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remains outside the game itself. With the mother exiled outside the
symbolic realm of language, her body becomes simply matter ser-
ving metaphors that sustain the myth of paternal productivity. She
is the very object to be desired and reclaimed, through the recupera-
tion of which men can achieve representation. Such recovery and
its problematic end result necessitate a process of domination and
self-consumption. The rhetoric of loss and nostalgia is transfigured
into a language of work. The kinship between labor and the issue of
power has been noted by Catharine MacKinnon: "Work is the social
process of shaping and transforming material and social worlds,
creating people as social beings as they create value. It is that activity
by which people become who they are. Class is its structure, pro-
duction its consequence, capital its congealed form, and control its
issue" (65). Likewise, Fredric Jameson, in The Political Unconscious,
also refers to the nature of violence in the birth of a subject. The ini-
tiation of subjectivity, according to Jameson, precedes an ultimate
alienation of the Being from the Self; this separation and the loss of
human collectivity become fundamental to identity formation in
historical and cultural contexts. In other words, the birth of indi-
vidual consciousness depends on the violent emergence of sex, race
and class divisions. Chin's narrative seems to re-inscribe a similar
process of the birth of identity: the boy's turning thirteen years old
signifies a beginning of manhood; Donald's becoming a "man"
depends upon a set of cultural laws and social regulations policed
by the paternal figures in the novel. Chin's narrative of a historical
identity first enforces a process of alienation and separation, which
in tum individualizes, compartmentalizes, and commodifies human
relations in a materialist economy.
A consumer society is dependent on a division of the subject/self
from the object/ other, supporting a system of hierarchy and dom-
ination. The project of historicizing a masculine identity, not unlike
Jameson's vision of "primitive communism,,2 in human history,
is nostalgic for a possible "unfallen" state of Chinese American
"manhood." Thus, a paradox resides in the narrative itself. The pro-
cess of reconstructing prelapsarian moments for Chinese Amer-
ican manhood and Chin's desire for a historical subjectivity are
contradictory in nature: seeking an individualized historical subject
demands a fragmentation which cannot be equated to a moment of
totality in the history of Asian American manhood, if it ever existed.
Ultimately, Chin's narrative ends in division and domination-even
the historically constructed subjects, both King Duk and Donald
both Chinese and Western cultures is thus translated into the multi-
cultual meals that Donald consumes:
Fettuccini Alfredo with shark's fin. Poached fish in sauces made with
fruit and vegetables. Olives on toast that taste like rare thousand-dollar
caviar. Chocolate, bananas, yellow chili peppers, red chili oil and
coconut milk go into one sauce over shredded chicken and crab meat
to be eaten rolled up in hot rice paper pancakes with shredded let-
tuce, green onions and a dab of plum sauce. (64)
"Gee!" Venus says, "Mom! You sound just like Connie Chung ... "
doing her impression of Annette Funicello," Penny says in
II • • •
finishes ....
"Oh, I love the way Mom speaks Spittoon," Venus says.
"Ohl thank you," Penny says. "She learned her Spittoon from early
morning instructional TV. You would love Mom, except she's been
institutionalized in Fog Bank Bubble Gardens ever since Annette
Funicello started anchoring the NBC weekend news.'1 (105)
The attack on the superficiality of Connie Chung's personality is
obvious. Cormie Chung/s reputation of being the "fake '1 Chinese
American face on T.V. is transposed onto the body of the mother
whose Americanized IJfake" Asian identity is also criticized in the
novel. The scene above not only illustrates an erasure of a distinct
identity for the mother-she is only an imitation of the multiple the-
atrical voices-but the fusion of the twin's voices also implies a lack
of individuality in their characterizations. The artificial impositions
of different voices through the electronic tubes (i.e. TV) onto the
mother and daughters deny them any sense of human authenticity.
This artificializing of the mother and the daughters becomes a way
to de-legitimate women. They are, in Baudrillard's term, simula-
tions of a "hyperreal" social order construed outside the father's
ethnic kitchen and his cultural stage as a foil to the "real" material
economy that forms the male community.
