Editor’s Note: Minutes after this post was published, @hmasculazn deactivated his Twitter account. Shortly afterwards, the viral Medium essay was removed by the author, and the author’s profile was deleted. Some links may no longer work.
In the last two weeks, an essay posted last year on Medium and written by a self-described Asian American woman and former neo-Nazi has gone viral. “I was an Asian White Supremacist” (Google web cache here) was widely shared through Asian American Twitter and Facebook groups, and it even attracted interest from the editors of prominent Asian American media outlet NextShark who sought to republish the writing.
The essay sparked interest for its first-person depiction of a self-described Taiwanese American woman – “Angie Lee” – who describes growing up in the American South hating her Asian appearance and desiring to become White. Lee further describes how she became romantically involved with a white teenager – “Brandon” – who becomes involved in neo-Nazism. Lee explains that through this relationship, she internalized white supremacy and racism, coming to hate herself, her family (and in particular, her restauranteur father), and other people of colour. Lee describes how she eventually ran away from home to live with Brandon and fully embrace neo-Nazism, and even became pregnant by Brandon. However, Lee explains that when her son was born, the fact that he appeared more Asian than White caused Brandon to reject both mother and child. The essay concludes with Lee’s description of how she was taken in by a women’s shelter and now raises her son on her own, and has let go of her racial self-hate.
The essay has been widely shared on social media for its supposed evidence of how Asian American women are complicit in white supremacy, and it is often paired with latent attacks on Asian American feminism.
However, some are now wondering whether the essay might also be entirely fake.
By Guest Contributor: Sudip Bhattacharya
Recently, Brooklyn Nets star Jeremy Lin said to the New York Daily News, “A lot of times we have Asian girls go for non-Asian guys but you don’t see a lot of the opposite. You don’t see a lot of the opposite; you don’t see a lot of non-Asian girls go for Asian guys. When they said ‘Yellow Fever’ growing up, it wasn’t all these white girls going for Asian guys. It was the Asian girls going for the white guys.”
Although Lin was relatively thoughtful throughout his interview, his answers nonetheless reinforced a damaging myth: that Asian American women have more advantages than their male counterparts.
Lin represents a segment among men of color who have become obsessed with embodying a superficial and regressive “masculinity.” If our goal is to dismantle patriarchy, we must form a deeper, layered understanding of “masculinity” and its relationship to Black, Brown, and East Asian American men. That radical reexamination of the “masculine” must account for the marginalization that many men of color feel, while not absolving them of their role in perpetuating misogyny.
This weekend, Hollywood’s live-action remake of the classic Ghost in the Shell anime opened in theatres nationwide. The film has been the subject of intense scrutiny including charges of White-washing related to the filmmakers’ highly-questionable decision to cast Scarlett Johansson in the leading role of Major Motoko Kusanagi. (In the Hollywood remake, the character is renamed Major Mira Killian to suit Johansson’s clearly non-Japanese appearance.)
Ghost in the Shell (2017) deserves all the harsh criticism it has received from movie critics and the Asian American community. Supporters of the film object, saying that the White-washing debate is a distraction. In fact, the White-washing controversy is totally relevant; moreover, it is symptomatic of the film’s essential problem: Ghost in the Shell (2017) fundamentally misunderstands its source material.
Whether due to ignorance or apathy, Ghost in the Shell (2017) fails to recognize the key thematic elements of the 1995 anime — Ghost in the Shell (1995) — from which it derives its inspiration. While Ghost in the Shell (2017) faithfully recreates many of Ghost in the Shell (1995)‘s most iconic scenes in breathtaking live-action CGI, Ghost in the Shell (2017) lacks any of Ghost in the Shell (1995)’s philosophical or theological essence. What results is an awful, wooden, lacklustre, and overtly racist live-action remake: a stilted, soulless artifice wrapped in the visually stunning iconography of the Ghost in the Shell anime franchise.
In other words, Ghost in the Shell (2017) is a shell without a ghost. All the good things about Ghost in the Shell (2017) come from the original anime, and all the terrible things are both uninspired and racist.
This review contains spoilers of both Ghost in the Shell (2017) and Ghost in the Shell (1995), as well as a brief spoiler of Ex Machina (2014). Please read on with care.
Today is AAPI Equal Pay Day, a day to highlight the persistent wage gap experienced by AAPI women, transgender, and non-binary people. In fact, even though the AAPI community is the fastest-growing racial community in America, AAPI women continue to make only 85 cents to the dollar a White, non-Hispanic man of comparable education earns.
Over the course of a lifetime, that can translate to nearly half a million dollars in lost income for AAPI women compared to White male co-workers. In fact, an AAPI woman has to achieve a master’s degree or higher just to be paid the same wage as a White man who has earned a bachelor’s degree. Alternatively, AAPI women must work on average an extra two months to receive the same annual income as a White man.
When examining the in-race wage gap, the statistics are even more dire. Within the AAPI community, AAPI women make only about 80 cents to the dollar AAPI men earn. This translates to the largest in-group gender wage gap across all races or ethnicities.
Bharati Mukherjee, author of prominent novels such as Jasmine and The Tiger’s Daughter, died on January 28, 2017. She was 76.
Mukherjee was born in Kolkata, India and graduated from the University of Calcutta in 1959 and a Master’s from the University of Baroda. Mukherjee pursued additional graduate degrees in the United States, receiving a Master’s of Fine Arts from the University of Iowa’s Iowa Writers’ Workshop and a doctorate in Comparative Literature from the same school.
Mukherjee is perhaps best known for her novel, Jasmine, which was published in 1989 and which explores the shifting identities of a young Indian woman as she seeks to find her place while growing up in America. Jasmine received widespread acclaim for its exploration of Asian American female identity — and specifically, Indian American female identity — when the genre of Asian American fiction was still in its infancy. The book also holds personal resonance for its formative role in my own growth as a student of Asian American literature and history, and for its unapologetic centering of a South Asian American female protagonist during a time in American literature when such writing was virtually unheard of.
Since 2001, Reappropriate has been the web's foremost Asian American activism, identity, feminism, and pop culture blog!