ok, let's talk about Dr. Seuss...

So, I've been avoiding the whole Dr. Seuss debacle , as I know the authors involved and I imagine (especially after vicious trolling myself), they probably just want the issue to die away. But the story keeps getting bigger, and recently someone on a friend's Facebook page said how he thought Mo Willems was being a hypocrite for accepting the Theodor Geisel Award from the American Library Association, yet boycotting the museum event.

Lord knows, Mo Willems doesn't need me to defend him, but here's the thing. I received the Theodor Geisel Honor as well and I, too, would've boycotted the museum event. And I don't think it's hypocritical.

So, let's do some background. Theodor Geisel is Dr. Seuss. All children's book creators worth their salt know the history of the industry's greats and almost all of us know Dr. Seuss. So, while most of the mass public doesn't realize this, we know that Dr. Seuss's early career is filled with creations of racist propaganda. He drew horrible stereotypes against Jews, African-Americans--you name it. One of his more egregious cartoons depicted Japanese Americans lining up to receive bombs.

It was 1942, a time where anti-Asian paranoia was at in full tilt. Geisel was a product of his time and  reflecting what people were feeling.

However, as time passed, Geisel began to regret his earlier images. It is widely accepted that his beloved book, "Horton Hears a Who!" was his way of apologizing for his earlier art. He went on to write books like "The Sneetches," stories with themes of inclusion and tolerance.

And that is what makes Geisel a good man and artist. Because he was willing to grow from his original mindset, realize the harm the his work could do and get better. That is why he is an artist I am honored to receive an award with his namesake on and why he deserves a museum.

Now, for the museum controversy. The image that is displayed is from Geisel's first book, "And to Think I Saw it on Mulberry Street" printed in 1937, the same time Geisel was doing his racist cartoons. "The Chinaman" image that is being debated initially had the character bright yellow and with a long pigtail. In 1978, acknowledging that the image could be offensive, Geisel himself changed it so that the character is white and without a pigtail.*

It is now 2017. Even with the character being white and without a pigtail, a great many people (myself included) wince at the caricature.  My first reaction is, "Do we really need to see that now? Of all the images of this man's work, do we really need to show this one?"

And, in a Seuss museum, the answer could be yes. However, the answer is only yes if the image is put in context. Viewers need to know, and honestly Geisel himself deserves, an explanation. They need to know Geisel's history with his own art and with this particular image.  To display it without context (which, I daresay is a museum's job) reduces the image to mere decoration.  And, to many (myself included) an offensive decoration**.

I was not asked to participate in the museum's event, but I cannot fathom trying to read my books in front of the Chinaman caricature presented as it is now. To do an event with this image right behind me, without acknowledging its racism and Geisel's journey away from it, would be pretty insulting. I would have declined to have participate. Just like Mo Willems.

Yet, I proudly display the sticker with Geisel's image on my book.

What is the difference? It's different to me, because when you accept the award it is a picture of Theodor Geisel on the medal; not any of his past racist art--the medal and award is symbolic of him as a whole person. The ceremony is with educated, adult librarians, whom I assume know or should know the history of the him.

The Seuss museum and the event there is for kids and adult who are not aware of Geisel's history. They are at the museum to learn about him and the museum refuses to teach this part of his past. Instead they just show the racist image as decoration. I would not accept the invitation because they are allowing the racist image to stand as a racist image instead of showing it as a part of Geisel's regrettable past.

I honor the Theodor Geisel as a man who outgrew his racism and created some of the best books of children's literature of all time. And without an explanation, I abhor the single image that is displayed.

Which is why I don't think Mo Willems is a hypocrite. And I don't think I am one either.


*Which leaves me with this question--now, forty years later, if Geisel was still alive--don't you think it would be a possibility that he would change it again? If he was willing to do it once because time had changed his mind, what do you think another forty years would do?

**Is this image offensive? Let's break down a couple responses to this question.  (fyi, I edited this from my initial posting to add a few more thoughts)

Response #1: "I loved this book, and I'm fine!" (sometimes with the additional, "and I'm Asian!")
Okay, that is great for you. I'm happy you are fine and it didn't bother you. But there are lots of people who images like this hurt, trust me. I am one of them and I have bunch of readers who will say the same. Maybe you weren't teased that your eyes were so small that dental floss could blindfold you, but that doesn't mean I wasn't.  Can you at least acknowledge that it is offensive to some people and for good reason? And if you can't find it within yourself to find a little empathy, then perhaps those images affected you more than you think.

