Konch Magazine - A Conversation Between Frank Chin

Samuel is a student in AAS at UCSB that wrote me and asked for a meeting. He was straightforward- he'd read me and found me interesting. I wrote that I would be open to a visit from him and two others, from his class, or a student and a faculty member. Yunte Huang the author the Charlie Chan book that drew kudos from White racist fans of Chan that I later learned that got the wrong message from Huang's book. 


Samuel came with a Korean American student and Yunte Huang





You are in Yunte Huang's Literature class- What I say about Christianity and China is true. A fact.  Chinese do not believe in God. (Fukuyama-Mearsheimer- Jacques)  Your interest in my writing is to confirm childhood impressions and seems only peripherally interested in literary questions- You can stubbornly cling to your beliefs or make peace with the real and the fake- by confirming that Christianity didn't enter China till the Tang (around 600-to 900 ad). You can follow the story of THE OLD MAN WHO THOUGHT HE COULD MOVE MOUNTAINS. The folk story of man vs. -the gods of the individual mountains –the coalesce into the one God in the White Colonization - and Mao himself tells the story with God and not the personalities of the two mountains expressed as a gods.

Yunte Huang, your instructor - will separate the literary questions of style vs. content- a work can be stylistically blah but the content is factual. And you can have a stylistically engaging and content is trash. And everything in the wide space in between.

The Chinese that preceded me in print are the LUNG KONG MAGAZINE in the UCSB LIBRARY- 

I take what you say to mean- you wanted to meet me because you liked my writing as a Chinaman. My writing aroused a sense of kinship. If there were more books published that fell within the compass of your personal sense of being Chinese, you wouldn't feel the need to meet me before I kick.

Literature is books. Yellows have no publishing period. We have had and have no books since Yung Wing & Company in 1862. We will have no books till a Yellow American publishes a collection Yellow children's stories that lead to the Heroic Tradition. The purpose of teaching AALit is to establish the critical base of the Yellow Stylebook for Yellow publishing of a Yellow publishing company. 

Your job is to invent Chinese -Korean- Japanese literature and art in the Western new world and Europe, the Near East and Russia and China (that has lost the Chinese)

FCC: There is the White way knowing Korean American actor Phillip Ahn of the 30’s -90’s.  And there are my interviews with Phillip Ahn.  Is the son of SANUEL:  a founder of unitary Korea that was overwhelmed by the Japanese in 1910 and forced to sign the Japan-Korea Annexation Treaty of 1910.

If you go the UCSB Library and go through my collection of interviews with Asian American artists and activists it should occur to you, or the Yellow reader, that no other Yellow writer has talked with every Yellow and, for journalistic purposes, people who occupied a story.

I talked with the sons of Charlie Chan. I did not talk to the Chang Apana family.  My Chang Apana comes from the newspapers and movie or detective mags.  Yunte Huang did talk with Chang Apana’s family.

THOMAS GIRST’S- ART, LITERATURE, AND THE JAPANESE AMERICAN INTERNMENT: On John Okada’sNo-No Boy.  The blurb on the back cover reads:

How can art, how can prose and poetry originate in spite of restraints of manipulation, propaganda and censorship? This study explores such issues by focusing on the cultural trajectory of Japanese American internments, both during and after World War II.  Previously unknown documents as well as interviews with friends and family reveal new aspects of John Okada’s (1913-1971) life and writing, providing a comprehensive biographical outline of the author. THE BOOK REFFUES THE ASSUMPTION THAT OKADA’S NOVEL NO-NO BOY WAS AL BUT SHUNNED WHEN FIRST PUBISHED IN 1957. [EMPHASIS MINE] A close reading as well as a comparative study involving Italo Calvino’s (1923-1985) Six Memos for the Next Millennium (1985) position Okada’s only book as world literature.

He offers two favorable reviews by Hosokawa in the Pacific Citizen as proof the Japanese Americans of the JACL did not shun the novel by a Nisei vet of Army Intelligence. And two reviews by Whites. So the novel wasn’t shunned. Nobody shunned Okada’s NO-NO BOY.  The Nobody or Nobodies shunning the novel lived in Rutland, Vermont where all the printed books were warehoused till four Yellow writers freed the book.

Did I fool Japanese America into popularizing a book they didn't know had been written by a Jap vet in the day?  But it’s world lit because of Italo Calvino?  Okada is a great Japanese American writer because he wrote sure he was as Japanese American because he was born in Seattle, was told stories in Seattle as a child and read America lit with the intent of joining the greats of American writing and he knew Japanese culture as the neighborhood culture of NihonMachi-Chinatown.

