'Pat and George' by Frank Chin

1 PAT AND GEORGE By Frank Chin San Francisco. Chinatown. No Chinatown streets or alleys named for Chinese. Chinatown is a White rule from the top down town. David Chiu a kissass politician has Old China Alley renamed for Donaldina Cameron the missionary who invents the abusive-Chinaman abused-woman San Francisco stereotype made American Humanities literature and American Art by Maxine Hong Kingston in 1976 with her non-fiction autobiography THE WOMAN WARRIOR. Her book brings new life to the Cameron House Christian lies of 1889, and slanders her father and fakes all Chinese history and culture. David Chiu now has a bright future as an Ornamental Oriental among Ornamental Orientals stalwartly doing nothing for Yellow people in the California State Legislature. Observers can only hope the Whites find their service as ornaments worth the pay.

The story opens in darkness. All the eye can see is nothing. No up. No down.

No in. No out. No color. Nothing. One egg appears. Nothing all around. The egg grows or is the egg moving? Poon Goo, has a beard. (Where did the name Poon Goo come from?) He’s been growing large inside the egg. He’s been growing hair, growing a beard inside the egg for 250,000 years . His growing forces him into too tight a fit inside the egg.

He wants out.

Where did the hammer come from? He breaks out of the egg with his hammer. ( Is the consciousness of this story I tell Poon Goo’s ? How did the Storyteller get inside the egg?) All of Nature oozes out of the egg with Poon Goo. He separates the slime of the white of the egg from the creamy yolk. Slime for the sky. The yolk for the core of the earth he stands on. It takes him 250,000 years to get the sky to stay up, and the earth to stay down.

The earth is finished with the giant’s decayed body and parts. One of his eyes becomes the sun, and the other eye becomes the moon in the sky of suspended eggwhite. The flakes of his head, (later identified in 1930’s Cosmopolitan magazine advertising for Listerine antiseptic as “dandruff”,)

2 flies off to become the twinkling stars at night.

Nur Waw, comes out of nowhere to light on her brother’s body turned to green and hairy earth. It’s quiet but for the sound of breathing and water running around the earth. Not a worm beats a heart of animal life. Nothing with a beating heart. She settles by a growth of young bamboo and moving water and perfects animal life out of water and earth before she creates human beings.

She multiplies humans by flicking splats of mud off a flexible bamboo rod.

Babies flicked off the rod as gobs of mud splat on a blade of grass, a tree, a leaf, a rock, becomes a boy or girl of the Grass, Tree, Leaf, Rock family.

Splats that split when they hit, become twins.

Nur Waw repairs the sky when it tears and the earth, when it splits. She teaches the girls babysitting, singing together, making music, the beginnings of art and culture. The Mother of Everybody gives up her ability to go home again, becomes mortal to enjoy watching her grandchildren grow up, and to teach them about a death in the family.

• Daddy says the Storyteller’s stories he tells are old stories, the old storytellers heard in the marketplace and the folks out grocery shopping especially liked and lingered awhile for a listen. Daddy’s stories are told to teach the young to drift to sleep secure, before they ‘re old enough to think, to speak.

Daddies of the people of China, Korea, Japan, Hong Kong, Taiwan, Burma / Myanmar, Singapore, Vietnam have no god or God other than the first grandfather of their family.

The emperor indifferently allows a censored Confucius , a Confucius who doesn't decide for the reader. The emperor decides. The emperor is the son of the Sun. The emperor’s changes of personality and person and out of the person reflects the moods of the Sun as it orbits China. Obey the Sun and the son of the Sun keeps peace at the center and kills to keep the Chinese happy. China is center of the universe . The emperor is the power and soul of China . The Chinese are happy, aren’t they? Confucius says so, doesn’t he?

3

The emperor’s story is the only story the emperor allows out to be read. The emperor allows Lao Tzu who says “Get out of this life.” The emperor tolerates Buddhists who say “you're helpless , little people, give up!”

In spite of Qin Shi Huang’s book burnings and the flickering light of intellectuals flaming in oil colors the emperor’s gala night parties, the storytellers already tell stories of Confucius that sink into the grubby country ears of the country folk and stay heard for as long as they come to voice out of the emperor’s hearing..

The obedient speakers of the emperor’s language, speak his language or else.

Or else makes the obedient laugh music at what scares them.

The Qin Dynasty falls in 15 years, and the Han rises to be loved, for the next 500 years.

Sima Chien grand historian of the Han refuses the emperor’s hints that he’ll have Sima’s balls smashed with rocks unless he corrects his appraisal of the emperor’s favorite general. The story that comes together in the folk says the Grand Historian’s father, the Grand Historian’s last words to Sima Chien, amount to, “Do as Confucius would do.”

Sima suffers the smashing of his balls to goo. He takes the humiliation of courtiers with their fonts of fatherhood intact. This is what Confucius would do? His bloodline is ended, no little Simas from Chien. Instead of fathering the next generation of Simas, he researches and writes a book, the SHU CHING, THE BOOK OF HISTORY. His research into a past beyond his experience results in a history written with facts, later verified by paintings, texts inscribed on turtleshells, and the articles and art accompanying the remains found in ancient tombs and estate sites uncovered in the 1970’s. His stories about prehistoric Shang dynasty Chinese women generals from northern China-Korea turn out to be true.

Was it worth his balls crushed by Imperial rocks? Those who write from a sense of respect for historical literary truth in Literature this Daddy

4 hopes, recognize a Chinese exponent of Chinese identity founded on Chinese integrity and history instead of personal convenience and children. The question is: does Sima Chien’s Chinese literature bear children?

Children born without seed? What kind of children? The kind that read, like the Mongols.

The Mongol foreigners of Kublai Khan’s Yuan dynasty, melt into Chinese through record keeping, and reading.

It is 1368 . No more Yuan dynasty. The Mongols are gone. The Chinese are back with the Ming! The Ming. One thousand six hundred seventy four years since the day Sima Chien wrote his history with journalistic attention to the questions of who, what, where, and how?

Sima is the Chinese writer’s Chinese writer. The Chinese read him under the covers at night by candlelight for years, for centuries, for a thousand years.

Come the Ming! The Chinese are back. Movable type is free at last! Chinese fingers itch to write and write, and the fingers do.

The Ming prints THE ROMANCE OF THE THREE KINGDOMS a book written in a common (meaning the low and unmentionable) language to sell a Chinese identity to every Chinaman. A book to mass produce to teach the masses of China how to read.

Movable type is clay fired into hard ceramic. Anybody could make a set and print, print, print.

The uncensored folk, celebrate the Chinese rule of the Ming with a published compendium of folk stories of famous names, CREATION OF THE GODS, the background to the heroic tradition that says, "Kingdoms rise and fall. Nations come and go. It's a good day to die. Let the goodtimes roll." A reference to the power of men over gods in the folk story, "THE FOOLISH OLD MAN WHO THOUGHT HE COULD MOVE MOUNTAINS." Chin Shi Hwang, the Son of Heaven, emperor of China, the god authority over all nature takes credit for moving the mountain and changing the course

5 of the Min River. The text was written in stone by 10,000 prizes of war, orphans, outcasts, slaves trained by Li Bing a hydraulic engineer to move a mountain and change the flow of the Min river in 8 years of steady work.

The countryfolk tell the children a story, THE OLD MAN WHO COULD MOVE MOUNTAINS, an old man sets his family to digging up the mountain a shovelful at a time and wheelbarrowing it to the sea, and dumping it. After a few generations the gods or spirits or characters and personalities of the mountains being dug, decide to move rather than suffer humiliation among the mountain spirits.

The people that move the mountains are the same people that build the Great Wall, are the same people that dig the Grand Canal are the same people that buy the books of folktales to teach their children the beginning of reading, and the Heroic Tradition to teach them to measure the decisions through Heaven, Earth, and Man before acting.

I explain the children’s story to a hotel conference room full of Asian American Journalists, “The high poohbahs of continental culture abolished the folk and the Heroic Tradition, but not the island country of Japan, and not in Korea , a country of three kingdoms, or the pirates haven of Vietnam.

Vietnam, Laos and Cambodia were organized for tactics.” Oh, what a good boy am I, I think as I say, “The bigshots thought big strategy.

Their Boy Scout Manuals were Sun Tzu and Wu Chi- and the strategists.

Theoretical comic books of Sun Tzu, Confucius and the thinkers of China, China had given up, and tried to bury for dead, forget as obsolete, blush at, as shameful. The Boy Scout manuals lived on and grew in the countries next door and outside of China.”

“Boring!” a voice from the back, of the Asian American journalist’s conference. Heads turn. “I gave you publicity in the L.A. Times.”

“I didn’t ask for it.”

“What about women?”

“Ah, women.”

WHEN WOMEN WERE IN CHARGE

6 How do we know women were in charge? In the pre-historic Shang women are buried bejeweled in better digs than men. Men are buried together. The women are distinguished from men by being individually contained in crafted coffins, dress, dressing or decoration, with objects of decoration , objects of rank., like battleaxes..

In the river valleys of Hunan a clan of women survives. Their musical calls are pitched to resound off the hardness of the mountain they live on. Women are all the daughters, of the first woman, or the sisters of daughters.

Women make all the decisions and receive all the honors. Men are for sex and reproduction, manual labor, muscular defense of the borders and expendable.

The women live separate from the men. When a woman comes of age for sex, she takes a room in a women’s hive. There she receives the woo of lustful men, and she picks and chooses, a man one night and maybe another man another night. All the women mother the children, and separate the girls from the boys. Boys are raised among men who follow the guidance of woemen. The survival of the family depends on the woman’ fertility . The men are outsiders who have fallen to the spell of the women’s culture.

Does love happen? A girl who falls in love with one man, and he with her simply move a ways away.

MEN IN CHARGE STORYTELLER: The pre-historic Shang reversed or just as likely laid waste to the culture of women and buried it. ( DADDY: Till it was dug up in the 1970s and contents revealed in 2010.)

The strategy of Jiang Taigong, prime minister of the Shang and the strategist who found a man who would be the king who brings the Shang down and founds the Chou carried on in the writing of strategists and the folk.

Shang Prime Minister Jiang Taigong is fed up with a king gone crazy over a fox spirit and flees to anonymity in the mountains bordering the Shang..

7 LOCAL: That old man, a prime minister? Come on!

GOSSIP: King Zhou of Shang went to the temple of Nur Waw with his entire court and jerked off on her statue.

LOCAL: This true?

GOSSIP: Nur Waw sent a Fox Spirit in the fresh corpse of a beauty to distract the king. She got to smelling so bad, the prime minister went goofy.

LOCAL: He doesn’t look like a prime minister.

GOSSIP: He goes fishing every day in the mountains with a pole, and a line, but no hook.

LOCAL: “Old Man, beg your pardon, but you have no hook on the end your line.”