Response #2: "This is history! How dare you try to erase it!"
You are mixing up nostalgia for history.  No one asked for the mural to be removed, the museum decided to do that themselves because they were unwilling to put the art in context---think about that. The museum would rather take the whole mural down than put a caption that acknowledged Geisel's true history.  Here, I’ll even write the caption for you: 

 “This image of “the Chinaman” was originally printed in 1937 with yellow skin and a pigtail. In 1978, Dr. Seuss, himself, changed the image, acknowledging that his original rendition could be offensive. It is probable, that now, over 39 years later, that if he were alive he would change the image again.”

 There, fixed the whole thing! It’s 52 words. Yes, it’s longer than a tweet, but I think it would take about 3 inches space, max. Why was this so hard to add?  Why aren't you offended that instead of adding 52 words, the museum decided to take the entire thing down? Isn't a museum's job to educate and put things in context for the viewer? 

The artists in question here asked for the art to be put in context.  If anything, the artists were trying to give a more accurate view of history. 

p.s. I've disabled comments for my blog because I am tired of trolls.

color-blind just means being blind

Listen to my NEPR commentary on  color-blindness here: http://nepr.net/post/its-schools-job-acknowledge-race 

Here I am on NEPR again, this time talking about the problems of teaching "color-blindness" and spreading the word about the Community Book Stop! Take a listen HERE!

(Edited to add that the discussion suggestions for the Book Stop can be found HERE.
And our book list HERE.)

trying to do things right

The doctor says I have a nasty virus that is just lingering... my Hong Kong posts are going to have to be very belated as this sickness is just beating me down. But these recent articles about ethnic stereotypes in plays make me feel obligated to force myself out of the brain fog at least for a short post.

Just in case you missed it, Newton High School put on the play "Thoroughly Modern Millie" to the horror of many in the Asian-American community there. The play (I have not seen it but I have heard from many sources I trust)  is rife with horrible Asian stereotypes, including a "a farcical Chinese accent." (When reading the accounts, the thing that makes me the saddest is how so many think "these people are just being too sensitive," which --to me-- shows a lack of empathy. I can understand if you personally don't find the play offensive but to dismiss someone else's obviously sincere distress is probably what started this fiasco in the first place.)

So, with this in the news and knowing that the Where the Mountain Meets the Moon production will soon be opening, friends have asked me if I am worried.

I'm not worried at all.  

I trust the people at Wheelock Family Theatre. How do I know my trust is not misplaced?

Jane Staab, the director of the Wheelock production, came to see me before they started to work.  During our conversation, Jane told me that before their production of Peter Pan she seeked out leaders of the Wampanoag tribe, met with them and went over the entire script. There were many reasons why the Wampanoag refused to take their children to any Peter Pan production and Jane addressed them. Small reasons like removing of a feather to replace an ostrich feather (as feathers had meanings and an Indian--they did not find the use of that term offensive--would not do that). Jane also added words from their language into the script, such as "aquine" which means peace. And, most of all, Jane rewrote the lyrics to the offensive song "Ugg-a-Wug," keeping the lovely music and important message but removing the offensive word usage.   

me & Jane Staab, the director of the Where the Mountain Meets the Moon production at Wheelock

The end result, Jane told me, was two rows of Wampanoag Indians at their Peter Pan performance who all gave it a big thumbs up. I suspect the entire audience would've given the same review. 

Which makes me so proud that Where the Mountain Meets the Moon will be produced by them.  If they give Where the Mountain Meets the Moon production even half the consideration they did with Peter Pan, it's going to be fine. In fact, I know it's going to be much, much better than fine. It's going to be great! I can't wait! 

Rethinking Tikki Tikki Tembo

Once, I visited a school where the kids put on a play of  Tikki Tikki Tembo, in my honor. The kids were absolutely great, the teachers were quite lovely and the play was really well done. They had all worked hard on it and  I was very grateful for the warm welcome the school gave me, yet deep down I felt a strange awkwardness that I couldn't put my finger on.

So, when a friend of mine, recently sent me this blog post written by Irene Rideout, a lightbulb went on. When I read it, I suddenly thought, Oh that's why I felt weird!

