Archive for December, 2004

Why must I bleed alone?

Monday, December 20th, 2004

I take this new birth control pill where one of the side effects is having four menstrual periods a year. It’s menopause in a pinch! I feel like an Olympic gymnast or some other kind of professional athlete, too muscular and stressed out for feminine luxuries such as menses and the prom. When it comes time for one of my quarterly shed, it takes me by surprise and I welcome it like a long lost friend.



We have lots of euphemisms for menstruation, and we don’t refer to it unless in the company of women, and rarely even then. I had a friend who was absolutely intolerant of anyone complaining about her period. She’d never had cramps or heavy bleeding or stopping then mysteriously restarting or accidents or missed one in her life, and she staunchly believed that no one else should. If it were mentioned in her presence, she would through clenched teeth remind all of us of her freedom from pain and a manageable monthly flow and change the subject.



Then there are the judgmental ones. I have been around the alternative healing community for decades, and when confiding in a friend/amateur healer/shaman about my woman’s issues, they would almost always launch into a tirade against wheat or dairy or white sugar or caffeine. When doubled over and obsessing about banana chocolate chip muffins, the last thing on my mind is yoga. Lectures about my bad health and spiteful shaming usually greet any attempt on my part to have learned discourse about menstruation, and so the best way to get a grip on it was to get rid of it the best that I could.



It is strange how little talk there is about our periods, as if the subject, if not in a health and wellness context were morally reprehensible. It is a dirty business that women keep to ourselves. But why are we secretive? Over half the world menstruates at one time or another, and you’d never know it. Isn’t that strange?



When I first got my period, I was thirteen. My mother was not overjoyed. She gave me big, foamy white kotex pads that she had still left over from before her hysterectomy. They were old, so they had long tabs on either end for the sanitary belt that was supposed to keep it on. When I put the entire contraption on, I looked like a sumo wrestler. Usually I couldn’t be bothered to put the weird belt together, so the pad, devoid of the newfangled modern adhesive that would secure the wad inside your pants, would slip and slide all around my area, creating something akin to a potato print card.



My mother showed me how to dispose of the pads. She folded them up, wrapped them in toilet paper, shoved them inside a paper bag, crumpled up the bag into a ball, then buried them deep inside the bathroom trash. She repeated the process twice, miming the steps the second time as not to waste those gigantic pads. There was incredible shame in the whole business of bleeding, and she wanted me to be painfully aware of it. The shame could work to my benefit, because if ever I wanted to get out of doing something, I could just cry “Period!” and it was an instant no-contest. Everyone would leave me alone. It was like having a magic word.



Of course I was incredibly lax about throwing those huge pads away, and my negligence was punished with more lessons on how to properly dispose of them, as if they were radioactive nuclear waste. My father even started to shout about my lackadaisical and unsanitary sanitary pad refuse, but he never really completed his thought because I think he realized mid-scream that he was out of his jurisdiction. My father didn’t talk much. If anything, he hollered. But even then, he was brief. Korean parents are like that. It is traditional and appropriate for parents to have no discernable affection or emotion for their children. My father was positively textbook when it came to this. My mother was too watery, too in love with the French, too mommy, to comply with this rule.



My father said about five things in my entire childhood and adolescence that I remember. One was odd and unprompted. I came home from school one day and was walking up to my room when he shouted, “You will never use tampons.” That was it. Wow. Thanks Dad. Words to live by. This was during the big Rely Toxic Shock Syndrome scare, which vied with the Hillside Strangler as women’s number one fear. Toxic Shock was ominous because they never really said how you got it, or why, or what happened when you did. It just struck you dead in the cunt. It had the qualities of both nuclear fallout warnings and a stalker rapist on the loose. What an awful joke of a name Rely was! As if women sought to rely on anything they would be duly punished.



My monthly flow staged its own rebellion. I constantly bloodied my sheets with robust flamboyance. My bed often took the appearance of the scene of a crime. My mother would wash the sheets without a word, and the secrecy around the curse kept me from having to do laundry ever.



