I wrote a friend:
Beware, the Writer's conference being held at UCLA on the 15th is for the breeding and care of yellow white racists.
Fakework breeds fakework. You can follow the influence of Kingston on yellow writing. through the plays of David Henry Hwang (“F.O.B.”, “DANCE AND THE RAILROAD,” “FAMILY DEVOTIONS”) and the completely faked Chinese culture of Amy Tan's THE JOY LUCK CLUB, and THE KITCHEN GOD'S WIFE. .
The Christian triumvirate have scared Asian Americans away from standing up for the Asian, children’s story.
Why haven’t yellow writers come out with yellow books of children’s stories or their own? For genuine tellings you have to turn to white scholars of Chinese literature like the translator of ROMANCE OF THE THREE KINGDOMS, Moss Roberts or go to Chinatown and buy children’s books.
If it’s as easy as going to Chinatown and buying Chinese children’s books in English to prove Kingston’s Far Mulan, Hwang’s Far Mulan and Kwan Kung, the first page of Amy Tan’s JOY LUCK CLUB and her KITCHEN GOD’S WIFE are white racist frauds why hasn’t anybody done it?
Why are the yellow writers praised for stripping themselves of yellow culture and licking white culture all over? It’s been thirty years since Kingston published the first fake book. The yellows that don’t know anything are the racist yellows taught by whites and their racist newspapers, their racist public schools, their racist universities over the last thirty years.
Kingston, Hwang and Tan alone have faked Far Mulan from THE BALLAD OF MULAN, Kwan Kung from ROMANCE OF THE THREE KINGDOMS, Monkey from JOURNEY TO THE WEST, Kwan yin, the Buddhist Goddess of Mercy, the Kitchen god and his wellborn lucky wife, the habits and foklore of Cantonese opera, and turned their backs on Chinese railroad history.
Phillip Lee, a founder of Lee & Lowe Books, advertised as the only Asian American publishing co, is a publisher of children's stories that “are sociologically accurate” and bear no resemblance or relationship to Asian children's stories that Lee and Lowe pooh pooh as "traditional." Their stories are not infected with anything Asian. Rather they are infected with white sociology. Lee & Lowe are the white racist view of the Asian Americian world. Think of it. What Lee &Lowe promise advocate is an “Asian-American” devoid of Asian knowledge. An AsianAmerican who knows JACK AND THE BEANSTALK but is dumb to NAH JAH and MOMOTARO and all the Asian children’s stories.
Sandy Djkstra is the agent that got Amy Tan the contract for the fake Chinese culture of THE JOY LUCK CLUB-. She's built her stable of racist yellows. Tayrn Fageness will be trolling for yellows who hate yellows and love whites.
I see that Naomi Hirahara is out with a new book..Ah, yes. She used to edit the Rafu Shimpo. A series of articles on old Nisei living in the hotels surrounding J-Town L.A. The resisters were about to give up on the Sansei, and hope the Yonsei would discover them, want to shake their hands and thank them for fighting for our civil rights and winning them. She’s intelligent enough to see the JACL as being the cause of Japanese-America’s descent into irrelevance, but too much of a coward to challenge them in her writing or editing.
Of course she should be free to be a coward, and there should be a Japanese American magazine and a critic in the world to ask why, sixty years after the war, the JACL still exists to terrify Japanese America into silence.
Why have only two Japanese American writers dared to contradict Norman Mineta’s Japanese American Citizen’s League falsification of WWII Japanese American history , in 60 years?
NO-NO BOY, by John Okada came out from Chas.Tuttle Co, in 1957, and DRAWING THE LINE, by Lawson Inada, (Coffeehouse Press) a book of poetry with the title poem dedicated to Yosh Kuromiya, who resisted the draft at Heart Mountain Relocation Center, a concentration camp are the only books by JA’s published since the War. Compare this with the Jews writing about the Holocaust.
The author of a novel about a Japanese American migrant worker family working their way around Arkansas. in one car. Ma had made it with a white man a few years ago. A few years ago t had to be camp time. But the book doesn't have a word of camp. The author reacted against criticism, with, "There is activism, and there is art. I am an artist." I think the author (I forget the name of the book and the author) defines Asian American writing as art different from writing as art and activism. And I think the organizors of the writer's conference separate style from content. They want to get lost in word magic and coded love notes. But it's the content that counts Aristotlle might have said, but the Asian scholars of UCLA King Kok Cheung can be counted to contradict. She has become such a defender of Kingston that she'll lie about Kingston. That’s not scholarship. . When the teacher becomes larger than the subject., well....