With Irene's permission, I've republished her blog post here (her blog is private) for people to read. I think it's good food for thought:

Rethinking Tikki Tikki Tembo
by Irene Rideout

As a child, did you love Tikki Tikki Tembo by Arlene Mosel? Did you find the absurdly long name "Tikki Tikki Tembo-no Sa Rembo-chari Bari Ruchi-pip Peri Pembo" intoxicatingly fun to chant or sing? First published in 1968, the book has won some honors:

• In 1968, it won the Boston Globe - Horn Book Award for Picture Books. (http://us.macmillan.com/tikkitikkitembo/ArleneMosel) 

• In 1997, the New York Times named it "one of the 50 best books in the last 50 years." (http://www.schoollibraryjournal.com/article/CA6634456.html?desc=topstory) 

• In 2007, the book was #53 on the National Education Association's Teachers' Top 100 Books for Children. (http://www.nea.org/grants/13154.htm) 

• The Fall 2009 Audio Book version was Parents' Choice Approved by the Parents' Choice Foundation. (http://www.parents-choice.org/product.cfm?product_id=26879&StepNum=1&award=aw)

When I overheard my half-Chinese/half-Caucasian 6-year-old daughter singing the name a couple months ago, I had to ask her where she learned it. "In music class, at school," she replied. And to tell you the truth, I felt uneasy.

My first encounter with Tikki Tikki Tembo occurred around middle school. A Chinese-American friend was talking about the way other kids chanted "Tikki Tikki Tembo" around her. I had never heard those words before, so I asked her, "What does that mean?" The quiet seriousness of her response struck me. She looked me in the eye and said, "It's racist."

This is how the story is summarized on Amazon.com:
"In this beautiful edition--complete with line and wash illustrations by artist Blair Lent--Arlene Mosel retells an old Chinese folktale about how the people of China came to give their children short names after traditionally giving their "first and honored" sons grand, long names. Tikki tikki tembo (which means "the most wonderful thing in the whole wide world") and his brother Chang (which means "little or nothing") get into trouble with a well, are saved by the Old Man with the Ladder, and change history while they're at it." (http://www.amazon.com/Tikki-Tembo-Arlene-Mosel/dp/0312367481/ref=sr_1_1?ie=UTF8&qid=1332508100&sr=8-1)
The Multiculturalist, a publication by Northern Illinois University, warns that, contrary to common misconception, not all children's books about other cultures are authentic.(http://www.niu.edu/mct/newsletter/2009-2010/vol3_num1.pdf) On page 4, the article states:
"Teachers who want to share other cultures may unintentionally choose books that are racist or not representative of a particular group... A book that is often recommended (see Huck, Hepler, & Hickman, 1987) is Tikki Tikki Tembo (Mosel, 1968)... The text and illustrations, however, are inaccurate depictions of any Chinese... The message about Chinese names is less than flattering."

I do think the use of the word "unintentional" is important. I hold my daughter's school system in very high regard, and from the beginning, I had to assume that the teachers and administration - not a single person of color among them! - simply did not know about the racist perceptions of this popular tale. I mulled over the idea of calling up the school principal and just letting him know that the story isn't exactly culturally sensitive. But I admit, part of me thought, "Maybe another Asian parent will do it." It wasn't until I found out that the entire school would be acting out the story and performing the song "Tikki Tikki Tembo" at a school meeting that I finally realized, "No one else is going to speak up."

So, in a phone call with the principal, I explained why the story is racist.

• The book purports to be an "old Chinese folktale," but it is not. It is actually thought to be based on a Japanese folktale called Jugemu. (http://en.wikipedia.org/wiki/Jugemu) Presumably, that tale was picked up and retold by Westerners, who mistakenly attributed it to China and added to the story. The result is a story that is neither Japanese nor Chinese, and it exemplifies the racist attitude of, "Chinese, Japanese, what's the difference, they're all the same." 

• Though the book's illustrations are beautifully drawn by Caldecott Medal-winning artist Blair Lent, they do not authentically depict Chinese people, as noted by The Multiculturalist above. Tikki Tikki Tembo's shoes are actually strikingly similar to traditional Japanese geta footwear, again reinforcing the inaccurate perception that all Asian cultures are the same.

• Tikki Tikki Tembo's full name does not include any actual Chinese words, and it perpetuates the stereotype that Chinese words and names sound like nonsensical syllables. (http://en.wikipedia.org/wiki/Tikki_Tikki_Tembo) If anyone doubts that this stereotype continues to persist in modern society, look no further than the 2011 racist rant by a UCLA student. 

• Tikki Tikki Tembo's little brother does have a Chinese name, Chang, which, according to the book, means "little or nothing." The book was written in 1968, well before pinyin was standardized, but even if we generously consider all tones of "chang" and "zhang," none of the dozens of possible translations even come close to meaning "little" or "nothing." 

• According to the story, Chinese people traditionally gave their first-born sons long and honorable names. This is not true. I tried to find a source to back up this point, but apparently there isn't really a good way to find evidence of what a culture is not. This Wikipedia article, at least, provides information on Chinese names, modern and historical, and makes no mention of first-born sons ever getting especially long names.