OLD MAN: “So?” LOCAL: “How do you hope to catch a fish?”

OLD MAN: “I’m not fishing for a fish.”

LOCAL: “Ah! How stupid of me! Of course! (to the crowd) He is not fishing for a fish! ( Crowd response –laughter ) As soon as I saw no hook on the end your line, I should have known!”

OLD MAN: “Known what?”

LOCAL: “You’re a crazy man.” (CROWD RESPONSE-laughter) STORYTELLER: A Trader searches for a way through the mountains to Shang. He stops by the river and leaves his escort by the horses as he and a friend walk and talk along the round rocks of the riverbank. Servants carry cool seats and everything but water to make tea, when they stop to have tea.

8 The laughter and ridicule of the old man fishing rises above the flow of the river attracts the Trader’s attention . He stands for a better look.

His escort captain along the road above rouses his men like beads on string.

The captain steps forward ready for anything. He eyes the Trader for orders. He eyes the terrain for trouble.

Trader restrains the leader with look, a gesture no one sees. The captain signals his men to appear relaxed.

LOCAL: “The old man says he’s not fishing for a fish.”

TRADER: “Did you ask what he was fishing for?”

LOCAL: ‘Why would I do a stupid thing like that?”

TRADER: “You would if you were a trader like me.”

LOCAL: You? A trader? It’s the wrong time of year.

TRADER: I’m a trader who seems to be stuck late in the season in these mountains. I’d like to trade some of my good wine and grain for a way over the mountains, if there is a way over these mountains..

LOCAL: Your porters seem more military than peasants like us.

TRADER: We adjust to circumstances. We are old soldiers whose king lost, we had to take up the plow or die.

LOCAL: “What load of bullcrazy you selling, Trader?”

TRADER: “Exactly. Old Man, what are you fishing for? Perhaps it’s something I can trade.” The Trader examines the line up and down.

LOCAL: Yeah, Old Man. Tell us all. Maybe we’ll all go fishing without hooks!

OLD MAN: I’m fishing for a man who would be king.

9

• JAILHOUSE INTELLECTUAL A Yellow jailhouse intellectual preaches the truth of Edward Pei being the James Wong Howe of the all color 21st Century. His eye on the opening of Larry McMurtry’s THE STREETS OF LAREDO is the Chinese the emergence of man from the ground up. Every western should open looking through the camera eye of Edward Pei. His eye watches a coyote come to silhouette by the first show of pink in the sky. The coyote points its nose toward up in the sky and yips. Smears of red cirrus clouds push bundles of bruised dirty laundry toward the open eye. The ear hears inside the hollow mahogany halls of a ghostly Martin dreadnaught guitar as notes of THE STREETS OF LAREDO clang off the steel strings. Hum and are gone .

A silhouette of a lone cabin with a light showing in the one window and a grazing horse against a purple and pink sky. Boots go on with hands. A grunt.

A lone man, a black haired, black eyebrowed, and unshaved black stubble beard is a blinking James Garner, an as yet, un-named Texas Ranger. (The badge on his vest.) He takes a swallow from a metal cup. Blinks. Stands and groggily puts his cup down on the top of a potbellied stove, and warms his hands by the open grate door. Hands wrapped in black gloves straps on his holster and gun. Gloved hands packs his glasses and leaves the book. Grabs cans and pouches of trail food and a bottle. Banks the fire in the potbellied stove. Eyes scan the cabin. Blows out the kerosene lamp. Picks up his rifle.

Outside the sky is a pale blue and blood red. In the dark before the dawn Edward Pei watches his hands, close up. He tosses a saddle on the horse’s back. He draws the cinch strap under the belly and through the saddle rings.

He puts the rifle in the saddle holster. His boot rises to the stirrup. Hands grab the saddlehorn. The rider mounts the horse, turns from the cabin and rides across the red and pink of the wide sky. Edward Pei deserves special

10 credit for looking at the lone horse and rider without once putting his camera eye up the horse’s ass.

The jailhouse intellectual and the comic Pat Morita see themselves as the man in the cabin, smack on the border between the wild country and the orderly and boring nation. Jailhouse is the guns and rifles for the Yellow country serving the peace with the White nation by real beatings real-life killing and the comic has a comic’s mean words, and word- growels. They see themselves as loners

with a taste for the wilds of Yellow and Western

Civilization, and a Yellow talent for removing obstacles to the advance of understanding.

• YOU’RE IN THE JAILHOUSE NOW Speak from your insides. Explore your soul without, with everything you know.

Words without thinking. Is your soul Yellow? This is you fishing for a soul with words. BUT no words for Yellows like yourself. Words for likes and liking . White words to serve White ego. You donʼt understand. You speak to hear your thinking and be surprised at what a smartass you are, as you write stories of whatʼs happening the same as you draw pictures of scenes you want to remember. What you want to remember is why you settled with a retired Irish couple from Florida? He a circus acrobat and she, a silent screen actress.

You lived a perfect childʼs garden childhood then, come 1945 you are removed to Oaklandʼs Chinatown?

Whaddaya mean Whites wonʼt understand your writing. Youʼve lived with Whites all your life. Language is language. If Whites donʼt understand you, you understand them. You wonʼt dignify their stupidity by duplicating it. You know their Jesus Christ, their Yahweh, their Allah from books.

If the Christians, the Jews and Islam donʼt read the Chinese books of Chinese moral and ethical identity, but the Chinese have read all the books, thatʼs good to know. Itʼs very good to know the Chinese books of Chinese moral and ethical identity. You donʼt but look like you know the books, and they don't. You can let them know, you know something they don't know, and what they donʼt know is about them, in a look and a smirk.

11 What you donʼt understand is why Yellow people , the Chinese-Korean-Japanese accept the White racist idiocies as truth? Why do they fall on their faces, and apologize to White humiliation?

I think my first six years (1941-1945) through the World War II over the radio with the Conroys taught you, you are a Yellow. Chinese from Ripleyʼs Believe it or Not. You are not White like the Conroyʼs and everyone around you. The one eyed soldier calls you a “Jap.” You look him in the goo of his one eye and say “Iʼm not a Jap. Iʼm an American of Chinese descent.” You smirk. He cries tears out of his good eye. The chill of victory up and down your spine.

I didnʼt understand why so many Yellows are cowards and White sycophants. My brave uncles came home from the war beaten down and desperate.

A White barmaid in Hawaii, interrupts the conversation with, she knows the reason why Daniel Inouye lost his Hawaiian pidgin and developed an artificial voice. He couldn't have gone to the Senate without good English. “Then how do the men Everett Dirkson with Southern accents thicker than Toupelo honey, make it to the Senate?” I ask. “Because they speak good English,” she says. A good answer, but Iʼve heard the gentlemen from the South speak, and know she is stupid, stupid, stupid.

Writing is fighting. Iʼm for action- a rearrangement of the senses by mixing words not fists. I've never won a fist fight in my life. My last humiliating failure to throw a blow in my own defense was the fist of Alex Hing the top man in the Chinatown Red Guard in the basement that used to be the Hungry "i" in my face. He returned to the basement to apologize to the gang chiefs. He had to teach me a lesson. He'd been to China, Mao talked to him personally! Follow China! I beat him up with my bleeding mouth and swelling lip that makes every word blubber out of my mouth, blub, blub. The gang chiefs never heard Alex stand for backtalk and silently stomp out.

Sun Yat Sen, Chiang Kai-shek, and Mao steam under the White colonizing powers and Japan, the Whiteman of the East. They each make speeches to crowds of the people, they each call the countrypeople, their people. They pass out writing and art in print and in secret to spread their disgust and other feelings about White powers taking over China without regard for the Chinese, or the Manchu foreigners in charge of the Qing nation. Ha! Nobodyʼs in charge of the country anymore.

12 In America where I was born and spirited off to fantasyland before my memory kicked in and pictures Iʼve never forgotten and sounds I can thumb my way back through time to the sounds I can now hear as words I first heard before I knew how to listen. I donʼt do that much anymore. Age. In my 30s and 40s the Yellows are all Mao happy conformists. Give up American individuality for the joys of impersonal conformity. I am 30 in the 1970s when I write 2 plays first performed in New York and run a theater with Janis Chan in San Francisco. The theater has a Maoist idea of everybody doing everything including writing by Maoist committee. I am gone in 1975.

Writing and art in China has always been a state service, not an individual art.

Though, individual artists wrote and painted on the heels and in the faces of the sitting emperor and their works re-viewed and reinterpreted by Americans in my lifetime.

Writing and art becomes the folks, the peoples by the peoples reading, seeing and liking it or disliking it in talk and publication. Yellows in America think so low of themselves, they wonʼt tolerate a Yellow newspaper, or magazine they hate themselves so much, a Yellow book published by a Yellow book publisher brings terrified laughter bulging eyes and flopsweat.

Charlie Chan say Yellow no publish. enough.

English like Number One Son good

Dr. Sun, Generalissimo Chiang, Mao used the printing press to spread their propaganda and art.

In America there are artists but no Yellow publishing anything. There is no Yellow press in existence. No Yellow press that stands on Yellow literature.

“Whatʼs Yellow lit,” Barak Obama asks Bill Clinton who asks Yellows in the White House, and their White racist answer from grade school is, “Yellows have no lit.

Thatʼs why ʻinscrutable Orientals.ʼ ” What would have Pat Morita said as the Pat Morita of his race, with Harry Belafonte, the Harry Belafonte of his people with DAY-O, and the Tony Bennett of his people with the song I LEFT MY HEART IN SAN FRANCISCO. Would he riff on the childhood riches of life in two American concentration camps for the contemptible Japanese…of whom, he was one? When they were no longer contemptible, they were let out of camp. Would he be Yellow? Would he be Jap?

13 He was a comic. What kind of comic was he? Redd Foxx? Tom Melody? Weʼll never know. He turned down Robert Kennedyʼs invitation to join the Senator and candidate for President, and Belafonte and Tony Bennett in entertaining Cezar Chavez, in celebration of a victory for non-violence, in Delano, California in August 1968.

• Tiny hummingbirds in the dry darknes faster than the eye can see flash to become shadows a moment, from flower to flower in the purple of the air going blue before sunrise. The sunlight is sudden pour of butter on this side of the house. The shingles swell with sunlight and lift their skirts to the shadows underneath and dark lizards crawl out wriggling the tracks of tears down the face of the crying house. The air over the desert hills on the border of civilization. Civilization speaks in many tongues west of the Arizona sand...

• GEORGE TAKEI

GEORGE TAKEI A YELLOW THAT IS A MARVEL TO WHITES. HE TALKS WHITER THAN WHITE. HE BOASTS MORE WHITE KNOWLEDGE AND ART THAN THE WHITEMAN ON THE STREET. HE DAZZLES WHITES WITH THE WHITE KNOWLEDGE HE COMMANDS. AND HIS VOICE. He came to San Francisco for a panel on Chinese Americans and Charlie Chan.

