Asian American Literature; as it pertains to the theories of W.E.B Dubois Double Consciousness and Edward Saids Orientalism. Jessica Stone HCOM 322 Professor Wang Spring 2008 How does Asian American literature reflect the theories of W.E.B Dubois Double Consciousness and Edward Saids Orientalism? Orientalism Palestinian anthropologist, Edward Said, made his life work to educate others on issues surrounding cultural identity. Considered one of the most influential works of the twentieth century, Saids intensive study Orientalism, delves into the dimensions of socially constructed Asian stereotypes. Socially Constructed Orientalism He claims that the mystical allure of the orient is essentially a European invention (Said 1). Though this has changed to some degree, the typecasts that were formed have remained in the perception of Western thought. I shall be calling Orientalism, a way of coming to term with the Orient that is based on the Orients special place in European Western Experience (Said 1). For centuries, the West has used the term Orient to dominate the Asian region. By placing such dramatic emphasis on the differences between the East and West, Orientalism has manifested into what Said declares an enormously systematic discipline by which European culture was able to manage- and even produce- the Orient politically, sociologically, militarily, ideologically, scientifically, and imaginatively (Said 3). By this creation of sorts, Westerners have tried to control their eastern counterpart. Because history is a interpretation of man, Occident and Orient are entirely subjective, but have somehow developed into ideas that produce human classification. Said accentuates this subjugation, The world is made up of two unequal halves, Orient and Occident (Said 12). Orientalism is for the most part, a political apparatus- that gives Western Colonialism greater leverage. The racist creed of such notions as, Asian female passivity and submissiveness, have only endured because Western perception has enabled it- for the sake of the political interest of attaining superiority. M Butterfly David Henry Hwangs tragedy, M Butterfly, suggests that life is not always as it seems, and its elusive nature can often cause the most dire conditions amongst mankind. Inspired by true events; French diplomat, Rene Gallimard, falls in love with a Chinese opera singer, of whom has concealed his true identity, in order to portray himself as a woman named Song Liling. Love blinds Gallimards sense of reality, but also his own psyche. He seemingly falls in love with Song as an individual, but actually falls in love with an image. The image that Song so deceptively presented, was one of a submissive woman, whose values of great modesty made her even more desirable to Gallimards lustful imagination. Gallimards obsession with this image, leads him to spend nearly twenty years in a relationship of whimsical fantasy. His yearning and constant desire for Song, are placed above logical reason. Song acts as the catalyst of Gallimards demise, but one cannot overlook Gallimards contribution to the tragic outcome himself. Because he held such an extreme fascination with her role as the ideal woman, he blatantly fell into his own defeat, in realizing that his love had been not for Song, but for a mere guise. Once he becomes aware of the deception, it is already too late to regain his integrity. Gallimards recognition occurs in the final scene, where he dresses himself as Song, before slitting his throat with a broken mirror. Executing the reflection of his frailty, he dies brokenhearted and deceived. Perhaps Gallimard is motivated to commit suicide from his pain of the terrible revelation; or perhaps by taking Songs fabricated form before ending his life, he symbolically accepts his involvement with the dramatic action. However, it is possible that in disguising himself as Song, he representatively kills the persona, that was in part self- composed. The use of the mirror furthers this argument; the mirror (as the conflicted reflection of both the inner and outer self), is in essence the very cause of his failure. How Orientalism and Double Consciousness are Applied to M Butterfly To Rene Gallimard, Song is the embodiment of ideal womanhood. Her submissive and delicate nature, is at the core of Orientalism. Said describes this male sexual invention of Asian women, that further disconnects the Orient with reality, the Oriental woman; she never spoke of herself, she never represented her emotions, presence, or history. He spoke for and represented her. (Said 6). Gallimards tragic flaw is that he is blinded with the fascination of Orientalism. Because he cannot see past the obvious, he becomes captive to the obsessive belief in Songs image. Song is struggling with what W.E.B Dubois labeled as, Double Consciousness. On the one hand, Song is an Asian male, and on the other he is a woman named Song Liling. Song acts as the epitome of what Orientalism has instilled in her. Never outspoken, fragile as glass, and containing the most traditional ideal of Oriental beauty, Song views herself through two personas. W.E.B Dubois Double Consciousness