When I read online forums and discussions about the potentially offensive nature of Tikki Tikki Tembo, I am disappointed because so frequently the responses are dismissive. People say, "Oh, lighten up, it's just a fun story for kids." There is, of course, a difference between INTENT and IMPACT. I feel pretty confident in surmising that the author and illustrator of Tikki Tikki Tembo did not set out to offend anyone. In fact, the INTENT may even have been to honor the Chinese culture by sharing a charming story of their understanding of China. But the IMPACT is that an entire culture is misrepresented, and it is not unreasonable that people within the misrepresented culture might feel offended. It's understandable that some people may have happy and fond childhood memories of this book, but their positive experiences with this book does not make other people's negative experiences any less valid.

Another common argument in defense of Tikki Tikki Tembo is, "Children know the difference between truth and fiction. They know this is not a real story of actual Chinese culture." Perhaps some do, but what if the book is actually presented by a teacher or librarian as an authentic Chinese folktale describing Chinese culture? Weston Woods, a production arm ofScholastic, a children's book publisher that specifically creates educational materials for schools, provides a lesson plan for use with their Tikki Tikki Tembo video. Two explicit objectives of the lesson are to "learn about Chinese culture" and "enjoy a well-known Chinese folktale." (http://westonwoods.scholastic.com/products/westonwoods/study_guides/tikki_tikki_tembo.pdf) Of course, in reading this particular book - or watching a video based on the book - the class will do neither.

In 1968, when cultural diversity wasn't yet the major issue it is today, any book that featured a foreign culture was probably welcomed, even if only for its novelty factor. But now that it's 2012, and the children's sections of our libraries are filled with authentic books about other cultures, there is no longer any need to rely on inauthentic tales like Tikki Tikki Tembo as an example of Chinese culture. I am a big fan of Grace Lin, who writes children's books of all levels ranging from picture books to chapter books. Her books are set in America, but they feature a Chinese-American family and plenty of Chinese and Taiwanese culture. For a book set in "old China," I recommend Ruby's Wish by Shirin Yim, a book my daughter actually discovered herself in the school library.

So what did my daughter's school principal say and do in response to my concerns? (My on-the-spot explanations were not quite as organized as my post here, but I think I got the ideas across!) I was so pleased and relieved to hear him say, "I had never thought about the book that way before, but now that you explain it to me, of course I understand." He repeatedly stressed his desire to be culturally sensitive, and he suggested a compromise for the school's upcoming performance of Tikki Tikki Tembo. (I knew the school had been practicing the show for months, and it was too late to do anything drastic like cancel the performance or choose a new story and song.) Rather than introduce it as "a Chinese folktale," they would simply call it "a story" and avoid any references to China or Chinese culture. I thought that was a great idea.

Moving forward, seeing how popular Tikki Tikki Tembo is in schools and with parents, I think it's unrealistic to expect everyone to simply remove it from their bookshelves. My hope is that if people do continue to pass on the story of Tikki Tikki Tembo, they do it in a responsible way.

• One option is to use the story to bring back oral storytelling, and to leave out all references of China and Chinese culture. Without using the actual book at all, parents and teachers can tell the tale of Tikki Tikki Tembo, simply setting it in "a far away land." The younger brother can have a name that does not strongly evoke any particular foreign culture, and it can be comparable to the syllables in Tikki Tikki Tembo's name. Perhaps something like Pip.

 

• Another option is to use the book as a teaching opportunity. Parents and teachers can enjoy the book and its illustrations, but follow it up with a discussion about how not all books are true stories, and not all pictures are true representations of what they are trying to depict. Inaccuracies in the story and pictures can be explicitly pointed out, and the book can be followed by a reading of another book that does authentically portray Chinese culture.

For another person's insights, I recommend this article. It gives what I think is a fair and balanced review of the book, and then it discusses the appropriateness of the book in today's diverse society. It goes even further by suggesting other books about names, and Asian names in particular, that can be used to supplement a reading of Tikki Tikki Tembo.

interview

Last summer (pre-baby bulge!), I participated in an Asian American Author Series of interviews for Primary Source. Other authors in the series include the lovely Mitali Perkins, Jean Kwok and GB Tran. Here is a excerpt of one of my interview (you can see more here):




I actually had forgotten what I had said about the "Little House" books until recently. But even though "Ma hating Indians" made me feel insecure about my own racial identity, I wouldn't have them censor out Ma's hatred, now. I didn't like it, but it was true sentiment and one that showed how even good people could believe/feel things that weren't right. When I began to witness different kinds of racism--Asians against Blacks, Chinese against Japanese, Asian-Americans against Asians-- that sometimes originated from people I trusted and loved,  books like "Little House" set the groundwork for me to realize that what the adults around me thought weren't always the right things to think, especially when it came to things like race.