Stereotypes & Oppressive Language in
Interior Chinatown
Embedded Files
Context
Although Interior Chinatown is a work of satire, this novel includes depictions of hate crimes, microaggressions, stereotypes, and violence. In certain acts, the text also illustrates the force of racial slurs. While Charles Yu both balances and combats these topics with incisive humor, we are offering the resources below as a means of contextualizing and supporting you as you read. It is important to note that stereotypes do not exist in real life. There is always more to the story. However, stereotypes do exist in television, movies, and other forms of media where the only story the consumer receives is what is on screen. In his text, Charles Yu uses these two-dimensional “roles” to interrogate the relationship between stereotypes and reality.
As we grapple with the discomfort of history and the challenging conversations kindled by this text, we hope that you will come to your teachers or another trusted adult to talk through what you’re feeling. You have a wealth of human resources at your disposal (your teachers, counselors, deans, families, friends). Never hesitate to ask for the help you need, even if it is just a listening ear.
Index
Core Concepts
History of AAPI and Black Alliances
AAPI vs. the Black & White Binary
Stereotypes
Anti-Black Racism Among AAPI & Anti-Asian Racism among Black Americans
The Model Minority Myth
Fetishization and Objectification of Asian Women
Feminization of Asian Men
History of Honor in Asian Families
Oppressive Language
Vocabulary Debrief
Anti-Asian Slurs
CORE CONCEPTS
CORE CONCEPTS
History of AAPI and Black Alliances
History of AAPI and Black Alliances
Interior Chinatown touches on the idea that the alliance between the Black community and the AAPI community is integral to the advancement of our society. Asian and Black communities’ histories have always been intertwined, their struggles connected, and their collective liberation dependent on their unity. There have been countless examples of powerful and moving coalitions between Asian and Black communities in the last 200 years that have led to major leaps forward in racial justice. Click the dropdown for more information!
Timeline
Late 1800s: Frederick Douglass’s opposition to restrictions on Chinese immigration
In his 1869 speech, “Composite Nation,” abolitionist Frederick Douglass argued on behalf of Chinese immigration to America, urging Americans not to fear Asian languages or cultures and advocating for free migration and emphasized equality and human rights. Recognizing the common humanity of Asian immigrants, Douglass maintained that the arguments made for restricting Chinese immigration would have also justified banning immigration from Europe.
Early 1900s: Black support for the Filipino community during the Philippine-American War
The Philippine-American War began in 1899 after the United States gained colonial rule of the Philippines following the Spanish-American War (1898). The experiences of Filipino people resonated with the Black community because they shared similar histories of imperialism, racism, and economic exploitation.
1955-1975: Black Opposition to the Vietnam War
The Black community was a strong opponent of the Vietnam War. The Vietnam War was emblematic of the racist ideology that permeated every aspect of American society in the 1950s through the ’70s. Recognizing the unjust nature of the war, African American leaders such as Malcolm X and Dr. Martin Luther King, Jr. openly denounced it.
Yuri Kochiyama and Malcolm X - Civil Rights Activism
Yuri Kochiyama was a Japanese American civil rights activist. Following Pearl Harbor, she and her family were incarcerated, during which she first gained exposure to the racism of the Jim Crow era South. Kochiyama became a close friend of Malcolm X, who inspired her to incorporate Black nationalism into her work.
1968: The Third World Liberation Front
Black student activists at UC Berkeley joined forces with the Mexican American Student Confederation (MASC), the Asian American Political Alliance (AAPA), and the Native American Student Alliance (NASA) to advocate for their own ethnic-focused programs. They called themselves the Third World Liberation Front, with the ultimate goal of starting a Third World College that would incorporate conversations on identity and oppression into historically Eurocentric academia.
Now
Currently, the AAPI and Black alliance is stronger than ever. The ongoing attacks on the AAPI communities, and the unjust killings of Black people have called for unity between the AAPI and Black communities. This unity has been, and will continue to be vital in dismantling the ongoing systems that promote racism and white supremacy.