YOUR NEXT BOOK IS A BOOK OF CHILDREN’S STORIES. TOO MUCH COMPETITION IN THEWORLD OF THE NOVEL?
CHIN: Kingston brought FAR MULAN into white knowledge fresh since the year 550 around the Fall of the Roman Empire. A children’s story. Kingston gets away with taking the tattoos off Ngawk Fei’s back, right before our eyes and has Mulan’s parents carve revenge on back to keep them off her dead body after being stripped. What kind of savage kill crazy blood slurping enemy goes white at reading “Revenge” off the back of the dead? Is that the children’s story I remember?
CHIN: The first page of THE JOY LUCK CLUB tells another children’s story about a Chinese mother who buys a duck in the market and the duck dreams of being a beautiful goose. And somehow the goose is transformed into the mother who dreams her daughter will be born in America an ocean away, a language away a religion a culture away from where “The worth of a wife is measured by the loudness of her husband’s belch.” Only white racists were taken in by this clumsy portrayal of Chinese culture. Ducks and geese bought in the marketplace symbolize one thing, and one thing only in Chinese culture. FOOD. Christians might have a saying like “The worth of a woman is based on the loudness of her husband’s belch,” but Chinese, no. Amy Tan is Christian white racist.
HOW DO YOU EXPLAIN THE COURSES PRAISING KINGSTON’S VIOLATIONS OF CHINESE CULTURE AS BLOWS FOR WORLD FEMINISM.
CHIN: The feminists and Asians who praise Kingston, are white racists. They have ignored Far Mulan in the history of world ideas, and the history of feminism.
AREN’T YOU REALLY JEALOUS OF KINGSTON AND THE OTHERS BEING MORE FAMOUS THAN YOU?
CHIN : I won’t answer ad homonym attacks. I admit, I have a rotten personality and am probably a bad man. I am not offering you my personality, or the terrible things I do, not even my writing. What I offer is my knowledge that can be checked against the texts or facts or works I name.
AND THAT KNOWLEDGE IS?
CHIN : Kingston’s title THE WOMAN WARRIOR is reference to Far Mulan. She quotes from the poem to link her book to THE BALLAD OF MULAN.
THE BALLAD OF MULAN was first published in 550 AD. The notion that women were equal to men in battle was revolutionary in a world saw the fall of the Roman Empire and the consideration of rights for man was centuries away, much less rights for women. There was feminist writing before feminism, but the BALLAD was the first poetic statement of male female equality in Chinese poetry and maybe the poetry of the world?
CHIN: “The he rabbit tucks his in his feet to sits. / The she rabbit dims her shiny eyes./Two rabbits hopping side by side./ Who can see which is the he and which the she?” seems pretty poetic to me. No complaints about men, like other writing from other cultures before and after.
The story of the rights of man began with a king admitting he wasn’t divine. The Magna Carta signed by King John in 1281 placed the law above the king, And the law was written by men.
Five hundred years before Thomas Paine’s 1781 publication of THE RIGHTS OF MAN, and years before Mary Wolstonecraft’s 1789 woman’s answer, THE RIGHTS OF WOMAN that is seen as the beginning of feminism.
Kingston has told a fake children’s BALLAD OF MULAN and Amy Tan faked up a children’s story, about a duck and a Chinese saying that never existed. They claim their Chinese children’s stories are real. You can record and translate tellings of children’s stories all around China, or read translations of the mock heroic vernacular novels of the Ming. The last of the Chinese dynasties, between two foreign dynasties from the north. Genghis Khan’s grandson’s Kublai Khan’s Mongol Yuan hundred year dynasty on of the recent past. And the stunningly failed Qing (Ching) Manchu of the ominous future.
The Ming came. The Pilgrims landed religious freedom at Plymouth Rock on the Mayflower a few years later. America didn’t exist when the Ming crashed in 1644. The stories everyone tells comes from the Ming. That’s older than American democracy. .
The stories they tell are either real, or they’re fake. Deal me in. Here’s my hand. The stories I know and my understanding of their machinery. Line for line. My everyday memory of the heroic tradition that was jogged into cranking with the birth of Sam, my son, on Christmas day 1984. Without changing a fact or a hap in any story, I’ll show you what I see is the story. The facts don’t change, but the interpretation has changed.