The Chinese-American lawyer who was the tv host of the Charlie Chan tv festival, was on the panel, as was a White rep of the powerful Sacramento tv broadcaster, George Takei, the tv actor, Christopher Chow, tv news reporter for Frisco tv, and me.

George says something that makes the White rep explode red ink gurgling up his neck into his face . “Can we be civil in our language, please!” The darks of his eyes shrink to beads and aim at space. George Takei stately in his English suit and tie, says, “The subject is not civil and those affected have

14 exhausted civil language. It’s time for straight talk.” Those words, in his March of Time voice like to make Westbrook Van Voorhis jealous makes every ear listen.

Christopher Chow, a tv journalist in the 70’s, asks me if I recall the panel and the name of the Chinese-American tv host. I recall the panel, but not the name. It’s been years since he asks. I remember the name and more today. I hope it’s not too late.

•

Geoff Wong Adventure Theater KCRA-TV 3, Sacramento 1971 or 1972 - 1972 or 1973 Late nights Saturday After Bob Wilkins left for KTXL, KCRA-TV ran horror films in the hostless midnight slot for a brief while. Then Geoff Wong took over, showing Charlie Chan films.

Like Bob Wilkins, Geoff Wong worked without makeup, and did not portray a character. He was an engaging and likeable host who went to admirable lengths to provide background on the films.

It would be interesting to know the genesis of the show. Did KCRA-TV approach Wong, or the other way around? Certainly, for KCRA-TV the Charlie Chan films were an efficient late-night time-filler, there being almost four dozen of them. There was a general "nostalgia" craze at the time, resulting in revivals of W.C. Fields, Marx Brothers, Busby Berkeley, Sherlock Holmes, and other 30s and 40s icons. Charlie Chan was, in that sense, film history and begged to be broadcast.

However, it was also likely KCRA-TV was nervous about the racial stereotyping of Asians and blacks in the series, perticularly in the earlier, 1930s installments.

Geoff Wong was the perfect host given these circumstances. He graciously and fairly addressed the stereotyping by placing the films in historical and cultural context. When he thought things went too far, he said so - I remember him warning the viewers before unleashing the cringe-inducing performance of Stepin Fetchit in CHARLIE CHAN IN EGYPT, for example.

I'm not sure how long the show was on, but the TV Guides I've got suggest that it wasn't on

15 for more than a year or two at the most.

The ad below is for a KMST 46 late night Charlie Chan slot in April of 1973. Geoff Wong was off the air by then in Sacramento. There's no indication in the ad that KMST's show was hosted, so it's likely they were just trying to duplicate KCRA-TV's success with the series in their own market.

Sadly, none of the Charlie Chan films are available on DVD at the moment. Recent screenings of the films on The Fox Movie Channel cause a controversy, which you can read about in this thread on the Mobius Home Video Forum.

• I call out Geoff Wong as White man’s KCRA TV’S Number One Son. Wong shakes his head and repeats over and over, “That’s a low blow. …low blow.”

I’m impressed with George Takei. He knows THE BIRTH OF A NATION and D.W. Griffith. He seems to agree with me. He proves me wrong. HE DOESN’T AGREE WITH ANY YELLOW FROM ANYWHERE. George Takei is

16 the Confucian ideal of “the Superior Man,” he is superior to all Yellows because he is touched with Greatness. He tells the Whites what they want to hear in his Biblical voice from the mountaintop, and tells the Yellow what we should be, but aren’t.

THE SIGHT OF GEORGE TAKEI BRINGS STARS TO THE EYES OF ALL OF TV AMERICA. MR. SULU, SWEATY AND BARECHESTED, MR SULU, PLAYED BY GEORGE TAKEI, THRUSTS A FENCING FOIL DOWN THE HALLS OF A STARSHIP IN SPACE, BECOMES A STILL PUBLICITY SNAP. GEORGE TAKEI IS A WHITE CELEBRITY YELLOW GIVEN THE LIGHT OF STAR LIFE BY GENE RODDENBERRY’S HOLY 79 EPISODES OF THE TV SERIES, STAR TREK, and STAR TREK movies, THESE DAYS FIRST DAYS OF THE 21ST CENTURY, HE DECLARES HIMSELF HAPPILY AND DEFIANTLY HOMOSEXUAL on all-Media hairy Howard Stern show. He goes to the bottom of the foundation of the media and scrapes it, and climbs from a conversation with John Osborne of the movie channel, on Charlie Chan, to a panel of White racist Yellow film-makers on Charlie Chan, who pitch their own vision of Yellow, to the international talkshows, America, England, Japan to the top of politics and culture TED TALKS talking a strange peace with White racist camps, leading to the rise of George Takei as the most familiar face and spokesman for Asian American everything.

Like him or not, George Takei is our face our voice on tv America’s tv mind.

No other Yellow is seen or heard expressing his opinion of AA and himself, other than George Takei, a manufactured tv tested certified White by Gene Roddenberry. George Takei works hard to earn the title OR the part of the 21st Century Charlie Chan of the movies.

CHARLIE CHAN the Chinese Detective IS, as always A WHITE FRONT FOR WHITE HOMOSEXUAL HUMOR – GEORGE TAKEI HAS JOINED THE WORST OF TWO WORLDS INTO A YELLOW VISION OF A LAUGHING HELL FOR YELLOWS WHO LOVE YELLOW LIT LIKE ENGLISHMEN LOVE SHAKESPEARE. Christians swear on the Bible. A book. Jews on the Torah. Books. Islamists on the Koran. A book. What book or books do Chinese swear by? Chinamen in America know the books. White approved Chinese-Americans and AsianAmericans don’t know their books , and don’t care they’re voluntarily stupid and gratefully inferior.

17 We the Yellow intellectuals and activists don’t get on the hometown media with our contrary say. Very cowardly of us. George Takei has the right to do what he does and power to him. But his right to be us, all by himself, is a right given by us, with our superior silence that makes no sense to me.

GEORGE TAKEI WORKS HARD TO BECOME A WHITE PLEASURE: he works hard AT STAR TREK CONVENTIONS to be accepted as an unspoken member of the “original cast” (Shatner, Nimoy, DeForest Kelly) of the tv series. Then comes: STAR TREK: THE MOTION PICTURE. Apparently a line in a draft script promoted Sulu to “Admiral” with his own Starfleet. William Shatner says the Admiral and his own fleet means no part in the movie. The movie, Directed by Robert Wise, is set on the Enterprise, not on some ship an unwritten script away. Does George Takei take Star Trek as his Bible?

His Torah? His Sutras? Does he think he’s an actual Admiral in an actual Starfleet?

• ROBERT WISE

18 Robert Wise is Nominated for an Oscar for editing Orson Welles’s 1941 film CITIZEN KANE . He wins Oscars for directing WEST SIDE STORY in 1961 and THE SOUND OF MUSIC 1965. Wise is the Director of THE SAND PEBBLES- Nominated for Best Picture of 1966. Oscar Nomination as Best Supporting Actor for Mako- the Director of the L.A. EAST WEST PLAYERS- THE SAND PEBBLES is Wise’s most personal film. Something about the Vietnam war and the story of a hapless US gunboat in the minding it’s own crooked business in the waters of the Chinese Yangtse in the 20’s.

Bessie Loo, a talent agent, since THE GOOD EARTH, (the first film initiating the “morals code”), a Sociologist-actress Beulah Quo, and actress Pat Li, persuade Wise at a series of dinner meets in San Francisco, at Chinatown’s KAN’S Chinese restaurant on Grant, to cast Asian American actors along with his quota of Chinese Chinese actors. Johnny Kan is actress Pat Li’s father. Robert Wise godfathers a studio school for Yellow actors and Bessie Loo and Beulah Quo’s idea for a “professional “ Yellow company of actors toward the Mako directed EAST WEST PLAYERS. Robert Wise gives Mako the hope of taking a script to Robert Wise, who’ll like it enough to produce it and Mako direct the Asian American drama that will make everyone understand Asian-America. What it is. What is Asian-America? The actor founders of East West Player Beulah Quo, Pat Li, James Hong become stars because of THE SAND PEBBLES object to Mako’s making the theater an expression of Yellow activism. “Professional” to agent Bessie Loo and the actor founders means they get acting jobs in the “Industry.”

They are “professionals in the Industry” they do not have any text, any scripts, any content of their own. They are employees, not Directors or producers. They are not writers. They are not “activists.” They do not tell the industry what’s what. The Industry tells the Yellow actor EVERYTHING. “Activism” threatens their “profession.” They are “professional.”

Mako directs the first Yellow theater company to exist as a Yellow company.

What is a Yellow or Asian-American or Oriental theater company? The plays the actors act will tell all, the what’s what of Asian America will be revealed

by Asian American writing. The professionals hold their breath. Mako solicits Yellow writers. Robert Wise responds to Mako’s plea for money for an annual East West Players Playwriting contest. Yellows writing plays about the wonders and joys of being Yellow in America can not avoid activism.

James Wong Howe, Oscar winning cinematographer, born in Canton, raised in Pasco, Washington, wants to direct a movie about America putting all of

19 Japanese America into concentration camps. He describes scenes with children crying, “Momma, Momma, I want to go home. Too many Japs here,” to Robert Wise. He is so pumped from his meet with Robert Wise he calls up Mako, and asks him to dinner in Chinatown and spends the evening talking his movie, scene by scene, to Mako, the actor.

Yellows from East West Players, including Momo Yashima, Mako’s younger sister, appear in Robert Wise’s STAR TREK: THE MOTION PICTURE, as members of the crew of the USS STARSHIP: ENTERPRISE. TAKEI SPEAKS AS AN EQUAL OF SHATNER AND NIMOY, ON THE OCCASION OF DR. SPOCK DYING WITH LEONARD NIMOY. HE TALKS OF NIMOY’S ADVICE AND EXAMPLE TO TV ACTORS, AND WILLIAM SHATNER’S STAR OF THE SHOW VANITY. HE IS THE MODEL FOR THE YELLOW WHITES TOLERATE: HE IS NOT A WHITE MAN, BUT HE MIGHT AS WELL BE: An unwritten rule of Hollywood says CHARLIE CHAN WILL ALWAYS BE PLAYED BY A WHITE MAN. Keye Luke, THE first Number One Son, stars as Mr. Wong, a Chinese American detective previously played

by Boris Karloff, in PHANTOM OF CHINATOWN in 1930. WHITE characters were secondary. Keye Luke is a two-fisted gun toting Chinese detective and snappy dresser who catches the eye of girls. Number One Son has his expectations. All dashed.