Further Resources
Further Resources
AAPI vs. the Black & White Binary
AAPI vs. the Black & White Binary
This novel dives deeper into the American world of race and asks questions about where Asians fit in. Race in the U.S. is often discussed in terms of “Black” and “White,” which Yu depicts through a procedural cop show in his book. Click the dropdown for more information:
Throughout Interior Chinatown, Yu frequently reflects on the roles of Asian Americans in America and how these roles have been informed by anti-Asian policies, legislation, and public perceptions in the US. In particular, the character Older Brother draws parallels between the experiences of other historically marginalized groups while simultaneously distinguishing his own perspective, saying that, “The experience of Asians in America isn’t just a scaled-back or dialed-down version of the Black experience. Instead of co-opting someone else’s experience or consciousness, he must define his own” (234-235).
Further Resources
Further Resources
STEREOTYPES
STEREOTYPES
Anti-Black Racism Among AAPI & Anti-Asian Racism in the Black Community
Anti-Black Racism Among AAPI & Anti-Asian Racism in the Black Community
Throughout Interior Chinatown, Yu alludes to anti-Black racism within the AAPI community and anti-Asian racism within the Black community. This topic is often centered around the character Turner, who is featured in the procedural cop show at the center of the novel. Click the drop down below for more information...
In the book, Yu uses the character Miles Turner to illustrate the divide between the Black and Asian American communities. Miles Turner and Willis Wu, the novel's protagonist, both demonstrate hostility towards each other due to racial prejudices, and this relationship is meant to mirror a much larger societal issue. Black-Asian hostility has been present in America for a long time and is rooted in immigration and economic policies that have historically and intentionally pitted these communities against one another. The main source of this hostility is white supremacy. White supremacy is ultimately behind segregation, policing, and scarcity of resources in low-income neighborhoods, as well as the creation of the “model minority” myth — all of which have driven a wedge between the Black and AAPI communities. At the end of the book, Yu addresses the divide between the Black and AAPI communities, explaining that tension between the two communities only serves to further the ideas of white supremacy.
Further Resources
Further Resources
The history of tensions — and solidarity — between Black and Asian American communities, explained (Vox)
Why the trope of Black-Asian conflict in the face of anti-Asian violence dismisses solidarity (Brookings)
The Asian American Response to Black Lives Matter Is Part of a Long, Complicated History (TIME)
FIGHTING ANTI-BLACKNESS IN AAPI COMMUNITIES: CONVERSATION GUIDE & RESOURCE COLLECTION (Stanford)
Unlearning Anti-Blackness in the Asian American Pacific Islander (AAPI) Communities w/ Dr. Kim Tran (Webinar)
The Model Minority Myth
The Model Minority Myth
In the novel, Yu mentions the high GPAs of the Asian Americans living at the SRO with the protagonist, Willis Wu. Although Yu doesn’t explicitly state it, this is a reference to the model minority myth, as is the character Older Brother. The model minority myth is a harmful stereotype that classifies Asian Americans as “well-behaved, law-abiding groups who achieve a higher level of success than the general population” (Learning for Justice). Click the drop down below for more information...
The model minority myth was created as a result of white supremacy to compare Asian Americans with other BIPOC. The myth intentionally creates division and enforces unnecessary and inaccurate stereotypes. Black, Indigenous, and Latinx people found themselves in the United States under very different circumstances. Black Americans were forcefully brought into this country while Indigenous and Latinx people were forced to give up their respective land. When many Asians immigrated to the United States, they came seeking academic opportunities. Since U.S. immigration favors people with certain credentials, the immigrants that were considered more educated were allowed in, creating a large socioeconomic disparity between Asians and other BIPOC. This allowed white supremacists to promote an agenda against non-Asian BIPOC which basically said, "If they can do it, why can't you?” The model minority myth harms all People of Color in two ways. First, it belittles the struggles of Asian Americans by pushing certain stereotypes like saying, “They only got a good grade because they're Asian.” Secondly, it also pushes a false narrative that other BIPOC are “lazy” and just “don't work hard enough.” This stereotype implies that there are no other issues holding back other BIPOC from being ‘successful’; when in reality, many systemic factors of oppression increase challenges.
