions of Chinese in China, the Lunar New Year (a.k.a. Spring Festival or chun jie 春莭) is also a time to leave the cities where they work–in factories or  on construction sites or in other jobs that city dwellers don’t want–and return home to the countryside where their families must live and wait. This is the only vacation these migrant workers are allowed in order to visit their families. Some families are separated for years on end. (For example, see the essay Waiting for Chinese New Year written by a 14-year-old girl whose parents have not returned home in three years.)

This mass movement of Chinese workers is the largest annual human migration in history. This year according to People\’s Daily, an estimated 230 million Chinese will be traveling home…mostly by train.

In honor of these arduous journeys, I am posting below a series of links to articles and videos, including the trailer for the award-winning documentary “Last Train Home,” that convey in words, pictures, song and video this annual phenomenon.

[youtube=http://www.youtube.com/watch?v=P313uy9hni4&w=640&h=390]

Amazing photos of the yearly migration 1995-2011

Chinese New Year migration, Guangzhou 2008

Video for the song \”Afraid to Go Home for the New Year\” (with translation of the lyrics provided)

Running Naked Man … Chinese internet sensation (he’s not really naked, but this article shows how one man became an internet sensation after he waited in line for 14 hours for train tickets home only to be told he couldn’t buy any. He stripped down to his underwear and confronted the ticket office personnel at the train station…and inspired Chinese with his chutzpah!)

Posted in Asian Film, China, Chinese New Yaer, Chinese New Year, family, movies, photos, Spring Festival, video | Tagged , , , , , | 1 Comment

Chinese New Year: Time for the World's Largest Annual Human Migration

Around the world, Chinese in the Diaspora and in China are spending the start of the Lunar New Year (February 3, 2011) by celebrating the arrival of the Year of the Rabbit!

Families gather to eat hearty meals, give red envelopes with lucky money inside to children and unmarried young people, and set off firecrackers (originally to ward off evil spirits, now to celebrate the new year). Here in San Francisco, over the course of the entire month there will be street fairs, lion dances, the Miss Chinatown USA Pageant, and the largest Chinese New Year Parade outside China.

But for hundreds of millions of Chinese in China, the Lunar New Year (a.k.a. Spring Festival or chun jie 春莭) is also a time to leave the cities where they work–in factories or  on construction sites or in other jobs that city dwellers don’t want–and return home to the countryside where their families must live and wait. This is the only vacation these migrant workers are allowed in order to visit their families. Some families are separated for years on end. (For example, see the essay Waiting for Chinese New Year written by a 14-year-old girl whose parents have not returned home in three years.)

This mass movement of Chinese workers is the largest annual human migration in history. This year according to People\’s Daily, an estimated 230 million Chinese will be traveling home…mostly by train.

In honor of these arduous journeys, I am posting below a series of links to articles and videos, including the trailer for the award-winning documentary “Last Train Home,” that convey in words, pictures, song and video this annual phenomenon.

[youtube=http://www.youtube.com/watch?v=P313uy9hni4&w=640&h=390]

Amazing photos of the yearly migration 1995-2011

Chinese New Year migration, Guangzhou 2008

Video for the song \”Afraid to Go Home for the New Year\” (with translation of the lyrics provided)

Running Naked Man … Chinese internet sensation (he’s not really naked, but this article shows how one man became an internet sensation after he waited in line for 14 hours for train tickets home only to be told he couldn’t buy any. He stripped down to his underwear and confronted the ticket office personnel at the train station…and inspired Chinese with his chutzpah!)

Posted in Asian Film, China, Chinese New Yaer, Chinese New Year, family, movies, photos, Spring Festival, video | Tagged , , , , , | 1 Comment

Profile: Yenly Thach

I recently had the good fortune to meet with Yenly Thach, a contributing editor for Cambodian Alliance for the Arts

Yenly is a fascinating person—an advocate for refugees, writer, grad student at UC-Santa Barbara, and blogger (you can check out her blog here: Curious and Determined).

In so many ways—because of her bubbly outgoing personality, because of her quintessentially So-Cal look: the golden tan, the sun-streaked hair, because she talks fast and she’s both smart and funny—Yenly is the epitome of the Southern California All-American Girl Next Door. She is also herself a former refugee. These identities are not at all contradictory, if you really think about it.

Yenly was born in a Thai refugee camp to a Cambodian mother and Vietnamese father and immigrated to the US with her family when she was 8. After realizing it grew way too cold in winter in Tennessee, the family moved to So Cal where Yenly grew up and went to school.

Yenly said she really didn’t have to question her identity until she joined the Peace Corps and lived in a small village in Costa Rica. Suddenly, like that, her “identity”-–the one that the outside world places on us—changed. At first people wondered if she might be Nicaraguan because of her tan complexion. As she tried to explain that her roots were in SE Asia, people began calling her “Nica-china,” meaning a Nicaraguan Chinese.