from The Souls of Black Folk. W. E. B. Dubois sociological book, The Souls of Black Folk, originated the double consciousness theory. Being the first African American to graduate from Harvard University, Dubois knew well the struggle of overcoming oppression. He examines the mindset of his own race, finding that the black identity is seen not only by the individual, but by the individual looking at himself through the eyes of others. One part of him being a black man, and the other being an individual, creates a subconscious double consciousness. Constantly aware of his skin color, he feels that he must repeatedly prove his self worth. It is a particular sensation, this double consciousness, this sense of always looking at ones self through the eyes of others, of measuring ones soul by the tape of the world that looks on in amused contempt and pity. One ever feels his twoness,- an American, a Negro; two souls, two thoughts, two un-reconciled strivings; two warring ideals in one dark body (Dubois 215). No-No Boy John Okadas No-No Boy takes the reader to World War II America, where the Japanese were marginalized for their heritage. Ichiro, a young Japanese man, just recently freed from prison for answering no to both questions on the United States loyalty questionnaire, attempts to regain his pride as a free man. Grasping for his identity, Ichiro realizes that he is a man without a country. Not having any ties beyond his blood line to Japan, but being considered a traitor to America; he desperately strives to redeem himself. Double Consciousness and No- No Boy This goal of redemption causes him to live each day with a double consciousness. In every action he makes, he sees himself as a Japanese traitor on the one hand, but a loyal American on the other. Okada describes Ichiros self scrutiny as, he felt like an intruder in a world to which he had no claim (Okada 1). Refusing to forgive himself, Ichiro wanders his hometown streets in search of some form of solace. The constant reminder that he is a traitor, or he is Japanese, or he is an American; is exactly the same type of condition Dubois depicts in The Soul of Black Folk. It seems that in this mindset, there is no blending of the different aspects of oneself- but rather, a constant shift from one guise to the next. The perpetual impact that this has on the soul of ones character is immense. The end of No-No Boy, represents in some obscure way, the hope needed to overcome this double consciousness that rips the psyche and spirit apart. Double Consciousness and African American Literature Toni Morrisons The Bluest Eye, is a story about a young girl named Pecola, who dreams of having blue eyes, like those of child icon, Shirley Temple. With blue eyes, Pecola assumes that she would be treated better, and considered prettier. It had occurred to Pecola some time ago that if her eyes, those eyes that held the pictures, and knew the sightsif those eyes of hers were different, that is to say, beautiful, she herself would be different. (38) Morrison exposes the raw dimensions of Dubois double consciousness, and how the affects begin to take form during the early stages of childhood. The awareness makes them feel as though they need to overcompensate for their complexion, and this leads to terrible psychological stress. Come See the Paradise Come See the Paradise follows the love story of Jack McGurn and Lily Kawamura, through the tragedies of World War II abroad and on American soil. Though the Kawamura family considered themselves Americans, they were held as prisoners by the government, in Japanese internment camps. Lily, being a Nisei, or second generation, had never even been to Japan. The dramatic shift of identity, from American to Japanese, caused Lily to experience double consciousness. Throughout the plot, it is evident that the most central theme is the overcoming of racial stereotyping. The relationship between Jack and Lily, is initially unaccepted by the Kawamura family. Lilys father is particularly against the union; and tries to hinder it from the beginning. It is only near the end of her fathers life, that he consents to their love for each other. In a moment that is emotionally compelling, Jack asks her father what he can do for them and he replies, Just love Lily. That's enough. In those few words, he breaks the cycle of his own discrimination, symbolically acknowledging Jacks unconditional love for his daughter. Racial Stereotypes Acculturation Acculturation is prevalent throughout the film, and most commonly seen by the Kawamura familys struggle. To prove that they were Americans, they broke Japanese records, and signed loyalty papers. Yet, at the same time- they attempted to hold onto some parts of their native culture, and resisted the complete detachment from their lineage. Lilys characterization and Orientalism Lilys characterization is depicted as being vulnerable and docile, a trait of stereotypical oriental femininity, until she gains her voice through the experience of living in the internment camp. From her makeup, to mannerisms, she is made to appear like the portrait of the ideal woman. Much like Song Liling from