Shi, and the eaten mother, along with the reference to the masculin-
ized sword woman, are the only examples of womanhood. The
novel/s references to the outlaw heroes of the Water Margin and the
performance of Donald's father as Kwan Kung reiterate Chin's mil-
itant solution to the problem of the feminized stereotypes of Asian
men. Here, Chin argues for a connection between heroism and mas-
culinity in the Chinese culture, again identifying a Chinese hero
the outlaw brotherhood in the marshes. Indeed, the most visible act
of literal consumption is cannibalism; the object of Lee Kuey's can-
nibalistic desire is his mother's flesh while the source of his justifica-
tion is his blind loyalty to justice and his faith in her love for him.
Her love then signifies her willingness to sacrifice for her men and
her nation. In "The Eat and Run Midnight People," the desire to
incorporate the maternal body does erupt into a visible narrative
violence in the discourse of nationalism. The transgressive act is
textualized into a theme of male inhabitation of the feminine body:
"I tell her being a Chinaman's okay if you love having been outlaw-
born and raised to eat and run in your mother country like a virus
staying a step ahead of a cure and can live that way" (11). The
speaker/Chinaman's identification as a "virus" feeding on the nour-
ishment of the body of a "mother country" visibly demonstrates a
parasitic relationship, not unlike Lee Kuey's consumption of his
mother's flesh for survival. The metaphor of the "male" virus eat-
ing away the maternal body signals a grotesqueness that emphasizes
the double nature of the body politics in the discourse of national-
ism. While the institution of a nationalist language is dependent on
the social construction of desire for female bodies, women also
remain a threat to the gender purity of a nationalist community. Thus,
female bodies provoke both desire and horror. According to Krist-
eva, the foreboding co-existence of desire and horror in regard to the
maternal body is an inevitable conflict. Both the repulsion and
attraction to the body of the mother, or the"abject" mother, produce
male distress. In order to protect the order of the Symbolic realm of
the paternal laws, the narrative responds to the urgency to repress-
to make absent-the very object of desire of the child/ subject, the
maternal body.3 Woman as impurity, a topic to which I will return
later in this paper, becomes more detectable towards the end of the
story, when Donald's father equates sexual intercourse with ethnic
defilement.
Interestingly, the paradoxical nature of the mother-who both
attracts and repulses-resonates with the colonizer's sentimentality
towards the colonial object. It resembles the complex relationship in
which a national subject must negotiate with the strangeness of the
Other's cuisine as well as the myth that ethnic knowledge can be
consumed through the mouth. Ethnic food has long been debated as
a site for colonialization: the eroticization and mythification of eth-
nic food and the cultural enclave (i.e. Chinatown) where the food is
produced all appear exotic to the white gaze. Vma Narayan makes
are produced by the Symbolic father and consumed by the son. This
process of production and consumption signifies the completion of
cultural acquisition for Donald. On the other hand, the unethnicized
mother becomes the anti-projection of the hyper-ethnicized father,
actively reinforcing the masculine community which only allows
the participation of masculine labor and productivity.
Here, in order to understand the problematic role of the mother
completely, I will complicate my discussion of labor by examining
the mother's only sign of productivity in the story. While the narrat-
ive denies her any cooking activity in the kitchen, she is assigned the
task of building the paper plane uTen Feet of Steel," commemorat-
ing a woman warrior who joined the outlaws in Leongshan Marshes
to avenge her father's death. At first, Daisy's participation in the
paper plane-building and the naming of an admirable woman from
the myth seem to allow women a certain agency in the narrative.
Yet, the "Ten Feet of Steel" woman is a "male" woman. Her character
is very much masculinized-she enters the male community because
her swordmanship demonstrates a masculine aggression: uTen Feet
of Steel charges into battle with her horse's reins between her teeth
and one of her swords in each hand. She can carve her way through
a thousand men. On foot she can fight off a thousand men" (49).