Begin at the beginning. Take the stories Chinese have told for seven, eight, nine, a long thousand years ago in the Ming dynasty, just born out the fall of the Kublai Khan’s hated hundred year Yuan dynasty. The year when a hundred ran out,. China was Chinese again.
WHAT DO YOU MEAN “CHINESE AGAIN?”
CHIN: China was not always ruled by Chinese. After the first empire of Chien His Huang di, there came the Han, the longest lasting period of Chinese rule. It fell apart and then northern tribes moved in and the Chinese warred among themselves for rule, until the Tang dynasty. The Ming is the third period of Chinese rule of China, following the Mongol Yuan Dynasty of Kublai Khan.
In this dynasty the THREE KINGDOMS, Monkey’s JOURNEY TO THE WEST, and THE WATER MARGIN, were all written to insure that no matter who took over China, the Chinese would remain Chinese. The heroic tradition defined what was Chinese about the Chinese.
AND THIS WAS WHEN THE BALLAD OF MULAN WAS WRITTEN?
CHIN: THE BALLAD was published in 550AD, before the Tang that came into being in 618 and went out in 970. The Mongels took over China in 1271 and were ousted by a popular revolt in 1368. Then the Ming, which lasted till 1644, and the non-Chinese northern tribal people to over again in the Qing (Ching) till the revolution of 1911.
Asian feminists didn’t know the Asian children’s poem and didn’t have time to learn its place in the national myth of China. In fact, they didn’t have time to learn the national myth of China, or the origins of the feminism they claimed. They were classroom teachers, without ever having been students.
WHAT DO YOU MEAN BY THE TERM “NATIONAL MYTH?”
CHIN: Newcomers to the United States have to learn the national myth of America in order to become Naturalized citizens. Columbus, the Pilgrims fleeing England in the Mayflower, Declaration of Independence, George Washington “the first in war, first in peace, first in the hearts of men,” the first man to turn down the offer of the crown, and the first man to walk away from the Presidency and power after serving two elected terms. Jackson ,the common man, and Manifest Destiny. Lincoln and the saving of the union and freeing the slaves.
DOES EVERY NATION HAVE A NATIONAL MYTH?
CHIN: Every nation that has a legal way for newcomers to become citizen’s of their country.
In China, the national myth consists of a series of novels and chants that tell the history of the people becoming Chinese in spite of the self-indulgence or cowardice of the rulers.
The “Heroic tradition” is not approved by any government of China. Not the Manchu Qing, not the government of the pro-Western, pro-Christian Dr. Sun Yat sen, not the Nationalist government of embattled Chiang Kai Shek, not the Communist’s who are still searching for myths that tell a Communist truth and coming up empty.
SO THE NATIONAL MYTH BEGINS WITH THE FIRST EMPIRE? WHEN WAS THE FIRST EMPIRE, BY THE WAY?
CHIN: The Chinese begin their history in mythcal times before they had records around 2100 bc, with the Xia dynasty.
THERE’S A DIFFERENCE BETWEEN THE FIRST DYNASTY AND THE FIRST EMPIRE?
CHIN: A dynasty is family rule. A family can rule a kingdom. An empire is the rule of several kingdoms.
SO THE HEROIC TRADITION IS NOT THE NATIONAL MYTH?
CHIN: The Heroic Tradition is what you have to know to be a Chinese, as to be a Englishman you have to King Arthur.
The first novel of the heroic tradition is not about the first emperor unifying the six kingdoms into the First Empire. The First Emperor Chien Hsi Huang di, is not a “hero” in the “Heroic tradition” but every Chinese knows him for unifying of the written language, the standardizing of weights and measures and coinage, the building of the Great Wall to keep the desert tribal horsemen out of China. These public works were all accomplished with the subjugation of the people.
The national myth of China is the story of the will of the people, against the will of the rulers. I think the heroic tradition, seen all together from 3 Kingdoms to GENERAL YUE FEI tells the story of the family organized against the state, or the country of heroes against the nation. But that’s an idea that has been ignored by everyone. But I’m not surprised. Criticism is a twentieth century development, and the Chinese have been busy with war –the Opium War, the Revolution, the Sino-Japanese War, World War II, the Comnunist Revolution- through the whole 20th Century and the literature, all literature has been in the service of propagandists. The Chinese have yet to discover criticism.
I’M CONFUSED AGAIN. DO THE CHINESE KNOW THE HEROIC TRADIITION, BUT DON’T KNOW WHAT IT MEANS?
CHIN: Let me take you through the works of the heroic tradition. This is what the Chinese know, but not necessarily what the scholars have written of, okay?
