November 21. 2014

I gave Eddie Wong of UCLA’s Asian American Studies a letter from David

Henry Hwang, saying he got his understanding of Far Mulan, from Maxine

Hong Kingston, and his understanding of Kwan Kung, from me. He did not

know or care about their characterization, in Chinese history or literatu.re.

I gave Eddie Wong the letter and the envelope with stamps and postmarks,

to verify it was from David Henry, to use in his review of David’s play

‘F.O.B.,” in his magazine that never used, or mentoned the existence of the

letter.

Yosh Kuromiya , an architectural student and a draft resister at Heart

Mountain at 19, was one of the first group of 63 resisters tried and

convicted, in Cheyene, Wyo. It was largest trial since the Johnson County

Murder trials. The rich cattle barons were let off because the county could

not afford to keep so many imprisoned. Yosh Kuromiya and all 263 Nisei

draft resisters were pardoned in 1947 , because, even though they were in a

concentration camp, it wasn’t a concetration camp, Pres Truman said. The

Dept of Interior’s War Relocation Authority and the JACL had no right to

restrict any American citizen’s free speech.

Michi Nishiura Weglyn, the costumer for the Perry Como Show, was

encouraged to write YEARS OF INFAMY by her husband Walter, a surivor

of the Nazi Holocaust. Her book raged a bitchy humor against the White

supremacy of the wartime government, and praised the Nisei who stood and

wrote the truth, like James Omura, who asked a joint committee of

congress, “Has the Gestapo come to America?” speaking of the JACL, and

the resisters who took the issue to court. The Nisei readers heaved a sigh

of relief. At last, a Nisei dared say the gov was racist and named names, and

called names. The Nisei blushed but smiled.

Yosh Kuromiya composed a display of Michi Weglyn’s life from her artifacts

and costume sketches and offered it to the Los Angeles, Japanese

American National Museum, associated with the Smithsonian Institution, the

official United States of America museum..

The JAMN refused to pay for Michi Weglyn’s visit to the West Coast, but

did take her offer to visit the Japanese American National Museum with the

understanding nothing ill would be spoken about the Museum or the JACL,

meaning no sponsorship by the (yuck) resisters who paid her way, and hotel.

The Museum refused Yosh Kuromiya’s display, saying it didn’t meet Museum

standards. Exactly what were the “museum standards” for a tribute from a

Nisei resisters to an author who championed their cause?

The Japanese American History or Chinese American history found at any

museum associated with the Smithsonean has been chosen by White racsts

in name of Whte supremacy. No meetings of the living Nisei resisters and

the living and rare Sansei who have researched and written poetry, novels

and personal creative art on the war and camps and the White kissass JACL

to “balance” the splurge of White lawyers who excuse the JACL their illegal

but wise volunereering the entire Japanese population of the West Coast

into camps. That argument should have been given in court, not as gratitude

from a White racist historian celebrating White superiority on the streets

of 1941-1949 .1949 was when Hector t of camp. The Japs obeyed out of

fear of big White men with muscles was a White racist wish, not a fact, like

the written White racist wishes of historian RogerDaniels and lawyer Erc

Mueller.

Likewise, one will not find the story of Ping and Ruby Chow’s rescue of

Cantonese opera in Hong Kong and the revival of the art form in Seattle in

Seattle’s Wing Luke Museum, or a translation of Ping Chow’s poem, delivered

at Ruby Chow’s fund raiser for the Wing Luke Museum, in costume and about

9/11…supposedly. I heard the poem. I saw the costume, the sword and didn’t

understand a thing. The Wing Luke Museum, associated with the

Smithsonian Instition, published DVD’s of the fund raiser hosted by former

Gov Gary Locke and his wife, and did not translate Ping Chow.

The God of war, military wealth (plunder), and literature, Kwan Kung , the

Man, in the triad of Heaven, Man, and Earth, is a statue in every shop holding

his weapon and watching the door and the cash. He is in every home with a

book of Confucius in his heart hand and his beard in his fighting hannd. He

appears standing with his weapon in his heart hand and warning anyone

approaching away with two fingers of his right, fighting hand. This statue is

at the door of every Hong Kong court and every gambling den. Kwan Kung on

a red horse, represents the man rescuing the brother representing Heaven,

and fighting the wedding party home, only to be challenged by the brother

representing Earth, till Heaven says Kwan Kung is loyal. Heaven is the last

word on loyalty and heroism.

NONE of the Smthsonian’s Yellow associates display a Kwan Kung. They don’t

know Kwan Kung. Why? Because the Smithsonian is a White institution, by

the Whites, of the Whites, for the Whites.

Yellow lawyers, and journalists, and writers whose biz is to know America,

the law, and the Yellow philosophies Whtes refuse to understand. The Yellow

common man read and look up to, the educated, the well spoken Yellows to

make the Yellow case for Yellow culture and Yellow loyalty with Yellow

names, and Yellow facts. But the smartass Yellows chickened out of exposing

White ignorance and contempt. They joined it.

In WWII the Yellow lawyers and newspaper publishers were JACL and

betrayed Japanese America into the camps. The Chinese Americans are

worse off than the Nikkei. From Jade Snow Wong (FIFTH CHINESE

DAUGHTER) , to Maxine Hong Kingston (THE WOMAN WARRIOR) to David

Henry Hwang (F.O. B.) all boohoioing over being born Chinese and hating it.

Oooh being a Chinki hurts so much! Jeff Yang the editor of a failed AA

monthly mag on how to be White, has come out with WHO WE BE: The

Colorization ofAmerica,” published by Macmillan. He makes his case with one

White quote after another White quote. According to the White approved

Chinese-Americans we h ave no lit or culture of our own. 0The Chinese-

Americans and the Japanese-Americans have no publishers at all.

The Japanese-Americans managed to publish a few words, very few words.

John Okada (NO-NO BOY) Michi Weglyn (YEARS OF INFAMY) Lawson

Inada (DRAWING THE LINE), David Mura (FAMOUS SUICIDES OF THE

JAPANESE EMPIRE) are still are available.

Every Yellow lawyer, every Yellow journalist, every Yellow publisher, every

University Asian-American Studies department (supervised by the Sociology

Department) obediently ignores the Yellow writers and their living subjects

and looks longingly to the Whites for approval. That’s like the Nuremburg

trials looking to the twenty defendants for approval and letting them enter

history without being examined, interrogated and judged by the public .

Instead we have a gallery of Quislings (to use James Omura’s term for

Masaoka and the JACL) who stand tall in the community and defer to a

White historian or racist lawyer as the authority on Yellow Japanese-

Americans.

FCC