Warner Oland is followed in the role of Charlie Chan by Sidney Toler another White man. David Henry Hwang has an idea and a half-Yellow star, but, no. The White one Godism of Hollywood doesn’t allow Yellow sovereignty. Another sovereignty means a say in Christian opinion. Religion doesn’t tolerate a subject’s subjective say in Christian opinion. No read of books other than the Torah if a Jew, The Bible, if a Christian, The Koran if an Islamist. A read is an act of submission religion forbids. Yellows have no religious instincts. Blasphemy! Blasphemy! Religion forbids a read of the heathen. What’s a read? The opening of a mind to understanding a text.

White Hollywood refuses to tolerate Sessue Hayakawa, a Yellow handsome man who makes the ladies swoon in Cedar Rapids, and drive him out of his own Hollywood studio. Sessue Hayakawa goes to New York takes the stage and talks Zen Buddhism and flocks of New York princesses swoon. The White contempt for Yellows he senses from his White partners while reading the insurance they’ve staked on his life, and the warning from technicians that saves his life, is accompanied by American White fear of

20 foreigners. Valentino his rival for penetrating eyes staring into a rich blonde beauty of the screen is also gone. Valentino never understands why his Hollywood star dims under his feet. John Dos Passos notes in his USA TRILOGY Valentino takes the punch of a boxer who doubts he can take it. A few days later he is hospitalized with a perforated ulcer. He comes to. He says he proved he wasn’t a creampuff. The ulcers develops into dead and dying tissue- peritonitis, that develops and develops. He dies at 31 years of age.

Charlie Chan of the movies has never spoken a Yellow whine in the voice of a Yellow actor. Charlie Chan has always been, and always will be played by a White man as a White homosexual joke, or category of joke known as: “Charlie Chan.” If you haven’t heard them, overheard them, been tricked into telling them yourself, you’ve never been to American movies.

Gay America is out of the closet and stepping on prime time in fit-forchildren tv comedies . George Takei takes his voice to talk shows and boasts on air in England and Japan and goes on TED TALKS he’s so proud of being gay, and talks as if America loves him. The same America , he says, betrayed him, an American born Nisei USA citizen, the same America that threw him as a child and his family into a concentration camp, then gave the wronged the chance to make themselves right by the White racists. George Takei is proud of the battlefield record of the 442nd All Nisei combat unit, and the recognition they won as better Americans in a greater America. Shame on the 263 Draft Resisters from camp. Shame. Just what the Whites want to hear. Hear that Asian America? Time to shuddup, bend over and take it, like the Nisei. Become better Americans in the greater America.

Whew!

I think it’s time- TIME. The new century- Time for Hollywood to remanufacture Charlie Chan, the Chinese Detective of the B movies, with a new Yellow American, model: George Takei, seems made for the job. While Hollywood percolates and filters and refines sparks and shines out of the idea down to the same old White thing, the word has been drying on the streets and reaches the ears of a smartass Yellow film-maker. He’ll beat Hollywood to the new universally lovable Charlie Chan. The New Century Authentic Chan. Authentic is the new Charlie for the old Chan. Authentic

21 Chan is the name. Stay tuned. You don’t want to miss The Adventures of Authentic Chan, Detective, in the world of today.

• THE ARAB SPRING SPRANG WHEN I BEGAN THIS The liberal cosmopolitan voice of Salman Rushdie criticizing Islam as a familiar is read, and written up written down, argued, and over years , sprouted Arab Spring.

The educated middleclass young of their people in Tunisia, Egypt, Libya, and Yemen drive the dictators armies to turn aganst their nation’s leaders, drive them out of office. The army seemed to join the educated middleclass demand for democracy.

If the Arabs can emerge and take back their countries’ nationhood, maybe the Yellows can take over Chinatown and J-Town. The Koreans seem to know who and what they are and have a Koreatown and a newspaper to prove it.

Chinatown never had a real Chinese-American newspaper. Japan Town used to have newspapers before the JACL standing in for the gov throttled Japanese America in camp, as their contribution to winning WWII, and the papers were less news and more JACL instructions to not say a word about camp. The papers still publishing are crap. The Arab spring starts me writing with the artists of Chinese, Korean, Japanese descent getting together to share children’s stories.

The Chinese and Japanese Americans are proud to have grown up ignorant of the “traditional stories” as Lee & Lowe a supposedly , an Asian American publishing company describes what they don’t publish, of the Asian country of their identity as Chinese, Korean, Japanese. Lee & Lowe publish only “sociologically researched and written,” in other words they publish only White racist stories. They are a White racist publishing company. One among all American White racist publishers. Big and small. All White racist.

And the White racists are us.

22 The Arab Spring fizzles on tv. The educated young middleclass has no leader or too many leaders.

• PALMAYA TO JEROME Syria: ISIS Destroys More Ancient Artifacts In Palmyra

By Kinda Makieh Posted: 09/04/2015 04:31 AM EDT | Edited: 09/04/2015 09:45 AM EDT

` DAMASCUS, Sept 4 (Reuters) -- Islamic State has blown up three ancient funeral towers in the ancient city of Palmyra, Syria's antiquities chief said on Friday, continuing the destruction of a World Heritage site that UNESCO has condemned as a war crime.

The militants, who have already attacked two Roman-era temples in the city, blew up the tombs dating from between 44 and 103 AD, Maamoun Abdulkarim told Reuters.

He cited sources in Palmyra who confirmed the destruction of the tombs, including that of Elahbel, built in 103 AD. The four-story building was one of the best preserved of Palmyra's funeral towers, sandstone constructions built to hold the remains of the ancient city's richest families.

The Syrian Observatory for Human Rights monitoring group said the towers were blown up within the past two weeks.

23 Let’s say Palmyra is Heart Mountain, or Minidoka, or Rohwer or Jerome one of the ten USconcentration camps for Japanese-Amerocans. Let’s say ISIS is the USA and Mike Masaoka’s JACL. The last of the Japs with camp exerience are grandparents, if they had the kids grownup to be parents of their own kids destined to grow up to call the parents of their parents, “Mother’s grand,” and “Daddy’s grand.”

You’re going to die Grandma and Grandpa.

Herman Goering, Heinrich Himmler, Rudolf Hoess have spawned generations of the Nazi kind, that never lived under Hitler’s shadow. They have no reason to feel the guilt of a great great grandparent whose time is the subject of movies and books bordering on philosophy. Some go from school to school telling a story they know bores the students to sleep, but they have to do what they do to pay for their cursed name and looks.

Why have the Chinese of Seattle lost the memory of Mei Lanfang’s stay in Seattle, in a Chinatown hotel, in the quarantine Zone around ChinatownNihonmachi? Have they forgotten the cans looking for donations to buy planes to fight the Japanese in 1939?

There were 12 Boeing P-26As bought and 11 delivered to China.

• START WITH A SAILOR LOST AT SEA Momo Yashima’s doc on the resisters A COMMUNITY DIVIDED begins with a Japanese sailor lost at sea, rescued by White Christians and taken to America. After a few months or years he returns to Japan and sells a number of Japanese on organizing Christian communes, a la the Pilgrims of Plymouth Rock, buy property in Washington or Oregon Territory. Then take a boat across the sea as a community to their new land. Gordon Hirabayashi, who quotes Thoreau, marries an American Friend, comes from a Christian commune.

The Chinese did not move communally to land bought and paid for in America.

I thought there were hints enough to start race of JapaneseAmerican

24 artists writing, painting, sculpting through their experiences, memories and moments of the click of inspiried intellect that snaps the Yellow No-No boy draft resister JACL ugly into a Sansei learns his father’s silence was the silence of fear of the Nazi JACL and the Gestapo 442nd vets.

Welcome to the 21st century and 70 years old, and 60 years old. What good are you now, soldier?

You are now at the bordeline of passivity and craft many have crossed – Johnny Yune, and a few have crossed to the next level of craft, on a line, “Heh-row,” for Hello, to journeyman, to the magic region of “made it” Jack Soo, Mako, Pat Suzuki in the murkey region of pop art , and George Takei alone in tv science fiction solidifying into an entertainment form because of him being a flesh and blood Yellow. Star Trek was different, unique because of George Takei. George was anxious to please, eyes on the move, searching for a boss to please. He wasn’t stoic, stalwart and straight like everybody else. He’s the Joker in deck. And he’s Yellow.

George isn’t an essential to the “Original cast.” His name does not appear among the “Original Cast.” STAR TREK wouldn’t be STAR TREK without a helmsman feeling the starship’s way through space modelled on real flesh and blood Yellow with an African name that suggests he might be Happa Black. Racial inspecifity was George Takei’s invention, with Gene Roddenberry’s approval. In the revival of Star Trek as Star Trek: Voyager, Garrett Wang as Ensign Harry Kim, makes it obvious the Yellow character of Star Trek is suspiciously effeminate and trying to hide it. Garrett Wang might, or might not have been straight, offscreen, but his screen presence is too “macho” for Star Trek. Then comes STAR TREK: THE NEXT GENERATION, the Yellow Helmsman modelled on the memory of George Takei as Sulu becomes mechanical artificial man, Data, played by Brent Spiner acting the part of a machine.

George Takei establishes himself as the Ornamental Oriental of the “Original cast” of STAR TREK. The Yellow as the White man’s pet.

Pat Morita is the only Yellow entertainer to be universally accepted and liked by the community of entertainers and audiences. He is likable but not a Yellow pet. He has an endearing quality, a cute charisma that attracts and delights children. The hecklers he encounters don’t attack his race, they take offense at his act. Tony Bennett stands up, begs Pat’s pardon, while he

25 puts down a heckler who asked Pat to shuddup and get Tony Bennett to sing I LEFT MY HEART IN SAN FRANCISO the way it should be sung. Tom Melody, a comic, appearing at the Playboy Mansion, tells Pat Morita the story of being marched by the Japanese on the Bataan Death March . “Don’t you know, I’m a Jap!” Pat says, “You are not a Jap. You are a comic. The Hip Nip. If you’re not, I don’t want to be your friend.”

Comics are alike trolling for laughs on the edges of their childhood good taste and civilization.

Showbiz everywhere begins on the streets. Music to soothe. Comedy to sell.

What if Pat Morita accepts Bobby Kennady’s invite to entertain Cezar Chavez, and the UFW with Tony Bennett and Harry Belefonte and he tells the story Tony Bennett smoothing a heckler out his act, the same night the he and Tom Melody orgy out their minds at the Playboy Mansion and wake up talking about the Bataan Death March, Japs, comics and friends?

The Nuremburg Laws of 1935 allows Jews voluntarily put on the Nazi uniform and fight for Nazi recognition and the hope their parents will be spared the treatment suffered by Jews after the Nuremburg Laws of 1935.

Loyalty is defined by the object of loyalty, the Nazis who define “disloyalty” the Nuremburg Laws..