Further Resources
Further Resources
What Is the Model Minority Myth? (Learning for Justice)
Model Minority Myth (Advancing Justice)
Jennifer Ho and Frank H. Wu on the 'Model Minority' Myth (9 minutes)
Fetishization and Objectification of Asian Women
Fetishization and Objectification of Asian Women
Throughout the text, Charles Yu refers to the fetishization and objectification of Asian women. These topics show up both in Yu's mockery of Hollywood tropes and in real life, and include stereotypes like “China Doll” and “Asian Seductress.” Click the dropdown for more information...
Asian women have been continually fetishized, hypersexualized, and objectified — both in the media and in everyday life. The portrayal of Asian women as, on one hand, submissive and docile, or conversely, as hypersexual and exotic, can be traced back centuries to misogynistic, sexist, and racist roots.
Fetishization of Asian women reinforces gendered violence against Asian women. Asian women experience physical and sexual violence at a significantly higher rate than any other ethnic group. Fetishization is not flattering; rather, it is a form of racialized and gendered violence rooted in imperialism, patriarchy, and white supremacy.
Best put by Evelyn Yoshimura in the January 1971 issue of Gidra, a revolutionary Asian American magazine, “We must destroy the stereotypes of Asian women, and Asian people as a whole, so we can define ourselves, and be free to realize our full potential.”
Further Resources
Further Resources
Content Warning: The following articles mention violence against Asian American women; especially the Atlanta spa shooting.
Feminization of Asian Men
Feminization of Asian Men
On page 105 of the novel, Yu sarcastically describes Young Fong as “the opposite of Turner, the opposite of masculine.” The emasculation (the process of making a man feel less male by taking away his power and confidence) of Asian American men can be traced back to the 19th century, when Asian male immigrants were characterized as feminine by white individuals. Click the drop down below for more information...
Asian American men have been desexualized ever since the first Chinese communities immigrated to the US. As a way of minimizing the threat posed by Chinese men - who were often portrayed as stealing white Americans' jobs and women - Asians were characterized as passive, effeminate, and weak. These stereotypes were further promoted in movies, where white actors like Mickey Rooney (Mr. Yunioshi in "Breakfast at Tiffany's") and Warner Oland (who played both Fu Manchu and the fictional detective Charlie Chan), used thick, stunted accents and exaggerated mannerisms to reinforce existing stereotypes, ridiculing or villainizing Asian men as a form of entertainment. These early popular depictions are at the root of today's ideations that Asian American men can’t be masculine.
Further Resources
Further Resources
History of Honor in Asian Families
History of Honor in Asian Families
Throughout the novel, Charles Yu incorporates a motif of honor, especially familial honor. The offhanded use of “honor,” “honor killings,” and “saving face” that we see in the text may be Yu’s way of reflecting the often overexaggerated use of honor when depicting Asians in Western media. Click the dropdown below for more information...
In Western media, Asian characters are often depicted as doing everything for their “honor,” when in reality this is an extreme oversimplification of the complexities behind Eastern values and culture. While it is true that Eastern culture differs from Western culture, in that filial piety and familial honor are often highly valued, these tropes are often overplayed and oversimplified in Western media, leading to harmful stereotypes which do not fully encapsulate nuanced cultures. See the first link below for a video further detailing Hollywood’s misrepresentation of Asian honor and why they do it.
Further Resources
Further Resources
Asian Honor: Hollywood's Gross Misrepresentation and WHY They Do It (15 minutes)
Mind Your Culture: How Asian Cultures Perceive Love, Honor, and Shame (Eco Warrior Princess)
Great Expectations: Exploring Family Dynamics and Stress Among AAPI (American Psychological Association)
OPPRESSIVE LANGUAGE
OPPRESSIVE LANGUAGE
Anti-Asian Slurs
Anti-Asian Slurs
Throughout the book, several Anti-Asian slurs are used repeatedly. These slurs include ch*nk, j*p, t*wellhead, sl*pe, n*p and g**k, which all have long histories that are rooted in Anti-Asian sentiment. Although used in the book, these words are extremely harmful, and should not be used if they are not an insider term to you. Click the drop down below for more information...