Chin also fails to mention that this one-and only-beautiful and
virtuous woman warrior appears to be a passive victim in the ori-
ginal myth. She ultimately becomes a commodity in the masculine
exchange in which she is married off as a peace-offering by the
leader of the Outlaws to an unflattering and unfaithful warrior in
Leongshan, not to mention that her death occurs almost immediately
after the marriage. 5 The mother's labor here is thus a reminder of
the misogyny and the tragedy of the sword woman who has to act
as a man to enter the masculine community of the outlaws only to
become a upeace weaver" in order to maintain the camaraderie
between the men. 6 Despite her show of umasculine" aggression, she
still cannot escape her gendered status and the social expectation of
her gendered body-a material object to be exchanged by two men.
Most significantly, she is a victim of male violence and tradition.
It is evident that not only the maternal body but all female bodies
represent manifestations of exclusion and violence: in the novel,
female marginalization--even colonization-results not only from
literal consumption but also through incorporation by the male
gaze. King Duk's udark piercing" hawk eyes again translate heroic
militarism; Donald compares his father to a hawk who "looks pissed,
wanting a fight, like his dad" (61). His father teaches Donald the
power of the male gaze so Donald can "zap them with [his] eyes,
and they had better nod at [him] or look away" when dealing with
gang kids in Chinatown (4). While the father's instruction is meant as
a defensive strategy for a young boy in a tough neighborhood, the
gaze proves to be more lethal than a strategic move for self-defense.
Women again become the targets for such masculine aggression.
Notwithstanding the urgency to subvert the stereotypical feminiza-
tion of the Asian men, the affirmation of such masculine desire sac-
rifices only women in return. The story the father tells Donald about
the actor who disobeys the "Law" by sleeping with his girlfriend
before he plays Kwan Kung is the perfect example of the female sac-
rifice-for "when he takes the stage his girlfriend's hair turns white
and she has a miscarriage" (68). The masculine Law enforcer here is
also the transgressor. The gaze is phallic in that it obtains the
transgressive pleasure; at the same time, it destroys the object of
desire in order to reaffirm the boundaries of cultural "Law" legislated
by the gazer.
Furthermore, the emphasis on the vegetarian diet and the prohibi-
tion of sexual intercourse with women before plaYing Kwan Kung
also disguises a problematic agenda. The parallel here is clear. Both
the eating of meat and the entering of female bodies, while repres-
enting acts of power and domination, also signify pollution and,
ironically, emasculation. King Duk's celebration of Donald's turn-
ing thirteen-the age of manhood-with a vegetarian dinner at the
New Year guarantees Donald's purity. The eating of meat is also a
reminder of eating the flesh of the dead mother: the violence again
has sexual resonance. Thus, Donald's fear of Lee Kuey is not only
Lee Kuey's fierce appearance but Donald's anxiety about his own
desire to consume.
HUNGERAND HOMOSOCIALITY
If the existence of the women in the text brings on such anxiety, then
the logical question is, why are women written into the text at all?
This leads to the detection of certain interesting digressions of mas-
culine desire in the narrative. While I agree that the presence of
culturally "meaningless" women has served to further project and
illuminate omnipotent figures of masculine cultural legacy, femin-
ine bodies, more importantly, mask possible transgressive desires for
While Arnold watches (we are under the assumption that Arnold
sees what Donald sees), Donald dances with the lion as the girl teases
it, inflaming Donald in his desire for her while reminding the reader
that Donald is essentially heterosexual (and very much ready to
become a "man"). The plot of this triangulation of desire-Donald,
no name girl, and Arnold-responds again to the homophobia in
the narrative by prohibiting and controlling any possible readings
of transgressive desire between Donald and Arnold. 8 The body of
this nameless girl-her identity is not important, because it is her
gendered body that the narrative needs-signifies at once an assur-
ance and insertion of a masculine, now heterosexual, male identity.
In the course of examining the semiotic language of feminine bod-
ies, I discover that the lurking danger of identifying male agency is a
consumerist history and culture. In other words, the project of writ-
ing or rewriting history and ritualizing a cultural myth which is
essentially misogynistic can never escape a consumerist economy.