When I became a comic, it was drilled into me by several women comics that we should never talk about our periods. Male comics often stereotyped female comics and dismissed them because “all they do is talk about
their periods.” Talking about menstruation became tantamount to a black person eating watermelon. We just couldn’t do it. Even now, I am a bit ashamed that I must disclose that I menstruate at all. It is probably because I actually don’t truly menstruate anymore gives me the distance from it to actually give voice to my once hidden thoughts about it. What is the deal? Why must I feel like I bleed alone? Or that I once bled alone?



Beheaded

Thursday, December 16th, 2004

I logged onto one of those gore websites, the lurid virtual outposts of sickening images and sobering reminders of our meat bodies and the terrifyingly sharp world we live in. My friend had been playing with my computer earlier, and downloaded a RealPlayer, a fact which I had known but not really thought about. I clicked on one of the beheading videos, and expected my laptop to reject it, just like it usually does when I try to download anything, and before I could register what was happening, the video popped up on the screen. The sound was off, so I couldn’t hear what was going on, thankfully, but the gruesome images flashed by both too quickly and too slowly, too fast for me to stop it, too slow for me to miss anything.



I don’t know which hostage it was. I believe it was an American, possibly Eugene Armstrong. He looked sleepy, worn, distracted, with a shaved head and the requisite orange jumpsuit. The hooded men behind him said something into the camera, and then without warning, a large knife appeared. The tallest of the hooded men took the knife and slit the hostage’s throat. Blood spurted from the wound, dark, fresh and angry. It was like a horror movie and then not, because in scary films, the camera looks away at the impact of violence, sparing the audience visceral dismay and the special effects department more realism than they are capable of producing.



The cutaway here never happened, because this was no movie, at least we hope that it was not, for that would introduce far more sinister horrors than we are capable of comprehending. The knife worked back and forth, sawing apart the neck. Even though the video was silent, I could still hear the cracking of bone and sinew, the separation of cervical vertebrae, the tearing of artery and spinal cord. The screen filled up with the wound, blood flowing like a river from it, the hole where the head once was looking supernatural and unreal. The head was held up to the camera. The eyes still seemed alive, fluttering with shock and fear. The head was rested clumsily on the now slumped body, falling to the floor like a coconut.



The film came to an abrupt end in a still frame of the headless corpse, the bloody stump revealing the sordid detail of gristle and marrow, vein and windpipe, offering a view ourselves that we should never see. It was less than a minute long, but the images are indelible, and will be with me now for a lifetime. I was offered a glimpse of hell, without the lyrical beauty or humor of Dante or Bosch. It was plain hell, devoid of art or grace, just mere unadulterated cruelty.



I am not glad that I witnessed it, but then again, I had to, in order to fully understand the implications of war. When we distance ourselves from the atrocities, we cannot grasp the absolute tragedy of them. To limit our awareness is to further subvert the humanity that is already crippled by being at war in the first place. These horrors are catalogued and counted as strikes against us, the chalk mark tally of what must be avenged, a death to-do-list, but they are not properly experienced and therefore not properly acknowledged. They become props for inept politicians who seek power and fame more than the good of humanity. All this pain is used as a device to persuade voters and advance careers and the lesson is lost.



I don’t know where sorrow is anymore, its presence in the world has vanished, leaving behind greed and the false claims of democracy. I mourn for the victims of Tawid and Jihad, headless and hopeless and names forgotten, their lives used as bargaining chips between corrupt governments where the gangsters rule all. I must also grieve for Tawid and Jihad, that our actions led to their inestimable anger. I beat my chest and cry out hardest of all for our country, with its government so far from its people that most of us cannot see why anyone might want to harm us, take us hostage, fly planes into our towers, kill us and die trying. Most of us don’t even know why, which is the saddest fact of all.



We are like the headless corpse, confused and swiping at the air for clues, for understanding. As we bleed from our mortal wound we flail for mercy and answers with eyes and ears missing, cut off. We are removed from our sense of self, conscience, purpose, but it isn’t the fault of the body, slowly starting to slip away into death. We have lost our head, or it has been taken from us, along with our voices, our reason, our control. All that is left is dissipating strength and a heart that will soon cease to beat