Generalfeldmarschall Erhard Milch, ” is fathered by a Jew, and mothered by a German. By law , he is a “Full Jew,” under the Nuremburg Laws. Milch is also Herman Goering’s right hand man . Goering needs Milch to build up the air force for the Battle of Britain. Goering has Mlich’s mother write a declaration that little Erhard Milch is the result of her German uncle inserting himself into the story. The ultimate judge of loyalty to the Reich is the Reichsmarschall Herman Goering.

Officers that pass for Nazis and become soldiers that know if their fellows find out they are Jews, they’ll be shot. They are secret Jews that personally owe so much to the Fatherland…. The old Jews who fight for the Nazis with individual mixed feelings and survive, all return to the country of their childhood, the country they betray in youth. They have all sorts of unsorted contradictory reasons, but old age is old age, and home is home.

Two generations of Jews away from Nazis and Nazi loyalty to the law or loyalty to home or loyalty to your family and loyalty to Jews . There are

26 smart young Jews who come looking for the old soldiers wrestling with their conscience. The young Jews want to know everything about themselves. The JapaneseAmericans don’t want to know anything about the ten camps for Japanese Americans the Whites and the JACL haven’t told them to know and no more, and a little less, as time goes by.

The Japanese American vets of camp and the 442nd all tell the same JACL myth of Masaoka the wise, the Moses of JapAmerica whether they know it or not. I know George Takei knows because Mike Masaoka is a character in his autobiographical musical, ALLEGIANCE. Masaoka appears out of myth in Takei’s dream about himself, but never appears in the flesh at Rohwer concentration Camp in Arkansas. His autobiographical musical is heroic, patriotic, White racist and uplifting, but thumbs its booty at history, fact and truth. Yet he presumes instruct an audience of stupid idiots in last century’s news at home.

George Takei’s “untold story” is the same old JACL story Masaoka’s heroic sacrifice of his people’s American civil rights the Nisei were born with, to suffer White suspicion in prison camps, and prove their Yellow loyalty to the satisfaction of White Americans, and thus “earning” their way to American citizenship.

NO-NO BOY, by John Okada, and the No-No boys of 1943 enters the Japanese American mind and adds a new dimension of reality to the old camp experience in 1971. Four Yellow writers research, obtain the rights to Okada’s work from the original copyright holder, and re-publish the 1952.

NO-NO BOY, introduces us to people that fall into our lap. We research and interview people who knew Okada, or the people, presenting themsleves as characters in Okada’s book. Our research leads us to the resistance Bill Hosokawa asserts never was thanks to wise Mike Masaoka. We presented Frank Emi, a leader of the resistance at HeartMountain, James Omura, the only real journalist the Nisei ever had, and Mits Koshiyama, a Heart Mountatin Draft resister in 1944. We present the people the JACL says had no effect on the sleepy obedience to JACL rules, to the public, at gatherings of Asian-American scholars and church groups and churches.

George Takei attends a meeting of Resisters in J-Town L.A. Poet Lawson Inada opens the meeting with, “The long delayed homecoming is over!” and uncovers a mural sized photograph of the 63 young Japanese in a US courtroom, the first group of resisters to the new 1944 drafting of Nisei

27 from camp, from Heart Mountain.

Cameras catch the “Homecoming of the Resisters” at a Unitarian church in L.A.s J-Town. George Takei stops for a camera to catch him listening to Frank Emi, one of the seven leaders of the organized resistance to the camps and the JACL, tells the audience of 200 interested and especially interested Japanese Americans, how he is arrested in camp. The 6 men the FBI arrest are all in Heart Mountain a prison camp enclosed in barbed wire.

All the arrests are swoops out of the night in a policed camp. All arrests are surprisingly quiet, and polite, agents remark, accomplished without weapons or violence. Frank Emi impresses one, at first sight. He looks dignified wearing a paper sack. His brother makes a tailored suit look like a rumpled paper sack. They both are leaders of the Ht Mt resistance. Frank Emi looks like a leader. They let brother Art sleep.

A man in plain clothes from the FBI and a Nisei rep of the JACL knocks on Frank Emi’s barracks door early in morning. Frank Emi answers. The arrest is expected. The object of the resistance movement is to violate a rule or law they find obnoxious, and get arrested, go to court and, use the law to challenge the legality of the camps, and have the camps judged right or wrong. The Fair Play Committee, strategy is, if the camps are legal, the draft of prisoners is illegal. To make the draft legal, the gov will have to close camp, and send the Nikkei home.

The arrest is polite, witnessed by the JACL. Emi is taken to a car, the FBI gets in, and they drive off. The JACL stays in camp. Frank’s brother, Art sleeps through all the arrests until breakfast news. He sets to organizing support for the seven leaders of Emi’s Fair Play Committee arrested for “Sedition” counted on a judgement that the drafting of Nisei from a prison camp is unconstitutional.

George Takei’s childhood memory in ALLEGIANCE is of the strange capture of Frank Emi, the cowardly leader of the Heart Mountain Fair Play Committee, in Rohwer Arkansas, a camp that never saw Frank Emi. (And this autobiographical musical is now on the Great White Way, Broadway) A squad of soldiers with rifles and bayonets comes to arrest Frank Emi for treason. He runs. The autobiography is a musical dream. Emi runs! (Oh, Sinner Man, where’ya gonna run to?) He’s chased to ground. (Oh, Sinner Man, where’ya gonna run to?) He whimpers. Why do you have to lie, George? You

28 put fear in character Emi’s mouth that is never heard from Emi the man? He and his brother are 3rd degree black belts in Judo when they left the farm and city grocery for camp.

The Japanese-Americans writing about camp, since the 80s and more readers of NO-NO BOY begin to have an effect. The White racist editors of Maxine Hong kingston’s about to be released THE WOMAN WARRIOR begin to woo and threaten me with their educated Whiteness. I write back that if they publish it as fiction, a novel, I’d praise the book as the thought for thought workings of a person suffering from White love of Yellow selfhatred in full display. Publish it as a non-fiction autobiography, and I’ll say Kingston is a fake.

Nellie Wong, Oakland poet, says in print, at a time when Feminism is high, that Frank Chin, a man, is probably right about Maxine Hong Kingston faking Chinese, but she deserves a chance.” A chance at what? A chance for fame from a White audience that knows nothing Chinese. A chance for money by appealling to White racists White racism. San Francisco is the place.

Kingston and me send letters back and forth. She tells me she talks about John Okada’s NO-BOY wherever she goes. I’ve never been on the phone with her. The thought of hearing that voice and her birdy way of talking, in one ear like a plastic bird whistle filled with water we used to play for the comic burble of a drowning bird over the phone.

Ah the Fox Spirit whimpers and bats her lush lashes. Shoo. Shoo. Get away.

She licks her lips and drops the aim of her eyes.

The Fox Goddess, the protector of Brothels, north and south, when she’s 50 years old, she can change her fox-self into a woman. When she’s 100 into a beautiful girl, or a man , who can seduce the right woman, or man, and combine their power to know the happenings 1000 miles around, (an advantage to the king at the center and to the Fox who goes through spells of driving people crazy for fun.)

There’s a Fox Fairy in the South around Kwangsi and Kwangtung to the west.

The Fox Fairy of the south is female, has nine tails, and is adept at misleading looks and gestures, and is the protector of gamblers who gamble too much or too far.

29 This Fox is the daughter of the composer of “Azaleas in Bloom,” a mixed European and follk Chinese composition that becomes a Chinese folksong marking the 7th day of the 7th month of 1937 “Incident at Marco Polo Bridge” that begins WWII for China. Hwang Yau-tai or Huang Youdi or Huang Yau-tai is also credited with Chiang Kai-shek’s National Anthem. The Fox loves the memory of the man but can care less about his reputation. He helps her attract attention to her interests all leading to her self.

Fox spirits are very old, and look and smell beautiful and young, impossibly young. The Fox Spirit I can’t swear and cuss away from me, is at least 60 years old and looks 14. She sends me clips from the local White paper in town. The Whites of the Chronicle knows their Chinatown and mine doesn’t exist.

His given name is Kwok Cheung Chow; Girlfriend Lo calls him Raymond, the name a

30 teacher gave him during the one month he attended high school. Shrimp Boy calls himself Shrimp Boy.) Fox Spirit Get Shrimp Boy to blow the whistle on Kingston's fake Mulan, fooling Clinton and Obama into her truth is greater than Chinese culture and history. The Whites of the Chronicle Sunday mag had a gallery of 100 happy Oriental Ornaments and think Shrimp Boy a bad boy from the Golden Dragon days of transition from tame movie style Chinese American gangs, with switchblades and chains, to real bad boys from Hong Kong, about to go to war with other bad boys from Hong Kong is the story Chinatown lived. His myth is made on wiping the Chinese American homeborn and raised off our map. One look at us, an eye on Bill Wong first senior editor and Editor Emeritus of his hometown paper, in the country, the Oakland Tribune, and stumble into Oaklandʼs Chinatown.

It sure isnʼt San Francisco. Billʼs writing mentions Fong Gup Mo the barber I know as Fong Gup Paw, Barbershop Granny rather than Barbershop Lady. Bill doesnʼt say she was a fan of Big Jim Chin the sharply dressed Oakland gambler known for leaving a 100 lb sack of rice at every doorstep in Chinatown on the First Day the Chinese New Year. Big Jim is something else with women. He is married to Russian, Japanese mix, they divorce but still get together and have a baby who grows up to be Sam Paul Gee, the lost wax jewelry maker, I meet at his shop in Berkeley at 17. He later has shop upper Grant in North Beach. And he runs the art concession at Enrico Banducciʼs HUNGRY “I” With Shrimp Boy the Whites of the Chronicle and tv have been played by the real thing. He's an honest man. He spills nothing but the truth you ask for. Get someone to ask him what you've been afraid to ask out loud, if giving Kingston the Presidential Humanities Medal and the Presidential Arts Medal was a wise move, and he'll tell you the truth, Yellow man or White man, the truth is the truth.

The truth comes from the individual's well of waters. The individual here, is Shrimp Boy. Foxy, you've proven the Chronicle and the California press White racist to their core of Maxine Hong Kingston and Amy Tan. You are now in a position of strength the Whites recognize. Your complaints carry a little more weight than before, though I personally think you fucked up: period.

The moments you treasure are memories of sitting on your fatherʼs lap as he composes. Memories from childhood. All peopleʼs stories start with their cultures long told childrenʼs stories that keep the people together as a family, a language, as a tot, a value system, as a youngster, a civilization , as an adult. Your father managed to seamlessly connect the Chinese past with European music of the 20th century and become a genuine Chinese folksong.

31 If we, or the Filipino, can tell our culture in the childrenʼs stories and the boy and girl lit of the high desire age of youth with the same confidence we Adam and Eve, Jack and Jill, Romeo and Juliet, thatʼs the start of our, or any peopleʼs story, if you really are the peopleʼs story.