M Butterfly, she feels obliged to accentuate this persona. A Voice in Every Wind Qun Wangs A Voice in Every Wind, is a collection of short stories told by separate narrators, that interweave to form a single unified voice. From multiple timeframes, each character, has an experience that brings forth personal enlightenment. All of the stories are told through the viewpoint of Chinese exchange students, that are attempting to find their true identity in America. The contact that they have with such a sexually explicit American culture, changes their traditional values. The sexual encounters metaphorically liberate them, from the binds of Communist Chinas control. Angels of the Magpie Bridge Lu Ping from Angels of the Magpie Bridge is employed by his university as a translator for the American exchange students. Throughout the plot, he slowly becomes more and more drawn to their attitudes concerning sexual freedom. His identity splits and he gains double consciousness. One part of his soul belongs to the Chinese moral codes, and the other part desires to be as uninhibited as they appear. He envied those who were courageous enough to destroy man-made barriers that turned people into civilized strangers. Every time he got a hug from an American student, it had a tingling effect on him. A warm current would charge through his body, giving him a sensation he could only experience in dreams (Wang 4). Confucianism Wang speaks of Confucianism in his article, Double Consciousness, Sociological Imagination, and the Asian American Experience. Illustrating the role that Confucianism has upon all aspects of Chinese culture and lifestyle, he bares the composition of its harmony; But the kind of harmony Confucius had envisioned was built on the feudal ethical code of the three cardinal guides (ruler guides subject, father guides son, and husband guides wife) and the five constant virtues (benevolence, righteousness, propriety, wisdom and fidelity) and its infrastructure supported by patriarchy and primogeniture (Wang 91). Lu Ping, being one of several tormented by double consciousness in A Voice in Every Wind, has been bred with the principles of Confucianism. The strong hold that this has upon him, in particular, poses even greater challenges to the transition. America is in the Heart Carlos Bulosan made the voyage from the Philippines to America in 1930, in search of a better life. As a son of Filipino farmers, he knew well the struggle of making a living wage in the Philippines. The ideals of America had long been instilled in his mind. He had great hopes of a promising future, when he landed in Seattle at the age of seventeen. His youthful anticipations however, were met with a terrifying reality, one of which came to be his greatest inspiration as a writer. Racism Immediately after his arrival, Bulosan realized that being Filipino in America was considered a crime. In the 1930s, American society blatantly marginalized those of Asian decent. Because of this bigotry, Filipinos were forced to the agricultural fields of California where they could find work. They were used by the system and paid unjustly, leading Bulosan to become the voice of all those who he worked amongst. America is in the Heart is an autobiography of Bulosans experience. The honesty and sincerity in his writings, have acted as a meta-narrative for all those who have personally endured similar hardships. Provoking his audience to social recognition and change, Bulosan has become a literary hero for all those who have faced adversity. Dr. Qun Wangs article, Double Consciousness, Sociological Imagination, and the Asian American Experience, explains how being a hyphenated American with double consciousness actually can be seen as both the source for stress and creativity (Wang 91). Bulosan used writing as his creative outlet, to express the turmoil he endured. In a scene where Bulosan is working in the Opal Cafs bakery, a business man began mocking him for reading. With diplomacy and tact, he tries to veer the man away from a confrontation; but, he tirelessly provokes Bulosan into a physical argument. With blood covering his face, and hiding in a dark alley, he questions what he has become Bulosan: hyphenated American. I tried to find a justification for my sudden rebellion- why was it so sudden, and black, and hateful. Was it possible that, coming to America with certain illusions of equality, I had slowly succumbed to the hypnotic effects of racial fear? (Bulosan 164). The land that was meant to foster equality and happiness- the dream that for so long seemed attainable- was suddenly slipping away, as he was- into a deeper state of double consciousness. To understand Asian American literature in the postcolonial period is, indeed, to resist the temptation of totalization, to accept the plurality of the Asian American experience, and to appreciate Asian American writers effort to democratize American literary voice by (representing what has been mis(sing)- represented, by celebrating the cultural diversity of American society, and by calling readers attention to the peculiarity and uniqueness of the Asian American experience (Wang 93).