It has to reiterate the relations of domination and exclusion. The
the Other. The hero is the hunter, the frontier man, the soldier, and
the colonialist who baptizes combat/violence in the fabrication of
American mythology. This highlights the problem Chin faces in
attempting to parody an Asian American hero within the Western
tradition of mythogenesis, creating an Asian American frontier
myth that celebrates a narrative about domination and colonialism.
Food and female bodies become the frontier-the romanticized ter-
rain-of Chin's Asian American mythology making. The final nar-
rative hunger in Donald Duk perpetuates the consumerist desire in
which food remains gendered (though now, more ambiguously)
and nationalized. The narrative concludes with an acute conscious-
ness of the passing of time and history through a vow to immortalize
food, forcing it to remain coded with cultural urgency and con-
sumerist violence: "it begins and ends with Kingdoms rise and fall,
Nations come and go, and food" (173, emphasis mine). This narrative
leaves behind disturbing implications. A Chinese American male
subjectivity must be defined solely upon gender polarization, con-
sumerist strategies, and systems of exchange. If one believes that the
birth of a male subject in history, prophesied by Jameson, proceeds
from a set of capitalistic and consumptive violence, then it ultimately
leads to a destruction of the (female) Other as well as the (male) Self. lO
EILEEN CHIA-CHING FUNG is an Assistant Professor of English at the University ofSan Francisco,
where she teaches Asian Pacific American literature and British Medieval literature. Her
article on gender, nationalism, and postcolonization in Chinese and Taiwanese American
films will appear in an edited volume.
NOTES
1. I am using labor in terms of the Marxist notion of the labor power in a commod-
ity-producing society in Capital. I will argue that in Chin's narrative, only specific
people control and own the means of production as the productivity of labor;
in this case, domestic labor becomes socially meaningful. Food, the product of
the labor, is also commodified and consumable by a select few. The language of
cooking and eating clearly develops a power relation between persons who are
allowed to participate in the market economy and those who are denied
participation.
2. Jameson envisions primitive communism to be the stage before relations of dom-
ination emerged in human society. It is similar to Hegel's notion of Being as yet
un-negated and estranged from its own self-identity. The intrusion of bourgeois
capitalism brings on the end of the Edenic state of unity; humans begin to differ-
entiate from each other in race, class, sex, and age.
3. Julia Kristeva in The Power of Horror discusses the psychoanalytical status of the
mother. She argues that before the ''beginning'' of the symbolic there must have
already been moves, by way of the drives, towards expelling/rejecting the
mother. The symbolic, the intervening Law of the Father, is not strong enough to
ensure the separation of the mother and child; it depends on the mother becom-
ing abjected. Yet, the subject/child, though he fears "castration," still desires the
maternal body. Thus, abjection, or the abject mother, remain fundamentally
"what disturbs identity, system, order" (4).
4. The politics and the poetics of the body treat the body as a site for cultural signif-
ication. Despite the appearance of lack in meaning, the body is a part of the
semantic project of the narrative and can be semiotically retrieved. Thus, Donald's
mother, though her body lacks any ethnic recognition, bears semiotic meanings
in that very absence.
5. Many Chinese critics have long debated and criticized the misogyny in the Water
Margin myth. For example, Su argues in The History, Psychology, and Artistry of
the Water Margin:
There is no doubt that everyone who has read the Water Margin would be suspi-
cious of the author's prejudice against women [ ... ] this is a male-centered book
and good women are rare in the story. And nine out of ten women are dishonor-
able. IW]e always hear I ... ] the author call the young beautiful women Isluts' and
'bitches' [ ... ] full of hatred and balefulness [ .... ] [T]he percentage of women's
dying rate is much higher than that of men [not to mention the brutal ways they
die; one woman's breast is cut open so her heart can be retrieved, and another
woman is decapitated]. (32-33, translation mine)
6. The no name girl in Donald's dream also parallels this analysis of the "Ten Feet of
Steel" woman. Her show of IImasculinism" in taking over Donald's position in
the Lion Dance illustrates again that her only agency is to take a man's place.
However the longer discussion about the "woman warrior" figures may distract
l
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