Dudley Do-Right of the Mounties

• There are children’s stories, stories of children betrayed by their parents, parents tell their tots to assure the children, their parents won’t sell them out. Shrimp Boy never heard the Chinese stories. From the White noise of San Francisco, billboards around town, the White news, the White tv and radio and records, the buslong ads and the sides of the electric busses he could have picked up all of White racist love for the Chinese and all Yellows.

In jail he could have learned to read the US Constitution. (A jailhouse pastime.) Argue the US Constitution and Declaration of Independence. US born are edowed with inalienable rights. Among the inalienable rights of American citizens was the right of presumption of innoncence until proven guilty. We might have met via the jailhouse mail. If the jailhouse mail exists.

• WALEY’S GELDED MONKEY TO APPEAR CHRISTIAN-LIKE THE UNABRIDGED MONKEY IS THE REAL CHINESE MONKEY TAKE YOUR GOD AND STUFF IT WHITE MAN, JEW MAN, ISLAM MAN, AND FOR GOOD MEASURE, YOU TOO BUDDHA MAN

How many Yellow poets have quietly and oh so poetically quoted Arthur Waley’s gelded version of MONKEY, to prove Chinese are deep down Christians? Monkey’s last meet with Buddha, Waley’s stand in for God, is after Monkey flies to the ends of the earth, beyond Buddha’s influence, marked by five pillers. He pisses on the third piller. Buddha looks at his hand and his third finger. Buddha points to a wet spot marking where Monkey

32 pissed. Arthur Waley the translator of the lone translation of MONKEY in the western United States in 1940 and publisher New Directions never traveled to China or Japan. He never left the island of England. If the Yellow poets read all of MONKEY they’ll read that Monkey looks Buddha in the eye as he kills Buddha’s fake Monkey, and throws Buddha’s saying “Thou shalt not kill!” in his face, and forces Buddha to look down. Buddha never recovers. He’s afraid to see Monkey again. The Buddha spends the of the book convincing Kwan Yin, the Taoist man turned into a Buddhist woman, in a deal to bring down the prehistoric Shang dynasty, to talk to Monkey and sweet talk the rock become flesh but not a monkey, into resuming breaking trail for the Tripitaka’s Buddhist trek west to India. Why doesn’t the Buddha go break his own trail to his home, himself? Monkey coyly asks.

Because Buddha can’t go to his father’s land, because his father will kill Buddha the instant he sets foot in India. “Everybody knows that, you Monkey!” “I love it when you call me Monkey.” The rest of the book, the parade of Buddhas from around the world, is a cover for hankey pankey between the stone Monkey and Kwan Yin who cannot have children in this dimension.

Chinese critics with a little Sun Tzu’s 13th Chapter of THE ART OF WAR a little Confucius, and a lot of Chinese children’s story deduce Monkey uses his acquired powers to go beyond Buddha’s Nirvanah, to the unknown together.

The Buddhists protest! There is no beyond Nirvanah they cry. Buddhashit!

Monkey and Kwan Yin are rearranging the elements in a state beyond beyond, way beyond, crybaby Buddha, and his Buddhashit Nirvanah.

Narasaki, passes on the old old old White racist instructions the JACL rewrote for Jap consumption about what camp is to Japs learning how to please Whites, George Takei and Ken Narasaki repeat Masaoka and love what camp is to the Jap lucky enough to be let out of camp. The lucky knew they were let out, because they promised not a discouraging word about the JACL, Mike Masaoka, the gov or camp. The Japanese Americans love camp, and obey the JACL. The Whites love the JACL . The JACL asks to be forgotten. The Whites oblige and blank out the JapAmericans altogether.

Ken Narasaki, a Sansei actor playwright, joins with Tisa Chang, the Chinese American founder and director of New York’s Pan Asaian Repertory Theater

33 , to mount his self-righteous rewrite of John Okada’s intended firey and bloody ending effects of his 1957 novel NO-NO BOY, by writing a new character voicing the White Racist gospel of the JACL and a bloodless, musical upbeat positive ending.

A new ending because the car and the wreck are impossible to stage, Ken Narasaki says, giving an untheatrical answer to a theatrical problem solved in Stephen Sondheim’s PACIFIC OVERTURES, directed by Broadway Hal Prince. The musical that makes Tisa Chang’s PAN ASIAN REPERTORY THEATER a company aimed to please Whites and heap contempt on Yellows just as PACIFIC OVERTURES makes nonsensical freaks of the Japanese by the Japanese but for the Whites.

Narasaki says it’s impossible to stage a belligerant car snarling in an alley screeching across a street at night and crashing in flames. Hal Prince has a dock in Tokyo Bay receive the bow of Commodore Perry’s twenty foot tall Black ship, with a live Perry on top, and Sab Shimono row in a boat from the dock across water to side of the black ship to parley from the water with Perry on high. The sets were the real actors , their movement as part of the action make the sets a real character, the only real character in Stephen Sondheim’s galllery of hate-Japan stereotypes.

PACIFIC OVERTURES is a response to Yukio Mishima’s supposedly western prejudices that turns into parody, and laughs new light on the clash and enfolding of cultures. What was once yours, is no longer yours. White man give Yellow man Shakespeare. Shakespeare give Akira Kurosawa idea.

THRONE OF BLOOD is pure Shakespeare and pure Japanese. The story of Yukio Mishima’s life ends with his silly death witnessed by a jeering generation of Japan’s self defense force officers. His story is the stuff of films and the films the stuff of books. Nagisa Oshima makes Night and Fog in Japan and BOY. Japanese film shows the world’s things put to Japanese use, tastes, senses. The way Japanese put familiar White household habits and fads together into objects that give a Californian pause. Gee, I’d like that in my house. Oh it’s a toilet bowl with flowers. Well. Say that’s nice over there…

I see all the best Yellows actors from the West, Mako and Soon-teck Oh and the East/West Players, and Tisa Chang’s PAN ASIAN from the east, all of them playing ugly for showbiz fame in PACIFIC OVERTURES directed by

34 the one and only Broadway Hal Prince. Stephen Sondheim writes with such hate, he hates his own music and songs. Only one song stands out because it’s cute, a cute tune and cute situation, understandable in the vocabulary of cute. A boy in a tree, looks over a fence and see bigshots in a big do with foreigners, but can’t hear the words, big or small. He can see but can’t hear.

Cute.

• Rick Shiomi, a Canadian Nisei playwright staged by Mako at L.A.’s East/West Players years later after a tv career is in New York rewriting Gilbert & Sullivan’s THE MIKADO free of objectionable elements in the topsy turvy of the time, to today’s Japanese-Americans. Rewriting the MIKADO is Japanese-American racist arrogance. Paste labels on posters outside. But writers do not mess with another writer’s words unless the writer intends to mess with the writer. If Shiomi wrote a Sansei parody, a third generation satire in the G&S style...but he didn’t, did he.

Or why doesn’t Rick Shiomi write a Japanese American satire of Stephen Sondheim and Hal Prince’s White racist PACIFIC OVERTURES with ugly White men played by Yellow men, instead of the other way around.

First, there was FLOWER DRUM SONG. Nobody parodied that.

Unfortunately, then THE WORLD OF SUZY WONG then PACIFIC OVERTURES how much White contempt do our celebrity showbiz Ornamental Orientals expect us to swallow?

Today: George Takei’s ALLEGIANCE. Tomorrow Rick Shiomi’s deballed MIKADO, the day after, Ken Narasaki’s revised NO-NO BOY. What is New York coming to?

The writers and actors consciously choose to be believe in the White books as the word of God, and to obey their White God and not read or refer to betray a knowledge of the Chinese books that kicked off Korean and Japanese written language and form and literature and art that might explain why Chinese chopsticks are wooden and square with a round shaft and a blunt end, and Korean chopsticks are steel spikes and Japanese chopsticks are round and lacquered wood?

35 White master don’t ‘low no Yellow critics of White beloved Charlie Chan and his Yellow sons. Charlie Chan is White love, be grateful his God, commands.

And Whites live as if all the Yellows born in America are grateful to the generous Whites, and obey like the four generations of established White approved, Christanized Yellows successful in the White world of Yellow selfcontempt.

The Japanese as an island culture of limited cultural resources become an acquistive culture for the sake of self-preservation. Japanese cultural history is defined by URASHIMA TARO and NHK syndicalizing the Japanese Iron Chef cooking show. A challenger from any part of the globe challenges one of the Four Japanese chefs of four national cuisines –French, Chinese, Japanese, Italian, to a timed bout of prep, cooking and plating of a meal involving an ingredient revealed only after the challenger has chosen their Iron opponent. Yes, women have challenged and won over the champion Iron Chefs. The myth of the Iron Chef, is a myth about a simple amusing show about fancy food, to relax and drool over. A national tv station buys the rights to use the title Iron Chef to champion the national cuisine. Each nations Iron Chef show is unique. Iron Chef Finland is not Iron Chef Japan, but both are licennsed by Japan’s NHK. Everyone is happy and tum tums happy too. A Japanese Mexican Mariachi band wins a Concurso Mariachi in Mexico, goes home to Japan by day and, by night, Japanese Mexico. They record on Mexican label. Jin Oki is a flamenco guitar phenom in Spain and Japan. Follow his tracks to SPAIN, a mix of Jaoquin Rodrigo’s CONCIERTO DE ARANJUEZ and jazz style flamenco imrovs on the chords, by Chick Corea – Jin Oki the flamenquista plays with two other Japanese guitarists, Dai Kimura, who dyes his hair reddish, and the buzzcut greyhead Moriyasu Ilgaya. Seiji Ozawa In 1972, leads the San Francisco Symphony in recording music inspired by William Shakespeare's ROMEO AND JULIET its first commercial recordings in a decade,.

1973 he becomes Music Director of the Boston Symphony Orchestra and for the 29 years, directs the longest tenure of any music director, surpassing the 25 years held by Serge Koussevitzk.

Japan the island country has developed assimilation to mean the influence of one culture over another goes both ways. Gen MacArthur in casual uniform without a tie, as a sign of contempt for the Japanese nation he was punishing with White superiority, over the defeated , in dress uniform, top hats,

36 gloves and tails. The humiliated, constantly belittled Jap before the enormously handsome and powerful Whiteman with his White ways created the genius and Jap madness of Yukio Mishima from sickly stringbean to Nobel rumoured writer, philosopher, movie maker, leader of a personal toy army, to a picture of himself as an oiled muscleman holding an antique samurai sword. The costume comedy of his botched samurai suicide before military cadets , propels Mishima, and subsequent Japanese lit into the realm of Shakespearean tragedy. Akira Kurosawa’s snarling Toshiro Mifune shot full of arrows in THRONE OF BLOOD is a picture of coming Japanese reality, Shakespeare style.