Ch*nk: Ch*nk dates back half a millennium to Middle English, a word for “a narrow opening or fissure.” The origins of this slur are unknown; one theory is that it refers to the phenotype of Asiatic eyes. Another theory is that it stems from the sound created by Chinese workers as they hammered railroad ties during America’s westward expansion. It could also be a derivation of China or the Qing dynasty that reigned when the country first opened itself to the West. Regardless of its origins, this word is heavily offensive and should not be used unless it is an insider term for you (see link below).
J*p: The term J*p became widely used in the late 19th century, and perpetuated the narrative that Japanese Americans were an “other,” simultaneously contributing to the denial of their civil rights. Between 1939-1946, the racial pejorative was used to isolate and harass Japanese Americans, leading up to the internment of Japanese Americans during World War II.
T*welhead: T*welhead is a slur that refers to individuals who wear turbans based on a religious custom, specifically targeting those who are Sikh, and even Arabs and Muslims who may traditionally wear keffiyeh headdresses. This derogatory term, most commonly used against men of Middle Eastern background, was popularized in the early 2000s, as America and Canada became prominent centers of immigration.
Sl*pe: Sl*pe is a slur often used against the AAPI community. The derogatory term refers to the appearance of one's eyes.
N*p: N*p is a slur often used against people of Japanese descent and origin. During World War II, the term was used extensively in war slogans and racist propaganda in the US, with a specific aim of generating hatred and anger towards Japanese people as a whole. This slur continues to carry anti-Japanese sentiment.
G**k: G**k is a slur that is defined as “a term of contempt; a foreigner; a coloured inhabitant of (south)east Asia.” The word was first used in the Philippines in 1935, and was popularized during the Korean War by U.S. troops. The word is derogatory and is commonly used as a slur against Asian Americans.
Further Resources
Further Resources
No More Ch*nks in the Armor (Slate)
Vocabulary Debrief: "Chinaman"
Vocabulary Debrief: "Chinaman"
“Chinaman” is a racist term that marginalizes the Chinese community by erasing the individuality and humanity that exists within the community. Click the dropdown for more information...
“Chinaman” originates from the 1860s, around the time period of the transcontinental railroad. Many Chinese immigrants ended up taking jobs on the transcontinental railroad and laid track for half of the massive railroad in addition to other railroads in the west. Chinese laborers were often ridiculed and emasculated by the white workers on the railroad(s). By referring to the immigrants as “chinaman” people could erase the individuality and humanity that exists within the community. Furthermore, calling a person “chinaman” instead of their actual name reinforces a false idea that the Chinese community is an undifferentiated and homogeneous mass of interchangeable people.
Further Resources
Further Resources
Yes, ‘Chinaperson’ Is A Racist Term (Huffpost)
Railroad Timeline (Chinese Railroad Workers in North American Project)
Building the Transcontinental Railroad: How 20,000 Chinese Immigrants Made It Happen (history.com)
Vocabulary Debrief: "Oriental"
Vocabulary Debrief: "Oriental"
The definition of “oriental” is of, relating to, or coming from Asia and in particular, East Asia. However, this word is offensive when used by non-Asian people to refer to an Asian person because it marginalizes and exoticizes both the East Asian community and Asian communities more broadly. The word also has a long historical association with colonialism and propaganda (Merriam-Webster). Click the dropdown for more information...
“Oriental” is often used as an adjective to describe elements of Asian/Eastern culture. Some uses of the word you may have come across include oriental music, oriental rugs, oriental food, etc. The use of the word as an adjective, although sometimes dated, is not considered offensive. When used as a noun to refer to a person, oriental marginalizes and exoticizes people of various AAPI identities.