OKAY, A SUMMARY OF THE HEROIC TRADITION. ..INCLUDING THE BALLAD OF MULAN?.
CHIN: Of course.
The first work, and the most famous novel of China, Luo Guanzhong’s THE ROMANCE OF THE THREE KINGDOMS set at the end of second and longest lasting and most loved empire in Chinese history the Han (206BC-220 AD). In the first chapter China is in danger of falling, and the Han calls for troops.
Three men of different races, different colored faces, different walks of life, a white faced pretender to the throne, a red faced long bearded murderer, a blotchy faced buggeyed rich farmer meet at a crossroads. Though of different faces, they recognize something in each other. They resolve to save China, in a celebrated in an oath of brotherhood that’s the core of novel THE ROMANCE OF THE THREE KINGDOMS.
THE BALLAD OF MULAN an anonymously written children’s chant written during a period when China was not an empire but fragmented contending kingdoms, in a period called the Northern and Southern Dynasties (420-581). The poem was printed in 550.
JOURNEY TO THE WEST, by Wu Cheng en, is novel of set at the end the Tang (618-907), the second period of Chinese rule of a unfied China, is the story of Monkey, born out of a rock without a previous life and without knowledge, learns all that men know, isn’t satisfied, learns all that the priests know, then the Taoists, then the gods.
The Tang has lost virtue and is on the brink of falling. The Buddhist Goddess of Mercy woos him into guiding a Tang priest and two disciples, an itinerant monk and a pig, to India, to recover Buddhist scripture and restore virtue to the Tang. Monkey keeps learning as he goes to India and back. He learns all that Buddha himself knows, drops the scripture of at the Tang court and moves beyond, the Tang, beyond Buddha stuck in Nirvanah, out of everyone’s reach, and is still learning. The Buddhists balk at thiis interpretation of Monkey, but any reading of the book, including versions abridged for children bears me out.
The Outlaws of Liangsahn Marsh or THE WATER MARGIN, by Shi Nai’an an and Luo Guanzhong, set in Southern Sung dynasty (1127-1279) is the story of a cowardly self-indulgent emperor a corrupt court that outlaws honest and talented men, and takes their property. The outlaws combine in an oath of blood brotherhood to fight the corrupt imperial forces and repel the invaders from the north and protect the people.
The people beg Soong Gong (Song Jiang) the leader of the outlaws to declare himself emperor, but being a good Confucian, he does not covet high office. He wins an amnesty for his outlaws.
The five Ruan (Nguyen) brothers of the outlaws of the Marsh go to Song Jiang. They did not join the outlaws for anything from the emperor, they say, “We joined to fight with you. If you’re fighting for the emperor, we’d like to leave the band and go south.” Soong Gong gives his permission. The Ruan brothers head south and found a country, Siam. One does not need China to be Chinese.
THREE KINGDOMS, JOURNEY TO THE WEST, and THE WATER MARGIN were written in Ming, when Chinese rule of China was restored after the hundred years of the Mongol Yuan. While China was Chinese the Chinese wrote these novels that contained a message: You don’t need China to be Chinese.
GENERAL YUE FEI is a novel of the Southern Sung (Song) 1127-1279, written during the Qing (Ching), by Qian Cai (and translated in Hong Kong by T.L. Yang, in 1995. T.L.Yang is the former Chief Justice of the Hong Kong Supreme Court). Qian Cai wrote YUE FEI after the Manchu’s had taken over China and the British enslaved 27 % of Chinese manhood for 100 years, and won two Opium Wars. The novel was immediately banned by the Qing in the reign of Emperor Qianlong (1736-1795) The Jin that the novel cast as the badguys of the book, were the ancestors of the reigning Manchus
The novel about Yue Fei defeating the Jin Dynasty invaders from the north on the water, in the mountains and on the plains before being killed by his own corrupt Prime Minister in the name of the emperorand was an influence in the Taiping Rebellion and the anti-white Boxer Rebellion that resulted in the seven Christian powers were awarded “concessions” including Hong Kong, Macau and parts of Shanghai.
GENERAL YUE FEI takes the alliances of the Three Brothers from THREE KINGDOMS, and the 108 Outlaws from WATER MARGIN and makes clear a division between the people (the 3 brothers, the Outlaws) and the emperor that is irresolvable following Confucian morality. The only possible resolution between the people and the ruler is the rejection of the ruler. The good Confucian YUE FEI was killed by the emperor, like all the good Confucians , the three brothers from THREE KINGDOMS, Soong Gong from THE WATER MARGIN all killed by the emperor or court intrigue, all except those that didn’t need China to stay Chinese, like the Ruan brothers.