URAHIMA TARO teaches the Japanese countryman to sail away, learn the fantastic, fall in love young, and come home to Japan to have children and spread the fantastic you learned. Come home in time, or be trapped by time.

The Japanese countrymen are one by one accepted as players, pitchers in American baseball, and the Whites drift their sense of America slightly toward Japanese baseball. It’s just baseball after all.

Iron Chef Japanese Miyamoto flashes back and forth between his restaurants in Philadelphia and Japan and elsewhere by plane and the internet. …White people eat sushi in sushi bars from coast to coast. Whatchacallit Shoji Tabuchi the Japanese country fiddle player and singer who currently performs in his 27th year at his Shoji Tabuchi Theatre, in Branson, Missouri. (White complaints about Shoji Tabuchi’s onstage comments about his blonde White wife who never appears in his shows on his stage.)

JapaneseAmericans, the Nisei, Sansei, Yonsei act cowed, fearful resentful of questions, any questions , are stuck in 1941 and wanting out, way I would expect the Jews, the victims of horrors would act. But Jews come out of the Holocaust writing and painting and spilling guts calling it art, determined to “never forget.”

and the the and

The Jews never forget in books of all kinds. Songs. Science. Art. The Japanese Americans never wrote books of all kinds,as Japanese Americans, they didn’t science as JapaneseAmericans, they didn’t art and argue together to not forget. In the year 2015 , 70 years after the camps, only three (3) books by Japanese Americans contain a mention or two about the No-No boys and Resisters. Only three in 70 years do not forget each other,

37 among the JapAm people that forget themselves and today are going extinct as a people.

The only question is: Is ALLEGIANCE and Narasaki’s NO-NO BOY the Japanese-American art the Japanese that come to America in 1850 leaves the country with? If it is, Japanese America from 1850 to today has no art that isn’t first, White racist.

The Japanese come out of camp, saying it wasn’t that bad, sort of good to culturally great, but determined not to remember. They exit camp determined to remember nothing. The walk out of camp aware the Whites are watching. They walk the streets of home aware the Whites are watching. The JACL still talks as if the JACL is the law. And Mike Masaoka is still God. Heh heh heh. Shhhh. Heh. Heh. Heh. Not quite God. But close!

Mike’s a Mormon Moses leading the Yellows away from Yellowness over the mountain to the promised Assimilation and White at last. White at last! Lord, Almighty, I’m White at last!”

White at last! A dream never achieved by the gutless Chinese of San Francisco’s Chinatown. The Adler Alley from Grant Street in Chinatown, to Columbus Street has been renamed Kerouac Alley for the corner City Lights bookstore where Kerouac and Ginsberg and the Beats hang out in the 1950s The alley from White Italian end to Chinatown end. No Chinatown writer’s name on the Chinatown end. No Pardee Lowe, 1941 author of FATHER AND GLORIOUS DESCEDENT, just before, accepting the draft all the way to the US Diplomatic corps, or whatever diplomats are called. No Jade Snow Wong whose 1945 ghostwritten autobiography FIFTH CHINESE DAUGHTER made Cameron House, the Chinatown YWCA and Mills College famous. Not even C. Y. Lee, whose novel FLOWER DRUM SONG spawns a Rodgers and Hammerstein musical and the song GRANT AVENUE about Grant Street in Chinatown. No Chinatown streets or alleys named for Chinese. Chinatown is a White rule from the top down town. David Chiu a kissass politician had Old China Alley renamed for Donaldina Cameron the missionary who invented the abusive Chinaman abused woman San Francisco stereotype made American Humanities lterature and American Art by Maxine Hong Kingston in 1976 with her non-fiction autobiography THE WOMAN WARRIOR. David Chiu is now in the California State Legislature he has a bright future as an Ornamental Oriental among Ornamental Orientals stalwartly doing nothing for Yellow people. Observers can only hope the Whites find their service as

38 ornaments worth their pay.

The story opens in darkness. All the eye can see is empty space. An egg appears. Is it moving or growing larger or both at the same time? We are reading the beginning of the story, or perhaps the beginning of a new story of a rock and a hardplace making love and having a child. Of course, somehow, the reader will have to see it, to believe it.

• CHARLIE CHAN IN THE 21 ST CENTURY AUTHENTIC CHAN-THE AMERICAN BORN AND NUMBERED SON OF CHARLIE CHAN played by George Takei. AUTHENTIC DOESN’T REALIZE CHARLIE CHAN IS A WHITE MAN AND CAN’T BE HIS BIOLOGICAL FATHER. CHARLIE CHAN IS PLAYED BY ROBERT DE NIRO , JOSEPH FIENNES, MATTHEW McCONAUGHEY THE WHITE, HANDSOME AND ROMANTIC MACHO OF THE DAY, IN TRIBUTE TO TIPSY SIDNEY TOLER –THIS CHARLIE PINCHES HIS NOSE AS IF HE’S BREATHED CHAMPAGNE BUBBLES – BUT BUBBLES ARE FLYING AND HE DODGES THEM – HE OUTSMARTS BUBBLES – HE smiles the pinchy NOSE AND LARGE FRONT TEETH of a rabbit.

CHARLIE CHAN IS OLD, HAPPILY TIPSY IN A WORLD OF HIS OWN MUTTERS FAKE CONFUCIUS-SAYS CHANISMS – “Up is not down, except when wear green.”

GEORGE TAKEI-AS CHARLIE CHAN’S NUMBERED SON-JUNIOR- SPEAKS IN THE TALK OF THE MOVIES –HIPSTERS – JIVE & JIVESTER, MIGHTY WHITE OF YOU, OH, MY! -TIGHT LIPS SAVE SHIPS- I’LL BE A DIRTY BIRD (GEORGE GOBEL) – SOMEONE WHISPERS IN GEORGE’S EAR: THE MAN YOU CALL “POP” IS WHITE. The word has an electric joy buzzer hair-raising effect on George.

The buzz lingers in his every nerve and his eyes swell to bright-size.

WHITE FIRST CLASS STAR ACTOR’S ACTOR-THE JOHN WAYNE-

39 MARLON BRANDO OF THE DAY AS CHARLIE CHAN HAS A STROKE THAT FREEZES EVERYTHING BUT HIS EYES. GEORGE AS NUMBERED SON-JUNIOR- SINGS "O mein Papa" AS SUNG

BY EDDIE FISHER ON THE NIGHT HE LEARNED HIS WIFE ELIZABETH TAYLOR LEFT HIM FOR RICHARD BURTON. CHARLIE CHAN –EVERYTHING ABOUT HIM DEAD BUT HIS EYES. HIS EYES MOVE AS GEORGE PLAYING AUTHENTIC CHAN EXPLAINS HIS NEW NAME, HE UNFOLDS THE SLICE OF APPLE PIE OUT OF HIS POCKETPOP’S EYES LOOK AT THE PIE WITH HORROR. AUTHENTIC CHAN FEEDS IT TO “POP” AND SINGS: Oh, my Papa, to me he was so wonderful, Oh, my Papa, to me he was so good. No one could be so gentle and so lovable, Oh, my Papa, he always understood You like that, Pop? People say my Eddie Fisher sounds like Peter Lorre. Heh. Heh. Heh. Papa wie ein Pfeil sprang hinauf auf die Seil, eh la hopp, eh la hopp, eh la hopp.

German. You like? Pop? Strange. How a sickly Jewish entertainer escapee, from the Nazi boot, with the aid of friends, Kurt Gerron, in Germany , the pimp in THE BLUE ANGEL and Marlene Dietrich, the Blue Angel safe in America refuses to be rescued. Isn’t that strange, Pop? Yes, strange. Kurt Gerron, a great entertainer is killed by his own people before he can be gassed at Auschwitz extermination camp. Entertainers of the world: Beware! Peter Lorre comes to Hollywood and is saved, and now emerges out of the mouth of Charlie Chan Junior, or Authentic Chan, Chinese Detective.

Gee, Pop! Isn’t that amazing! Huh, Pop? Amazing isn’t it? Huh, Pop? THE WHITE STAR’S PERFORMANCE OF WHITE EYES IN TORMENT, IS NOMINATED FOR AN OSCAR GEORGE TAKEI: I’VE BEEN THINKING, POP. HOW ABOUT A NOIR DIRECTION A LA ALFRED HITCHCOCK IN THE CHARLIE CHAN OF THE 21ST CENTURY? HOW ABOUT A GLASS OF WATER, POP? KEEP A

40 MOVING, DAN HOW’S THAT SONG GO? … don't you listen to him

Dan,/ He's a devil not a man /and he spreads the burning sand with water/ Cool water/ DAN CAN’T YOU SEE THAT BIG GREEN TREE WHERE THE WATERS RUNNIN’ FREE

AND IT’S WAITIN’ THERE FOR ME AND YOU COO-OOH- OOHL CLEE-EEH- EEHER WATER. A LITTLE BIRD TOLD ME YOU WEREN’T REALLY CHINESE, POP. WHAT DO YOU THINK OF THAT? DO YOU LIKE THE APPLE PIE? GOOD, ISN’T IT? YUM YUM. OH, MY!

• I do DONALD DUK an adventure for the young wide eyed with the pop, and bubble of throbbing hormones, like Robert Louis Stevensonʼs TREASURE ISLAND, and KIDNAPPED. A story of Donald Dukʼs thirteenth year. Over my head is James T. Farrellʼs STUD LONIGAN trilogy of 1935. Farrell makes of an Irish voice in America, from birth, to death. I am in Jr hi and read STUDS LONIGAN expecting to read Huckleberry Finn or Tom Sawyer in Chicago. Studs Lonigan grows up rebelling against lousy parents, as an anti-Semite, catches pneumonia and dies and as a gloomy loser. All men are losers. Studs had an Irish charm, that softened in James Cagney, the kid that went to war to get out of going to prison in the FIGHTING 79th, and ends leading the charge to patriotism.

The choice between prison or the Army is not given to Cagney in the movie, as I remember. Movies are good for something. The movies carry the Irish charismatic badguy into John Wayne and the mind of John Ford, the intelligence of Edward G. Robinson, moral murkiness seemed rampant among the Irish. It is 1958. I am 18 years old and in Berkeley. Folk music from the Midwest and South is in the air. Railroad songs, sea chantey. Flamenco. I am a freshman and admitted to novelist Jackson Burgessʼs graduate fiction writers class of twelve.

Jackson Burgess, hopes to get a script produced on the tv series WAGON TRAIN with Ward Bond. Fred Haines, a Navy vet, is publishing in the new tit mags before his admission to the class. Heʼd be nominated for an Oscar for adapting James Joyceʼs ULYSSES for the movies. Henry Park, the son of missionaries to Ethiopia, writes stories of the Italian planes and field and heavy artillery against spears and bows and arrows Iʼd never read or heard before. He spies a page I am writing and is inspired to finish it for me, while I am out. I blow up. I tear up everything Iʼve written and stomp out.