Girst finds “worldly” reasons to admit Okada to “world lit.’  The Jap writers have not found the Nisei Japanese -American reasons for Okada’s book being Japanese American, the Japanese Americans are saying John Okada is a writer because Whites read him. And every Japanese American writes for White acceptance and fuck the Japs. That’s why Yellow writers advertise themselves to Whites as new…. 

Girst makes it clear that White critics of AA lit don’t know the Asian real from the Asian fake.  He writes as if the scholars of Europe know Maxine Hong Kingston as the Chinese real and don’t know Chinese Far Mulan, linked to Liang Hongyu, “The Little Drummer Girl,” and Mu Guiying, The Bandit Queen, and the inspiration to Chin Liangyuk, the last general of the Ming.

The Japanese-Americans have a reason to say if I faked the shunning of Okada, how can I be trusted when I say Kingston’s a fake and Pres. Clinton’s Humanities Medal and Pres. Obama’s Art Medal to Kingston is an endorsement of her literary fraud and a challenge to Chinese literature: The US has the right to correct another nation’s literature if it doesn’t second White culture.

Would Yellow professional intellectuals have remained so silent and intellectual silence equals intellectual acquiescence, if she had written on France’s Joan of Arc and reported verification of her dream the Maid of Orleans was born an Arab boy and was transformed as the result of a deal between Arab and Christian.

I dare say Yellow defenders of the French sovereignty over French literature would be as numerous as Ornamental Yellow Newscasters of White news.


CHINESE CONFUCIONISM evolved from Chinese writing – Lines up and down, and side-to-side and swooping rooflines-becomes circles and squares in Korea- becomes wriggly snakes on Japanese paper.  The Asian sense of language in America evolved into Louis Chu and Albert Saijo. 

Yellows emphasized they were becoming Whiter and Whiter every day until the 1960’s and Black civil rights branched out to Feminism, homosexual awareness, Chicano vs. Mexican American, the American Indian movement, and Asian American studies as a political movement = a scam to get degrees for a Yellows too stupid to study.

THE ‘60s for American art in Frisco was defined by the Beats- Kerouac’s action writing, write spontaneously, in a rush, surprise yourself.  Make writing as natural as talking. Overcome the barrier between speaking and writing    Zen was the search for the real self or the self-reality.

In China I get the impression you collared spontaneity in language and disguised all intent of content in polite anythings. Language like kung fu and judo was a disciplined form self-defense.  I am shocked CCTV showing Weigers speaking English saying they

The number of Yellow artists of content, talent and –the indefinable of their people’s race’s cultural instincts as expressed through language exist. They are consciously pursuing their art. The White racist publishers and media only publish White trained Ornamental Orientals, not the artists.

I’ve distinguished the Yellow artist from the White Ornamental Orientals. My sense of Chinese American writing is, the people haven’t read or have read and rejected, it hasn’t declared itself to exist EVER!  The introduction of Okada and NO-NO BOY by Yellow writers was an invitation to the Yellows to throw stones or flowers or words, by to and from the people the author claims as the sources of his ABCs, the people that knew him in the moments he claims as touchstones in his life, the people who read the books he read.  My sense of self and art begins with the children’s story.

Why do we, the American born and raised know Adam & Eve, Jack & Jill, Jack and the Beanstalk, Rumpelstilskin, but no Chinese stories? The Japanese Americans have worn the meaning of MOMOTARO out of the story.

Yellow lit begins with the Yellow children’s story told as counter to the prejudice of a European children’s story.  The Yellow writer begins as a children’s storyteller or a reporter for the hometown paper.

The Yellows never had a newspaper. Never had a storyteller. Never had a Yellow critic of Yellow lines of thought and art. Maxine Hong Kingston tells the children’s story of THE BALLAD OF MULAN with White racist lies about all of Chinese culture. The fake Mulan and her lies are available all to read. But the real Chinese lit is unavailable in the schools out of the mouths trained by Whites.

Circumstances lead Yellows to judge the authenticity of a Yellow writer by his or her telling of Chinese children’s stories to children and keeping them for an hour.

I open my storytelling’s with, “Listen!   … Don’t trust me. I am a storyteller. Stay close to your mom and dad, and listen. Your parents will tell you if what I flash to you is true…” 

Marvin Mudrick (1921 – 1986) set up the School or Institute for Creative Studies at UCSB, while I was there. What was Creative Studies? Whatever Mudrick said they were. He built his school on the rep of his books. Yunte Huang has such a rep. He can name a committee of peers to approve his proposal. Yellows haven't ever had a scholarly idea, which is why AAS is under Sociology. The University system in America hates Yellows. The U should be overjoyed that Yunte Huang proposes a grad course, a Yellow publishing co to defend Yellow lit from the Shia prehistory to the present.

 Frank Chin