AND WHAT DOES THIS HAVE TO DO WITH YOUR ACCUSATION THAT KINGSTON IS A RACIST AND NOT FEMINIST?
CHIN: At last a simple question.
Kingston boasted of fooling her white readers an interview done in 1986 by Kay Bonetti -(page-40) in- CONVERSATIONS WITH MAXINE HONG KINGSTON)
Edited by Paul Skenazy and Tera Martin, U. Press of Mississippi: Jackson (1998)
KINGSTON: "Oh, yes, the myths I change. I change them a lot, and I've been criticized for that by the traditionalists because they don't understand that I have no intention of just recording myths. I mean, I'm not an archivist. I want to give you an example of myths that I've changed. When the woman warrior has the words carved on her back, that's actually a man's story. It's about a man named Yüch Fei who had a vow carved on his back by his mother. Now, I took that and gave that to a woman. I gave a man's myth to a woman because it's part of the feminist war that's going on in THE WOMAN WARRIOR, to take the men's stories away from them and give the strength of that story to a woman. I see this as an aggressive storytelling act, and its part of my own freedom to play with myth, and I do feel that the myths have to be changed and played with all the time, or they die. The problem with doing all that is that these myths are not known to most of my readers. So I had to figure out a way to inform people at the same time play around with them. I think at that point I just decided not to tell anybody the original stories, and then tell the story, and I just figured, well, let the scholars figure it out later, but they've actually attacked me for not sticking with the story."
Tapes available from:
The American Audio Prose Library
PO Box 842
Columbia, MO 65205
Here is the children’s chant:
THE BALLAD OF MULAN
Jick jick fook jick jick,
Sniff sniff sigh sniffle sniffle,
Muklan dong woo jick
Muklan sniffles like her loom.
But mun gay chur jing.
Don't ask for the shuttle's shift.
Woay mun nur tahn sick.
Do ask why a girl cries herself sick.
Mun nur haw saw geee.
Ask her does she pine.
Mun nur haw saw yick.
Ask her does she yearn.
Nur yick mo saw seee.
No, this girl does not pine.
Nur yick mo saw yick.
No, this girl does not yearn.
Jawk yeah gin gwun tit.
Last night I saw the battle rolls .
Hahk hawn die bin bing.
For the Khan's great army.
Gwun shur sup yee gurn,
The Roll Book runs twelve rolls.
Gurn gurn yow yeah ming.
Roll after roll there's my father's name.
Ah Yeah mo die yee.
Father has no grown sons.
Muklan mo jerng hing.
Muklan no older brother.
Yurn wooay see ngawn mah.
Leave me buy a saddle and horse,
Choong chee tai yeah jing.
And ride in father's place.
Doong see my joon mah,
East Market: buy a good horse.
Sie seee my ngawn jin.
West Market: buy a saddle and blanket.
Nom see my bay taow.
South Market: buy bridle and reins.
Buck see my cherng biin.
North Market buy a long whip.
Jew tiern yeah lerng her.
Dawn: away from dad and mom.
Mo sook Wong Haw biiin.
Sunset: camp by the Yellow River.
But mun yeah lerng woon nur sing.
Don't ask her to hear her parents call her name.
Don mun Wong Haw lau sur ming tien tien.
Do ask her to listen to the Yellow River gush and gush.
Don chee Wong Haw her.
Dawn: leave the Yellow River.
Mo gee Huk Sahn tau.
Sunset: the peaks of the Black Mountains.
But mun yeah lerng woon nur sing.
Don't ask he to hear her parents calling her name.
Don mun yin sahn woo kay sing chow chow.
Do ask her to hear the Tarter horses on Swallow Mountain whinney and blow chuff chuff.
Mon lay foo yoong gay.
Thousands of miles of war, battles all the way.
Gwan Sahn doe yerk fay.
Across borders and mountains like birds on the fly.
Sawk hay churn gum tawk.
The tight northern air drums the watch.
Hawn gong jew tit yee.
Winter dawn glints off the chain mail.
Jerng Gwun bok gin seee.
My generals of a hundred battles are dead.
Jawng see sup nien gwai.
For my soldiers ten years of war toward home.
Gwai loy gin Tien Ji.
On the road home: an audience with the Emperor.
Tien Ji jaw ming tong.