Imagine

Tuesday, December 14th, 2004

Imagine being Anna May Wong at the premiere of your film, “Thief of Baghdad,” title apropos to these times, as a Chinese American at Graumann’s Chinese Theatre, then in its Chinarama phase, chock-a-block with faux orientalism, a chinkee apocalypse in plastic and red paper. And you, surrounded by an extraction of your own culture, are not allowed to put your hands in the wet cement to commemorate your contribution. So piquant in the way that you actually really own all the imagery around you, or you did at one point, and it was taken from you to adorn the theatre, make it mystical, magical. Remember, you are a star of the film. People lined up for blocks to see just a glimpse of you. But your permanent prints will not be there for the future to see that you were part of the golden age of Hollywood, even though they borrowed the golden hues of your skin without asking. This honor was reserved for the white actors. In addition, you could be desired by all the white men on screen with you, and the ones leering from their crimson empress red velvet seats, but you couldn’t marry one, because it was against the law. Imagine.



Anna May Wong left Hollywood in 1927, and sailed for Europe, where she made many films, and had fans all over the Continent. Following in the lively dancehall footsteps of Josephine Baker, she went for the European’s wild taste for the exotic. Germany was host to a cultural renaissance, where the Weimar Republic was in full decadent splendor. They absolutely went insane for anything that was different or unique. Anna May Wong was happy there, as she felt more acceptable. She was quoted as saying that Europe had “acceptance for people of color,” and that is the first time I believe that phrase ever had been used. In fact, the opposite was true. Intolerance and racism was so rampant, even flagrant. IMAGINE.



I admire the savvy and complete self confidence of Josephine Baker, whose talent and charisma is iconic and revered. Anna May Wong came home for good after a brief tour of duty, but Josephine Baker remained largely in Paris after several disastrous attempts to return to the US and establish a career – completely unacceptable during the segregationist phase. She got bad reviews for being black!!!!! After being refused service at the Stork Club, she began a very open and public fight with pro-segregationist columnist Walter Winchell which the times, and The Times, dictated that she could not win. She went back to the City of Lights that had put her name in lights, and stayed a tremendous star all over Europe for her entire life. Upon her death, in 1975, the French declared it a national day of mourning, honoring her with a 21-gun salute, making her the first American woman buried in France with military honors. 20,000 mourners arrived to grieve and the funeral blocked the streets. The NAACP named May 20th, Josephine Baker Day.



Even though she has no official day, I adore Anna May Wong, and I like to think that I look a bit like her. I do, not the way they say Asians “all look alike.” We have the same kind of head, like you know when you see people around and you realize they have the same shape dome you do and you kind of either love them or hate them right off the bat, depending on the relationship you have with yourself. I did a reading of a play, a biographical melodrama, which was absolutely true to life yet somewhat underplayed for emotion, for intensity of feeling is generally kept internal in most Asian cultures. I was the star, or I read the part of the star. The playwright was a friend of mine, Elizabeth Wong, one of the writers of my ill-fated television show, “All American Girl.” She had written it just for me and hoped to gain attention for the work by putting together a group of actors and reading it at the building across the street from the Ahmanson Theatre in Los Angeles, not so far from the Hill Street in Chinatown where the real Anna May Wong had grown up.



One of the actors, David Dukes, was a beautiful man, in his fifties. He’s one of the guys that you see in movies or TV forever; you never know the names of these people, but you also expect to see them. Your eye always makes room for them, actors like him, because you know his face, his angle, his motivation, because he is incredibly familiar and that familiarity is comforting. This is an everyday nonplussed kind of acceptance that we have for white heterosexual male archetypes. They have every reason to be there, they populate the world, and the world exists solely for them. No, they are not to blame individually for this, but that is the bare truth of the matter. It is one of those things that we, as non-white heterosexual male archetypes, accept and must compromise all up and down and around for anytime we experience any type of media since the Age of Antiquity. No big deal.



Anyway, David Dukes played my lover. We talked, in between scenes, about his chinchilla farm, which he was very proud of, and the production of Bent he had been in. I marveled at the fact that though he was not particularly famous, I knew every plane and surface on his face from memory, most recently from the ambitious Marilyn Monroe biopic with Mira Sorvino and Ashley Judd, one playing Marilyn, the other playing Norma Jean. The best part about this film is when Marilyn is joined by Norma Jean on the therapist’s couch, and they cry together as only a Gemini can. David played Arthur Miller, and he was too handsome to do so, but of course, he made a fine made-for-the-screen Miller. David died unexpectedly soon after this reading.



