ApxayyELoS (yonseixryu) wrote in hapa_ness,
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Yellow Fever

Some parts of my essay are ridiculous because I tried to conform to my feminist professor, but here it goes...
Yellow Fever, is a spreading uncontrollable pandemic in America; it is more ubiquitous than SARS. The definition for Yellow Fever is “an acute destructive infectious disease of warm regions marked by sudden onset, prostration, fever, albuminuria, jaundice… by the yellow-fever mosquito” (Merriam Webster). The Yellow Pandemic in America isn’t a disease but a “fetish” purely of the mind. Men, typically the ruling White male class, are unable to satiate their lascivious appetite for Asian Women. They’ve resorted to dirty means by stereotyping Asian men as sexually inferior to divert women’s attention away from them. White men possess unlimited freedom to select their mate’s race, but Asians are confined to their own. They have a fixated stereotype for Asian women that make them all the more excited. They never attach a humane personality to Asian women. They control the media to express their views. They manipulate it to brainwash the masses into acceding to their wishes. White men pervert the masses into believing that Asian men are sexually inferior and promote the “sex doll” image upon Asian women. Ultimately, they covet Asian women for their stereotyped submissive behavior.
The stereotype for Asian men is that they’re “sexual predators, asexual eunuchs, or improbably, somehow both. They all lust after the blonde, blue-eyed cheerleader, whom they would like to steal off into white slavery but they are impotent in their efforts to do so” (Wu 279). Michael Crichton, famed writer responsible for works such as Jurassic Park, Timeline, and Sphere wrote a book titled Rising Sun depicting Japan as “a country full of corrupt Japanese men, lusting for white women and bent on destroying America” (Zia 134). Usually, a Harvard Medical School alumnus would know better. Scholars admit that “Anglo-American and European discourse has authorized imperial and exclusionary acts according to the logic of a white masculinist ethos of conquest, penetration, and rationalization by representing the oriental as feminine and subject to sexual domination”(Parikh). White people create these horrendous stereotypes to scare white women away from courting foreign men. The entertainment industry has evolved the “impotency” stereotype of Asian men to a more blatant extent by outwardly saying that they have small penises. How White men know that Asians possess small penises hopefully isn’t from experience. The Asian “model minority” is someone “good with computers…balanc[ing] [their] checkbooks… calculus…excessively polite” (Wu,39-40) and hardworking. Whites, on the other hand, often portray African Americans as dumb, lazy, and sexually active. Modern comedians have even prodded at this by announcing that Blacks have giant penises. The reason White people reversed this stereotype on Asians is because quite frankly, it backfired on them. They soon realized that the “high powered” sexuality ascribed to Blacks became a strength instead of a weakness. Despite the ignorant image branded upon Blacks, women soon admitted that size did matter and flocked towards the latter. White people decided to rectify their mistake and re-strategize. They targeted the size of Asian men’s manhood. This stereotype has taken its toll on society. One woman refused to date an Asian man because “[they] have small penises (Nishioka).” The reason why they targeted this is because the one trait that destitute African Americans were devoid of was proper education. With proper education comes intelligence. Ignorance isn’t permanent. What a person cannot change is the size of their “manhood.” So White people decided to point out that it’s okay to have a male Asian friend, but they make terrible lovers.
Asian men have found it difficult to date white women. Korean American Raymond Kim admits “It’s definitely harder for an Asian male to date a white female than for Asian female to date white males… Asian males are not portrayed as masculine, whereas Asian females are stereotyped as submissive exotic” (Nishioka). As a result the “census show that Asian American women are almost twice more likely to out marry than Asian American men. In California, 7.7 percent of the males were married to whites, compared to 16.2 percent of the women” (Nishioka). California is the biggest Melting Pot State for Asians in America. Therefore it must represent the growing demographic for Asians in America as a whole. The problem isn’t that Asian men don’t want to date or intermarry White women. It’s that White women don’t want to date Asian men. Shinafawa, a source from Nishioka’s article, stated “This isn’t an Asian male society. Whites have access to any sexual relationship they wish” (Nishioka). She gave an example of how White males have the freedom to address someone’s race to strike up a conversation. If an Asian tries using the same method, it’s somehow absurd. Another explanation to why Asian men don’t date non-Asian women is because of “disapproving strangers” (Lenhart).
Asian women allure Caucasian men with their “exotic erotics…The China Doll or Geisha Girl [also] possesses Oriental sex secrets that make her aggressive in bed, but she also is trained to be obedient around the house. She is available for white men to release from oppressive boredom, eager to be dominated” (Wu, 278). If Asian women do not attract Caucasians because of their culture, intelligence, or personality, then it’s purely out of sexual interest. Caucasian males look at Asians as “dolls” and objects they can play with. In 1990 GQ publishes a story titled “Oriental Girls: The Ultimate Accessory.” The writer described them as: “Her face-round like a child’s… eyes almond-shaped for mystery, black for suffering, wide-spaced for innocence, high cheekbones swelling like bruises… When you come home from another hard day on the planet, she comes into existence, removes your clothes, bathes you…She’s fun, you see, and so uncomplicated…She’s a handy victim of love or a symbol of the rape of third world nations” (Zia 132). Caucasian writers always portray Asian women as ever suffering and endearing. They reluctantly endure against the cruelty of their motherland. Then a white soldier liberates them from their solitude. She looks towards him as her hero and savior. In return for his kindness, she submits and graciously serves him. They are innocent, but wicked in bed at the same time. Despite their sexual vivacity, they acqueiesce to their lover’s whims. A con artist named Christopher Barnes manipulated this image by creating a fake mail order operation called Crossroads international. In his brochure, he wrote “From birth they are raised to love, honor, and respect their man…In their eyes, you are a god. You are her lord and master. She will never betray you” (Zia 133). Barnes successfully duped at least two hundred and eighty thousand dollars from four hundred men, many of which included students, nurses, truck drivers, college professors, lawyers, and even doctors. Yellow Fever aggravated a freelance journalist so much that she wrote a mock personals ad reading, “Petite, beautiful, tomboy Asian sweetheart (with heart), intelligent, and particularly loathes white men who hanker only after Asian babes. All need not apply”(Eng). To her dismay she twenty messages from desperately horny white men. Several people caught onto the joke and congratulated her for it, but that didn’t compensate for the love messages she received. At least now people know that there’s a price to pay for believing a stereotype.
The source of the Yellow Fever pandemic comes from the media. Movies, the news, television, and books both apply and encourage these stereotypes. Even in The Uncanny X-Men, a comic book beloved for its theme and allegory of racial tolerance, expresses examples of Yellow Fever One of the heroines, “Elizabeth ‘Betsy’ Braddock is the sister of Brian Braddock, who, as Captain Britain, is the United Kingdom’s leading super hero… The X-Men’s enemy Spiral swapped over the minds of Betsy and the Japanese Assasin Kwannon” (Anderson 106). Fan boys covet Psylocke for her exotic Asian features, but they prefer the personality of a Caucasian female. Marvel Comics meets both needs through this character. Remarkably, Psylocke is one of the few Asian members of the X-Men, and technically she isn’t even Asian. Other comics, like Flash Gordan, exhibit other Asian stereotypes. Flash Gorden is a “Yale graduate and World-class polo player, [he] was so imbued with American Puritanism that he exhibited an incredible innocence of Aura’s (Emperor Ming’s daughter) carnal interest in him” (Ma 10). Most movies share a common theme of an “American man as a soldier in an Asian country and finding love with a foreign Asian woman. While not all of these films center around love stories, they all adapt the image of Asian women as exotic, soft-spoken, mysterious, and at the mercy of the American man” (Luis). In the movie The Last Samurai, Tom Cruise’s character John Algren insists on helping his Japanese love interest with her housework. She tells him, “Japanese men do not help with this” (Zwick). Cruise replies, “I am not Japanese” (Zwick). This dialogue implies that Anglo men are more compassionate than Asians towards women. Disney, an animation company notorious for its subliminal racism, (sex), influences the young minds of America and corrupts them with Yellow Fever. In the movie Mulan Disney’s original script had a White man as the love interest. Disney decided to do away with this and gave in to a more traditional Chinese affair. There are even more racial stereotypes exhibited by Disney. There are “demeaning racial vignettes scattered throughout Disney…the depictions of Siamese cats in what are purportedly Asian. A bucktoothed Siamese Cat in The Aristocats” (Ma 109). The Asian male hero never kisses his love interest, if he has a love interest at all. The earliest stereotype is “Charlie Chan… formal and inscrutable. There were servants, and sneaky villains, and Bruce Lee-who, superman that he was, never got the girl on screen”(Pan). The most Jet Li ever got from Aliyah was a hug in Romeo Must Die. The only exception is in the comedy Harold & Kumar Go To White Castle. It tells the story of a Korean and Indian American, under the influence of marijuana, on their nightlong odyssey to The White Castle restaurant. The main character, Harold, a Korean American makes out with his love interest, Maria, in an elevator at the end of the movie. The only problem is that she’s Hispanic not White. It appears that the writers for this film were radical enough to allow the Asian hero to get the girl at the end, but not enough to make her White.
Never do White men attempt to attach a human personality onto Asian women. With a few exceptions, they forever view them as coquettish dolls meant for play. The growing amount of Otakus or anime fans amalgamating into American pop culture may offer as a light for this subject. Asians may attract White anime fans for cultural reasons instead of a lecherous one. Whatever the case, the Yellow Fever pandemic in America proves to be a problem for both Asian men and women alike.