“But by the end everyone in my village knew how to find both Vietnam and Cambodia on a map!” Yenly told me. “Now they know the world is bigger than they thought. And I’m proud of that.”

Yenly in Costa Rica

Isn’t it funny how identity can change when we move from one place to the other?

Yenly said because of her dark complexion, people in Costa Rica assumed she was 1) poor 2) unintelligent, and (outside a city once) 3) a prostitute.

I’m glad she can laugh about it. And I’m really glad she showed everyone that they were wrong.

Recently Yenly has been traveling to SE Asia for her Master’s thesis, looking at repatriated refugees, some who return to their home countries by choice and others who were forced to go back by government policies. She’s interviewed 70-80 such repatriated refugees as well as the UN High Commissioner on Refugees in Switzerland, where she lived for three months to study how refugee policy is made and administered. (Yenly was able to complete her work abroad as she is a recipient of the prestigious Boren Fellowship.)

Perhaps most fascinating are her personal discoveries. When she went to Vietnam, she was able to connect to family members, including her grandmother, who survived the war but were not able to emigrate. And she also discovered a whole new facet to her identity: she is in fact considered to be “an indigenous person,” a member of an ethnic minority in Vietnam (Khmer Krom, according to Yenly’s blog). Before she met her grandmother, she’d had no idea.

Meantime in Cambodia, despite her fluency in Khmer and her physical appearance (which to most Cambodians seemed more Cambodian than Vietnamese, she said), she was definitely seen first and foremost as an American by her professor at the university where she studied.

Yenly in Cambodia

“I was too outspoken! I’m used to talking about my opinions and politics, but in Cambodia that was considered dangerous,” Yenly said. Her professor at one point asked her if she’d be willing to do an independent study because he feared that her outspokenness in class would get him in trouble, and even her relatives in the US worried about her safety.

But Yenly persevered and completed her fieldwork.

Now as she finishes her Master’s degree in Global and International Studies, she also volunteers to help refugees of various backgrounds in Southern California. “Sometimes people just need a guide, someone to show them the path.” Yenly was referring to the Burmese family she’s helping to find employment, but she could be talking about any of us. We can’t predict what will happen in any of our lives. Thus I find it reassuring to meet someone convinced that we should be willing to help each other. (Sometimes in the media I feel there’s only talk about how much we’re supposed to be afraid of each other these days!)

Yenly says her goals are to educate the public about refugees’ struggles in the US and overseas. I have no doubt she will succeed.

[youtube=http://www.youtube.com/watch?v=9d0LEaGR3QA&w=640&h=390]

This video was shot by Yenly’s husband and posted by Yenly on Youtube for Cambodian Alliance for the Arts.

Posted in Asian American Literature, Asian Pacific American, Dragon Chica, essays, Interviews, photos, pictures | Tagged , , , , , , , , , | Leave a comment

Mother Tiger Trope Masks Class Privilege

I wanted to write about some fantastic Chinese documentaries I’ve seen over the past year, but instead I’m going to have to write about the debate raging over Amy Chua, of Tiger Mother infamy.

I’ve received enough emails from people wondering if her approach is really typical of “Chinese” parenting or my own upbringing (God forbid!) that I want to reply once and for all here, and then I’ll refer everyone to this blog entry.

First, Chua’s super-controlling style of parenting is not “traditional Chinese” for many reasons, most obviously the fact that most Chinese have had no opportunity to parent the way Chua does. She takes one grain of truth–that Chinese traditionally have emphasized the importance of education–and then manages to conflate that with her own hyperbole to promote her book. Controversy sells. But let’s get a few facts clear. Chua is American. Her parents were ethnic Chinese from the Philippines. (I guess the title “Battle-hymn of the Imelda Marcos Mother” just didn’t have the same ka-ching to it.) However, Chua is exploiting current fears of a rising China,  stereotypes about Chinese (and “Westerners”), the “model minority” stereotype, and almost every mother’s own conflicted feelings about her parenting in order to sell books.

Secondly, there’s been a lot written already about the harmful effects Chua’s abusive language and control-freak style may actually have on children. I will refer everyone to several of the myriad articles about this subject, including this CNN report showing that Asian American females, ages 15-24, have the highest suicide rate of anyone in the U.S. in that age group. This beautiful essay,  \”My Life as the Child of a Tiger Mother\”,by memoirist Lac Su, explains how he would give up all his current success if he only he could erase the psychic scars caused by his parents’ abusive behavior, which in some ways dovetails with Chua’s name calling. This article written by Betty Ming Liu, Parents like Amy Chua Are the Reason Why Asian Americans Like Me Are in Therapy, describes her critique humorously while this Quora post by Christine Lu explores how her older sister’s efforts to fulfill the pressure to be  “perfect” and “successful” resulted in her sister’s suicide. (Meanwhile, a good round-up of bloggers critiques as well as thoughtful analysis is provided by Cynthia Liu.)