What is strange to me is that in biopics, they always cast someone finer looking than the original, as if the reality of life must be tidied up for the camera’s gaze. Nowhere is this more poignant and outrageous than in Anna May Wong’s own life. She knew that there was a good film brewing in the Hollywood Hell’s Kitchen. Pearl S. Buck’s “The Good Earth” had been optioned, and there was a huge part, the indisputable lead in fact, for a sympathetic Asian character. It was for O-lan, a mother, who was sacred and not profane. This was miles away and far better than the Dragon’s Daughter parts Anna May Wong had grown so used to. When she played these parts she would always rise above them, so that you did cheer for her, as she would poison everyone. Her evil-ese was mind altering, so much so that she became good.



The historical accounts differ on the real feelings Anna May Wong had about this role. Some say that she knew she wouldn’t get it, that there was no way that the Hollywood that she had known so well would possibly accept her, the most famous and talented Asian American star, as the real deal, O-lan, the most endearing Asian portrayal in Western literature to date. Others state a different story, that she rallied and begged and came one day to the studio in a rickshaw dressed up in the O-lan costume – like Sean Young’s Catwoman stunt, or Madonna’s open plea for Alan Parker to cast her as Evita in her video, “Take A Bow.”



The play I worked on centered around this particular point in Anna May Wong’s life. In the third act, when it is revealed that the part of O-lan went to GERMAN actress Luise Rainer, who went on to win an Oscar, for such amazing acting happening underneath all that makeup (not unlike Charlize Theron in the recent, magnificent “Monster”). It is the final nail in the coffin for Anna May Wong’s ill fated, ill timed career. For the rest of her life, or rather, her life within the lines of the play, Anna May Wong would be bitterly discussing this to all the people around her (not many, by her own choice) before dying alone and angry in 1961. The truth is somewhere in between. Anna May Wong had hoped, against hope that she could win this part, but she knew that it wasn’t possible, because she was in fact, actually Asian.



Imagine. Knowing that you were unable to play the part because you were the right race at the wrong time. When Paul Muni was cast as the male lead – that is when the hope died. She knew that since the male and female leads were to be lovers, in fact, married, that there wasn’t a chance in Hollywood hell that she would win the role. Miscegenation was a misdemeanor, even perhaps a felony, punished to the full extent of the law. Yellowface was not. Yellowface was the safe route. Yellowface was the politically correct answer. Imagine.



Even the cinematographer, the illustrious James Wong Howe, was taken out of the running when the crew was being assembled, even though he had tremendous experience shooting all over the world, and was perfect for the job, BEHIND the camera. We read the play, ironically, retelling this story of insane racism that was considered acceptable, in fact morally responsible behavior at the time the events took place, against the backdrop of the drama of my own television nightmare, assumptions abounding about how things were so much better today, and thanking our joy luck club stars that we were no longer living in this world we were bringing to the stage, that things were so much better – now- when particularly short sighted Korean activists were taking me to task for not hiring actual Korean actors to play the parts of my family members. They boycotted, wrote articles, mobilized en masse against me because we had not a Korean writer on staff. We had Asian American actors, really fine ones, in all the roles, and Asian American writers in the writer’s room, but the fact that they were not specifically Korean, and the fact that we were charged with Yellowface for this and many other factors, got the show taken off the air. IMAGINE.



The play never did get produced, although it was a spectacular work, and hopefully now, it might get some attention. Anna May Wong lives on, in the minds of film scholars and fans of cinema’s odd transitional time between the silent films and the talkies. She is a tremendous gay icon, worshipped by drag queens for her tragedy and her icily androgynous beauty. She is not well respected by Asian American activist academics, if they know of her at all, for she falls into the Charlie Chan category, and represents a period of Asian American complicity (!) that is for some, best forgotten.



Imagine. John Lennon would never have written the song without Yoko Ono.



Mullet Fantasia

Sunday, December 12th, 2004

We wonder why the Republicans hate gays, but the problem isn’t as simple as homophobic religious beliefs or just plain social conservatism. Republicans as a whole do not have a particular opinion about homosexuality, other than the odd grumbling about not wanting government funded programs for AIDS education or research. Gays and lesbians don’t matter much to the Republican party, unless they can be used to bait hardcore “Christians” into working for them.