Works Cited
Anderson, Peter. Ultimate X-Men Updated Edition. NY: DK Publishing, 2003.

Eng, Karen. Zukazuka. 25 November, 2004. <http://www.zukazuka.com/cv/yfelectronic.html>

Lenhart, Jennifer. “Korean Attitudes Color Adoptions; U.S. Parents Struggle for Acceptance for Their Children.” The Washington Post. 6 February 2001: C01.

Luis, Adriel. Stop Masturbating in My Culture. 2003. <http://www.ill-literacy.org/stopmasturbating/home.html>

Ma, Sheng-mei. The Deathly Embrace. Minneapolis, Minnesota: University of Minnesota Press, 2000.

Merriam Webster Dictionary Online. <http://www.m-w.com/cgi-bin/dictionary?book=dictionary&va=yellow+fever>

Nishioka, Joyce . “A Threatened Manhood? Exploring the Myth of the Angry Asian Male.” Asian Week. 3 February, 2000.

Pan, Esther. “Why Asian Guys Are on A Roll.” Newsweek 21 February 2000.

Parikh, Crystal. “The most outrageous masquerade": Queering Asian-American masculinity.” Modern Fiction Studies 48.4 Winter 2002: 858-900.

Zwick, Edward (Director). (2003). The Last Samurai. [Film] Los Angeles, Warner Brothers Studios.

Wu, Frank H. Yellow: Race in America Beyond Black and White. New York: Perseus Books Group, 2002.

Zia, Helen. Asian American Dreams: The Emergence of An American People. New York: Farrar, Straus, and Giroux, 2001.
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