Finally, I’d like to address the fundamental problem with Chua’s thesis: she oversimplifies a complex issue with a simple binary of Western indulgent v. Chinese strict.

In fact, this issue is about class not ethnicity. How many people can afford the nannies, tutors, special camps, private schools, etc. that Chua and her husband have paid for? Yet Chua’s book and PR do not emphasize this class privilege or all the people who have contributed to her children’s academic successes. No one woman could do everything, or seriously spend as much time as Chua claims that she did micromanaging her children’s every rehearsal and lives, as Janet Maslin points out in her review in the New York Times.

Chua’s parents were from very wealthy families. (See Chua’s first book, World on Fire, for anecdotes about her relative’s stash of solid gold bars.) Chua is also extremely wealthy. (For example, her daughters attend the private Hopkins School, which charges $30,000+ per year for tuition for grades 7-12.)

Money buys many wonderful opportunities. For example, want your kids to have a recital at Carnegie Hall, too? Anyone can pay to rent one of Carnegie Hall’s many venues. Current cost for a recital at the smallest of the halls (capacity 268, Weill Recital Hall) is about $4,500 for a weekend evening or Sunday afternoon. How do I know? I emailed Carnegie Hall\’s \”Hall Rental\” page on its website and asked.

So what’s wrong with spending a ton of money to raise your kids to have a great education and a lot of special opportunities? Nothing, in and of itself…if you’ve got the money. But it’s alarming that the issue of money and privilege is being obscured in this debate, and the focus in the media is solely on the efforts of one person–the mother–as though it doesn’t take a village (or an incredibly wealthy community) to raise a child.

This refusal to acknowledge privilege and the greater role of community in helping to raise successful children reminds me of The Atlantic‘s cover story, The Rise of the New Global Elite, about the new wealthy who relate to each other around the world but feel little to no obligations to the societies in which they grew up.  (See especially pp. 6-7.) According to the article, the new elite believe that solely through their own hard work and merit did they rise to the top. They don’t recognize the privileges of growing up in a largely middle-class society without crime to worry about, with good schools, and with access to jobs. They do not acknowledge the role of luck in their own success or being in the right place at the right time in history. For example, most of the American elites featured grew up in an era that did not have a universal draft, which would otherwise have required them to serve in America’s two ongoing wars, rather than continue their educations uninterrupted and to travel freely to make money for themselves and their companies. The fact that others–generally poorer and less educated– make these sacrifices of going to war for the nation, and thus for them, does not apparently translate to gratitude.

We used to recognize in America that having a strong middle class made us a strong nation. But according to The Atlantic article, we are creating an entitled class (yes, they are smart, they go to good schools, they work hard, but they also have the opportunity to do so) and an underclass, who cannot get ahead no matter how hard they work because they simply do not have access to the best education, connections, and opportunities that the elite enjoy. This divide is dangerous.

We as a nation need to look for real solutions that will help ALL OF US as a society, not just a few of us. We need to stop blaming “indulgent Western parents” or unions or teachers or such-and-such ethnic group, and look at the lack of opportunity that a society increasingly segregated by class leads to as well as the declining state of our public school systems, for example. If you can put your kids in a $30,000/year private school, then of course the kids can get a good education and meet many children of influential people who will help them later in life.

But most parents who are working two full-time jobs just to get by do not have the time, which Chua claims somehow that she has, to self-tutor their children. Nor do most families have hundreds of thousands of dollars to use just to put their kid through a private junior high and high school.

Some parents are truly neglectful of their children, of course, but the problems we see in our education system and economy are not simply issues of bad parenting…or “lax Western parenting” to borrow the publicity’s inflammatory rhetoric.

But notice how the debate raging in our media now is solely about parenting styles and not about the class issues or real solutions to the greater gap in educational opportunities in America for poorer or middle-class people.

Perhaps the elite who are able to take advantage of their opportunities and make the most of them feel that’s enough. Perhaps they feel no obligations to the greater good of their societies. Perhaps it’s enough to grab a bigger piece of the pie for themselves. And maybe they truly can convince themselves that the wealthiest 1 percent of Americans deserve to have more collective net worth than the bottom 90 percent (Kristof, 1-1-2011). But if they’re wrong, and we really do need a thriving middle class to prevent most of America from sliding into a permanent underclass, if we need a thriving middle class to keep our country stable, to help lift the poor, to nurture people who will think outside the box rather than think merely how to preserve their own privilege, to innovate for the greater good, then we are all in trouble.

I wish the American media would recognize that we need real solutions and a real examination of our growing societal inequity, not stereotypes.

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