The Son of Heaven sits in the Hall of Light.
Chok fun sup yee juern..
Your army's valor fills twelve books.
Serng tee bok tien gerng
Prizes amounting to a hundred thousand cash are awarded.
Hahk hawn mun saw yook.
Now what does the girl want?
Muklan but yoong serng shur long.
Muklan has no use for any high position in court.
Yern teee tien lay jook..
"Loan me the famous Thousand Le Camel,
Soong yee won goo herng
To take me home."
Yeah lerng mun ner loy.
Father and Mother hear she's coming.
Chut gawk serng foo jerng.
They meet her outside the gates and walk her onto the estate.
Ah Jiey mun mooey loy..
Big Sister hears she's coming.
Dong wee lay hoong jong
By the door, she rouges her face.
Siew Die mun Jieah loy.
Little Brother hears sister's coming.
Maw doh fawk fawk herng jur yerng.
Grind the knife sharp sharp to go for a pig and sheep.
Hoy ngaw doong gawk moon.
Open my east chamber door.
Jaw ngaw sai gon chong.
Sit on my west chamber bed.
Churt ngaw gin see ho.
Off with the battledress of recent times.
Jerk ngaw gow see serng.
On with the gowns of old times.
Dong chong lay wun bun.
By the window: do the hair in cloudy tresses.
Dur geng tit fah wong.
By the mirror powder myself flowery yellow
Chut moon hawn faw boon.
Out the door see my ally.
Faw boon chee ging wong.
My ally is agog.
Toong hung sup yee nien.
Back to back in twelve years of war.
But ji Muklan see nur long.
He didn't know Muklan was a girl.
Hoong toe gerk hawk sawk..
The he rabbit tucks his in his feet to sits.
Chee toe ngon muhi lay
The she rabbit dims her shiney eyes.
Lerng toe bong day jow.
Two rabbits hopping side by side.
Ngawn lung biin ngaw see hoong chee.
Who can see which is the he and which the she?
I’VE HEARD THAT CHINESE SCHOLARS SAY THERE ARE MANY VERSIONS OF MULAN.
CHIN: Whoever said that is stupid. Every so called version Mulan contains quoted lines from the BALLAD, like Kingston’s own “version.” So she definitely means to tie her Mulan to the the Mulan of the BALLAD, the only Mulan.
The feminists claimed the right to ignore the original BALLAD, it’s structure of taking a girl from innocence and the protection of a walled estate, off to war, by her choice, against people come from the desert to take her land. The BALLAD follows her through the choices she makes over twelve years, of one life cycle, from girlhood to womanhood, before returning home and the prospect of marriage.
They disguise their racist method of reading as a feminist but don’t explain how one of the first expressions of male female equality is made more feminist by Kingston’s cruel racist slur, in a period before feminism struck the world?
WHAT DO YOU SAY TO THE ASIAN AMERICAN WRITER’S WORKSHOP THAT IS GIVING MAXINE HONG KINGSTON THEIR LIFETIME ACHIEVEMENT AWARD AND HAVING A DAY OF PANELS ON HER FEMINISM?
CHIN: They’re the proof that you don’t have to be white to be a white racist.
REALLY? IN A RECENT BOOK, “CHINESE AMERICANS” BY PETER KWONG, A CHINESE FROM CHINA, HE SAYS YOUR ACCUSATIONS OF FALSIFYING MULAN ARE PROOF OF YOUR ANTIPATHY FOR FEMINISM.
CHIN: He doesn’t acknowledge that Kingston’s Mulan is false?
CHIN: Let me read what he says. (after reading) He’s a coward too chicken to say what Kingston herself gleefully admits…that she took the tattoos off Ngawk Fie (Yue Fei’s) back and put them on Mulan. He’s Chinese and knows both Mulan and Ngawk Fei and is silent about the crime to both. Let me say this, I don’t want to be misquoted. With this book Peter Kwong proves himself to be a Chinese white racist.
I THOUGHT YOU WERE FRIENDS.
CHIN: I was wrong.
THE ASIAN AMERICAN WRITER’S WORKSHOP AND YOUR FRIENDS PETER KWONG AND RUSSELL LEONG THE EDITOR OF AMERASIA JOURNAL ALL RECOGNIZE KINGSTON AS ACCURATELY PORTRAYING MULAN AND A FEMINIST. THEY CAN’T ALL BE WRONG.
CHIN: Sure they can. People change. Texts do not. Read the texts and judge for yourself.