Republicans know that there is a massive population of people who are too stupid to vote, and that no one in their right mind would necessarily want them for their constituency anyway, except perhaps David Duke. However, these are hard times for the GOP, and they cannot afford to be choosy when it comes to registered voters.



Republicans know that they may not be able to sway anyone with their ideas on domestic and foreign policy, or their views on the economy, but they do know that hatred and bigotry are great motivators. They get the ear of the leaders of these so called ‘family groups’ and Christian media watchdogs and warn them of the impending storm of gay ‘legitimization’ and they get them all riled up by telling them that gays are going to get married and move into their neighborhoods. As if a newly married gay couple would ever choose to live in a trailer park. They pump up these Bible thumping, cousin humping genetic mistakes with hot air and propaganda which sends them into a mullet fantasia of pink triangles and rainbow flags, and convinces them that their tax dollars will be used to foot the bill for Elton John and George Michael’s wedding.



Hatred is a powerful motivator, and these Christian soldiers will march onward, fighting tooth and nail for the theoretical hand in marriage, to protect marriage. “You’ll get this bouquet when you pry it from my cold, dead fingers.” Although the Republican party doesn’t openly endorse prejudice, if it results in more votes, then no one is complaining. It really is genius, harnessing hatred in order to further your own political party. We wish that democrats would have thought of it first, but even if they had, the plan to introduce prejudice as an enlistment strategy doesn’t work with the ethical ideals of the party. Compassion really does block the way to power.



What is deeply distressing is the incredible numbers of people who are vehemently opposed to equality, and the need for them to deny equal rights to others simply because they cannot bear the thought of equality. It isn’t like anyone who is against marriage equality would be directly affected by the existence of it. Not unless they were part of the wedding industry, and then they could reserve the right to refuse service anyway. More likely, they would welcome the extra revenue. Gay marriage would create a huge boon, and it is doubtful anyone would turn away cold hard cash. Greed remarkably has no bias. This is evidenced in the way that Republicans will pander to this creepy Christ crowd and allow the asinine, the atrociously unfit and the morally repugnant to swell their ranks because it means more for them, and more is where it is at if you are a Republican.



There is an optimistic side to the whole mess that hasn’t been explored yet. We know how many people hate gays and want to create laws and legislate against them. We don’t know how many people hate the haters. It is an exciting prospect, because there has as yet been no census taken. There are huge numbers of potential voters who haven’t exercised their right because until now there has been no pressing need. There has been no cataclysmic threat looming large enough overhead, at least not until now. What if we are a sleeping giant, alarm set to the nick of time? I hope so. We need ourselves now more than ever.



I have yet to see an anti-gay marriage rally. There are the few crackpot naysayers that adorn themselves with countless placards and march against those protesting for the right to marriage equality, but usually they are unwashed and incoherent, and everyone dismisses them anyway. Right wing demonstrations are virtually unheard of.



Conservatives, unless they are full blown maniacs, are fairly ashamed of their beliefs, and could never muster up the courage to meet publicly and broadcast their idiot ideas to the world. If they are photographed by press eager to introduce conflict into their coverage, if only to inspire interest in their story, their presence is greatly exaggerated. I have been to countless marches where a ‘clash’ was reported between opposing factions, but those in the opposition were always too greatly outnumbered to capture my attention. The media fluffs up the conflict in order to mask the embarrassing fact that most conservatives are loathe to stand up for what they believe in, but will vote to keep their hatred alive, even if hatred is the only thing that keeps them together. Yet for all their invisibility on the street, these ersatz Christians have incredible pull at the polls. There are many state constitutions who have anti-gay marriage laws on the ballots, at the ready, in case there is some grievous mishap on the federal level. They are seeking to double block the possibility of gay marriage, like applying for heterosexual insurance. It is both depressing and dumb, but impossible to ignore.



Overlooking the problem of prejudice in our society has brought us to this point. How do we win the culture war started by the insidious greed and determination to domination of the Republican party? I think it might be better to look at it another way. How can we possibly lose? Just because legislation passes doesn’t mean it cannot be reversed. Just because people are dumb doesn’t mean that there are more that are dumber.