Henry Park scotch taped every torn page back together again. Tearing Henryʼs

41 tearing me up, suddenly switches to hurry back, hustle Henry out, and write FOOD FOR ALL HIS DEAD in one sit down at the trusty typewriter. There is a Jake Fuchs in Jack Burgessʼs class. Heʼs the son of a Hollywood studio executive. A presence but he shares no writing, and not a memorable word.

Everybody in Jack Burgessʼs class knows the movies through the snappy opinions of Pauline Kaelʼs notes to the movies she shows at her Cinema & Guild theaters on Telegraph Avenue on the way to Sather Gate and Glory be! Cal campus Berkeley. She loves scrapping about movies. She notes her showing of John Hustonʼs 1953 movie of Herman Melvilleʼs MOBY DICK is made from a script by Ray Bradbury (Swedish not Irish), , with Gregory Peck playing John Huston as Capt Ahab, Royal Dano as Elijah foretelling doom for all but one who sails on Ahabʼs whaling ship, and a cameo role for Orson Welles as Father Mapple.

Writers begin reading and writing comic books, rise to pulps, when pulps are published. Writers are talkers before Pearl Harbor. Writers are thinkers.

By 19 Iʼd read Sergei Eisensteinʼs FILM FORM & FILM SENSE. He says in the time one image of, say fire, and the next image of lips translates into separate images, for an instant, in the eye, fire and lips are one and the same thing. Film was a way of looking at time. I saw Erich Von Stroheimʼs film of GREED based on Frank Norrisʼs novel McTEAGUE. I read the novel and saw the movie.

Hemingway said Norris started American writing from the ground up. In other words newspaper writing a talented twelve year old can master. Norris wrote a scene of horsedrawn threshing machines whipping up at dawn in California. Iʼll forget THE OCTOPUS and Frank Norris, but Iʼll remember the scene he wrote.

Eisenstein reduced the beat of the death indoctrination film to a mechanical science. Images flick at the eye at frames per second. Accidents in the flick of images in montage are planned to be like accidents in the eye. I found I learned about reading and writing from reading the different theories of film and psychology – including Communist, especially Communist because I was teaching myself Flamenco guitar off of records- a crazy way to learn – The Spanish Civil War – had vets in San Francisco North Beach-Chinatown. George Orwellʼs HOMAGE TO CATALONIA. The Spanish Civil War. Hemingwayʼs FOR WHOM THE BELL TOLLS, made into a movie with his friend Gary Cooper playing the romantic dreamer who gets Ingrid Bergman into his sleeping bag, and makes heroic nonsense before he goes off to die for a betrayed cause. The same

42 story told by John Dos Passos. Muddy. Everyone knew everyone was fucked as soon as they saw who they were fighting for, and who they were fighting. Then WWII and Henry Reedʼs poem “Naming of Parts”

To-day we have naming of parts. Yesterday, We had daily cleaning. And to-morrow morning, We shall have what to do after firing. But to-day, To-day we have naming of parts. Japonica Glistens like coral in all of the neighboring gardens, And to-day we have naming of parts.

It echoed the description of the M-1 rifle in the US Army Manual: “The Us Rifle M-IAI is a gas operated, air cooled, bolt action, clip fed, 30. Caliber, shoulder weapon weighing 9.8 pounds.”

•

Gilbert & Sullivan Society Cancels The Mikado after Backlash posted by Randall

43 In a stunning but welcomed reversal, the New York Gilbert & Sullivan Society has announced it is cancelling its planned production of The Mikado.

The announcement of the planned one week run at New York University’s Skirball Center for the Performing Arts drew a swift angry reaction from the Asian American community on AsAmNews and other Asian American blog sites.

In his announcement on Facebook, New York Gilbert & Sullivan Players announces that the production of The Mikado, planned for December 26, 2015- January…

Posted by New York Gilbert & Sullivan Players on Thursday, September 17, 2015 Executive Director David Wannen wrote: “New York Gilbert & Sullivan Players announces that the production of The Mikado, planned for December 26, 2015- January 2, 2016, is cancelled. We are pleased to announce that The Pirates of Penzance will run in its place for 6 performances over the same dates.

Playwright, director, producer, theater artist, and musician Rick Shiomi has directed his own version of The Mikado and had this to say.

“The Mikado has been such a bane of our lives that to have that pain recognized through this cancellation is tremendously appreciated,” he said.

“But I do believe with some adjustments suitable to our 21st century values in America, we can retrieve the actual joy and artistic value of this work. I recently directed a revised version of this operetta for Skylark Opera and Mu Performing Arts and our version, wiping away the old Asian stereotypes, was very well received. So there is hope but it will take a new vision for this operetta and others like it.”

Rick Shiomi the Sansei playwright invades the sovereignty of Gilbert & Sullivan over their work. It's no secret the 19th Century Briton is imperialist, White racist. The The Victorian British contempt for the colored and costumed of the empire is part of the charm of Victoriaʼs generous love from her throne at home and the topsy turvey of G&S works. If the MIKADO offends the JapaneseAmericans they are free to express their grievances. I object to Rick Shiomi laying hands on another's work to make the offensive work palatable to Rick Shiomi, as I would object to a White writer offended by Martin Luther King laying hands on King till he sings the Whiteman's song. Iʼd certainly object to the hands of someone after Iʼm dead, ripping my prose apart and rewriting me as improved me. I Hope Rick Shiomi takes his name seriously, itʼs the only name heʼs got.

44 From playwright to counterfeiter. Tsk. Tsk. Tsk.

• ISH: REALLY, FRANK? YOU WOULDN'T HAVE LAID YOUR HANDS ON SHARON OTT'S ADAPTATION OF MAXINE HONG KINGSTON'S 'THE WOMAN WARRIOR for the Berkeley Rep and the Seattle Repertory Theater?

FCC: Sharon Ott is an off the shelf White racist from the South. Contempt!

Contempt! The 20th century Yellow contempt will be as quaint and a style as American as "Chinese" Gordon, is English. Queen Victoria and "mighty White of you." I wouldn't touch a word of Ottʼs Berkeley Repʼs tribute to the Yellow crazy woman who approved of Otts bringing her White racist stereotypes to the stage.

The philosophical union of Yellow Kingston and White Ott anticipates the White racist gestures of Pres Clinton and Pres Obama by years.

My thoughts are images. My eyes are closed. Outdoors.

The great outdoors. Dark sky. Darker ground. The vaguely feminine squeal of rusty screen door is the yip of a coyote at early morning dusk in the desert hills of L.A. The hills bulge pustular growths that swell the withdrawal of night as a bleed of pink light into the blue black turning the black shades the blues into shades of purple and gray. The clouds reflect a sun on a long rise as pink as cotton candy. Brillo pads of blue green steel wool nose high in the sky toward the eye, I feel privileged to see through.

The loner settles a score for civilization, civilization doesn’t appreciate. Rather than argue, he moves on. On horseback. The horse is parked outside the cabin. He has done what a man has to do. James Garner, the Texas Ranger-bounty hunter starts the morning from the ground up. Bare hands pull his boots over his feet with a

45

grunt and a boot touches ground. He blinks sleep out of his eyes and takes a swallow of coffee from a tin cup.

There’s a badge on the left side of his vest. He puts the cup on the stove top, and opens the door to the stove, warms his hands, closes the stove. He wears a black frock coat and gloves and straps on an 1860 Colt 45 Army sixgun. Gloved hands pick glasses off a table with glasses and a book. He leaves the book and packs the glasses in a case he puts in his jacket pocket. He has his hat on his head. He takes sacks of beans and coffee off a horizontal between studs of this batten and board single walled cabin letting the light of the outside in between the boards of the single wall. He packs a bottle. Sam Neil as a country doctor in Australia, ends the day and begins the morning with a surgery that fails. He refuses money, the miners will need it for the funeral, but they wouldn’t have a bottle laying around, would they?

In your saddlebags. A bottle three quarters full. And the doctor is off on his horse, riding toward home in the town, drinking from the bottle as he rides the gloom of dawn.

He always rides from left to right, when he rides home.

Just as James Garner the Wildman bearing civilization with gritted teeth, saddles his horse, and rides to his mission from right to left, toward the hand unrolling this story.

Jack Palance the gangly skeletal two gun badguy for hire, in John Sturge’s SHANE, rides a gangly skeletal horse from right to left toward the town hiring him to kill. I

46

hire Jack Palance to appear on camera and narrate the biography of boxing champion, Archie Moore. Palance looks into the camera and says, a line that Archie gives the Hollywood starlet who asks what he is now that he’s done a movie? “ ‘I am a fighter,’ Archie said,” Palance says, “The actress insists he’s an actor, now.’ ” Palance , with the authority of a fellow boxer, gives Archie’s answer to Hollywood, “ ‘ I am a fighter. A fighter. First, last, and always.’ ” Chinese hand rolls are unrolled from the left heart hand to the right fighting hand, and over the table into history. In the Yuan Dynasty, the foreign Mongol Kublai Khan rules China and Chinese nostalgic for Chinese rule of Chinese territory communicate their intentions to go along to get along or rebel through handrolls of horses going to the right, with civilization, or to the left to resist civilization.

The Tang Emperor’s favorite picture of his favorite, fastest and most spirited horse Night Shining Bright that can be said in two flowing syllables, not three clanks, is of a horse tethered to a center pole, resisting the right and balking wildeyed with rage, straining to the left, against the movement of civilization to right.

The tv movie of Novelist Larry McMurtry’s THE STREETS OF LAREDO, John Sturges resetting Akira

47

Kurosawa’s THE MAGNIFICENT SEVEN, on foot in Japan to a tamer, clean shaven Toshio Mifune made less real, by a petulant White pretty boy playing pretend MAGNIFICENT SEVEN in a Hollywood Western on horseback , George Steven’s SHANE all open with a man in silhouette at dawn, on horseback. Foxfaced Sam Neill as the doctor surgeon, a professional who does a service to civilization, remains an outsider who comes and goes, from false sickness, to a fist in the face, to please save my life, in Australia when boys are coming home from WWI, back and forth, on horseback, in A COUNTRY LIFE, adapted from UNCLE VANYA, a play by a Russian doctor, Anton Chekov, directed by and starring as the Doctor, Konstantin Stanislavski.

The western I’m waiting to see opens just like getting to know the gunman James Garner and the doctor Sam Neil, on horseback, except, they’re one Yellow man, whose hands pull on old boots, and hold the hot coffee, sipped into a handsome Yellow face, that has eyes that blink after a swallow. Stalwart eyebrows jerk to life on the Yellow hero, Asian America has been thirsting for. The eye doesn’t know his name, but just the weight of him, the presence in the shot says, keep an eye on this man. Is he a gunman? A doctor? A journalist? A comic? This man is important?

•