Minor Feelings: An Asian American Reckoning(11)
His biographers David and Joe Henry write that that night in Vegas would forever mark “the B.C.–A.D. divide” in Pryor’s life, when Pryor killed the Cosby in his act and began to find his own way in comedy. Pryor faced his audience in Vegas and leaned into the mike and said, “What the fuck am I doing here?” He walked offstage.
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Watching Pryor, I had a similar revelation: What the fuck am I doing here? Who am I writing for?
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Poets treat the question of audience at best ambivalently but more often with scorn. Robert Graves said, “Never use the word ‘audience.’ The very idea of a public, unless a poet is writing for money, seems wrong to me.” Or poets treat the question of audience speculatively, musing that they are writing to an audience in the future. It is a noble answer, one I have given myself to insinuate that I am trying to write beyond contemporary trends and biases. We praise the slowness of poetry, the way it can gradually soak in to our minds as opposed to today’s numbing onslaught of information.
We say we don’t care about audience, but it is a lie. Poets can be obsessed with status and are some of the most ingratiating people I know. It may baffle outsiders why poets would be so ingratiating, since there is no audience to ingratiate us to. That is because the poet’s audience is the institution. We rely on the higher jurisdiction of academia, prize jury panels, and fellowships to gain social capital. A poet’s precious avenue for mainstream success is through an award system dependent on the painstaking compromise of a jury panel, which can often guarantee that the anointed book will be free of aesthetic or political risk.
Watching Pryor, I realized that I was still writing to that institution. It’s a hard habit to kick. I’ve been raised and educated to please white people and this desire to please has become ingrained into my consciousness. Even to declare that I’m writing for myself would still mean I’m writing to a part of me that wants to please white people.
I didn’t know how to escape it.
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When I was fifteen, writing a poem was as mysterious to me as writing in Cyrillic, so I was ready to be impressed by my classmates’ poetry when I flipped through my high school literary journal. But I was disappointed to find that, as is typical for most adolescent poems, there was no there there in their pretentious musings. Their amateurish efforts emboldened me to write one myself. That doesn’t look so hard, I thought. I bet I can do that. And then I wrote one. I felt giddy, like I’d discovered a new magic trick.
At the time, my family lived in a new development in L.A., so we were surrounded by half-constructed homes. Herds of deer still roamed the scrubby flattened hilltops of the neighborhood, grazing on thistles and sagebrush. One night when the moon was full, I saw a stag with little antler thumbs poking out of its head bend its hind legs and shit in our backyard before leaping away. I thought my house was haunted. I woke up a few times at night with my bedstead rattling. Another time, I was startled awake by an invisible phantom trying to lift my body off my mattress. I gripped my sheets so I wouldn’t float away.
I was deeply lonely and never felt quite present then. I only came into focus when I was making art and later when I began writing poetry, which I found freeing because my body was dematerialized, my identity shed, and I could imagine myself into other lives. Everything I read affirmed this freedom. John Keats said a poet “has no identity—he is continually in for, and filling, some other body.” Roland Barthes said, “Literature is that neuter, that composite, that oblique into which every subject escapes, the trap where all identity is lost, beginning with the very identity of the body that writes.”
But when I became a published poet, I couldn’t suspend my Asian female identity no matter what I wrote. Even in the absence of my body, my spectral authorial identity hampered the magnitude and range in which my voice reached readers. How na?ve to think that my invisibility meant I could play God! If Whitman’s I contained multitudes, my I contained 5.6 percent of this country. Readers, teachers, and editors told me in so many words that I should write whatever felt true to my heart but that since I was Asian, I might as well stick to the subject of Asians, even though no one cared about Asians, but what choice did I have since if I wrote about, say, nature, no one would care because I was an Asian person writing about nature?
I suspected that if a reader read my poem and then saw my name, the fuse of the poem would blow out, leading the reader to think, I thought I liked the poem but on second thought, I can’t relate to it. But what proof did I have of this? How did I know it wasn’t simply because I had no talent? The problem was that I didn’t know. Either way, I couldn’t shake off this stuckness. I always thought my physical identity was the problem, but writing made me realize that even without myself present, I still couldn’t rise above myself, which pitched me into a kind of despair.
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I started watching more and more stand-up. There was a transparency to comedy that I wasn’t finding in poetry. Comedians can’t pretend they don’t have identities. They’re up there, onstage, with their bodies against a brick wall like they’re facing a firing squad. There’s nowhere to hide, so they have no choice but to acknowledge their identities (“So you might have noticed I’m black”) before they move on or drill down.