Further Resources
Further Resources
Vocabulary Debrief: "Yellow"
Vocabulary Debrief: "Yellow"
Charles Yu uses the word “yellow” throughout the novel to describe Asian Americans.“Yellow”, when used to refer to or describe an East Asian person, is a racial slur that carries a long and complex history of racism and resistance. Click the drop down below for more information...
Early European anthropologists used "yellow" to refer to Asian people because "Asia was seductive, mysterious, full of pleasures and spices and perfumes and fantastic wealth." Yellow had multiple connotations, which included both "serene" and "happy," as well as "toxic" and "impure." There was something dangerous, exotic and threatening about Asia that the word “yellow” helped reinforce. When the word “yellow” is used to describe Asian Americans, it reinforces the negative connotations behind the word, and it alienates the Asian American community from the rest of society. This word has also become very ambiguous, and the use of it erases the separate identities and cultures that exist within the Asian American community. The offensive and ambiguous nature of the word “yellow” makes it derogatory and harmful to the AAPI community.
Further Resources
Further Resources
Vocabulary Debrief: "Asian American"
Vocabulary Debrief: "Asian American"
In Interior Chinatown, the term “Asian American” is used in various places. “Asian American,” simply put, refers to a person having origins in any of the original peoples of East Asia, Southeast Asia, or the Indian subcontinent. However, “Asian American” is a surprisingly nuanced term with a deep history, and its true definition goes further than simply a single sentence. Click the drop down below for more information...
Based on the term's historical context of being coined in the late 1960s, “Asian American” can be understood as a heterogeneous coalition. And within “Asian America,” there continues to be a vast diversity of lived experiences. In alignment with the term's original intent to build connections and solidarity across differences, it's important that we also continue to critique and expand our understanding of what it means to be Asian American (LPS EOC).
Further Resources
Further Resources
Understanding Our Perceptions of Asian Americans (Asia Society)
Asian American Affinity Resources (LPS EOC)
Vocabulary Debrief: "Exotic"
Vocabulary Debrief: "Exotic"
On page 105, the word “exotic” is used to refer to the “exotic flavors” that can be found in Chinatown. When the word “exotic” is used to describe non-white people, it alienates them from the rest of America while implying that Caucasian features or preferences are the norm. Click the drop down below for more information...
The definition of exotic is “not native to the place where it is found” or “mysteriously different or unusual,” and is often used to describe people of non-white communities. The word “exotic” is correct when referring to inanimate life forms, but its use in describing other humans is objectifying. Calling someone “exotic” indicates that their ethnicity is their most distinguishable trait. The word is often used to describe anybody who doesn’t necessarily fit into the Western standard of beauty, which consists of light skin, light eyes, straight hair, and slim figures. While this term may appear to be a compliment, saying someone is “exotic” reduces them to a stereotype.
Further Resources
Further Resources
The Issue With “Exotic” Beauty (Teen Vogue)
Fu Manchu
Fu Manchu
On page 159, there is a reference to Fu Manchu, which is used to support Yu's recurring idea that the highest role for an Asian actor is one that embodies a racist stereotype. Fu Manchu was a fictional criminal genius who was the hero-villain of novels and short stories written by English author Sax Rohmer. This character personified the genre of the “yellow peril” mystery, which was used to both express and stoke Western fears of the expansion of Asian power and influence during the 20th century. Click the dropdown below for more information...
The character of Fu Manchu is a racist stereotype. The design of the character, the way he speaks, his behavior, and his name all promote racist stereotypes about the Chinese community. The doctor — with his long, scraggly mustache and jaundiced-looking skin — became an unofficial template for portraying Chinese men as lecherous and maniacal. The character was created as a result of Western racism and orientalism and relied on “yellow peril” and Asian-centric xenophobia (dislike of people from other countries). Fu Manchu became a symbol of discrimination against Chinese people and is at the core of many Hollywood stereotypes today.
Further Resources
Further Resources
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