A Quick Primer on #codeswitching

Dear Readers,

Have you heard about the crazy that went down on the Napa Valley Wine Train over the weekend?

So the wine train is a real thing, and my husband and I were on it about 21 years ago for our anniversary, about a decade too early for my tastebuds to fully appreciate what I could’ve been drinking. It’s literally a train that goes through Napa Valley, and you can eat and drink your way through it. It is a bar on wheels. How loud do you have to be to be too loud on a bar on wheels, especially if you are with a group of your reading besties enjoying a good book discussion?

Well, apparently it’s not about being loud. It’s about WHO is being loud and WHO thinks you are too loud. This is not surprising to some of us, but that doesn’t make it any less humiliating, wrong, and racist.

The CEO has issued an apology, and here is where I brought in my love for manuscript Bible study and intersected it with … my life as a Korean American woman of color who pays attention to what happens to other women of color. I looked at the apology and started marking it up with comments, questions, observations. I’m sorry for the quality of the photo, and you may see that the text didn’t fully print on the right margin – user error. But you can get the gist of it. Public relations folks might call it spin. I call it #codeswitching  – where otherwise neutral words are used to describe a situation where more precise language connected to race, gender, sexuality, etc. could be used.

For example, when a group of women of color are referred to as “those people” as a way of minimizing the negative racial/ethnic implications of the comment without actually pointing out the obvious.

So that apology to the Sistahs on the Reading Edge Book Club? There is a lot of code-switching going on.

  • “…you would be loud, fun-loving and boisterous…”
  • “…a particularly vibrant group…”
  • “…we were acutely insensitive…”

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I haven’t figured out my emotions in response to this situation and to the apology. What I know is that growing up as one of the few Asian Americans in my community I had a different standard of behavior I needed to live up to – for my parents and my Korean American community and for the white community. I had to behave and respect the norm in whichever situation I was in, aka respectability politics. Many times I still believe this is true.

Such was the case for the Sistahs of the Reading Edge.

As you read the apology, what do you read? What are the underlying, unspoken messages that stand out to you? What are the questions you have about my manuscript?

 

Dear NPR & Maureen Corrigan: What the Frak is Kimchee-scented Kleenex Fiction?

Dear NPR & Maureen Corrigan,

What the frak is “kimchee-scented Kleenex fiction”? What does that phrase even mean?

Were you trying to be funny? (Fail.)

Were you trying to let listeners and readers know you “know” Koreans? (Fail.)

Were you trying to be clever and/or charm us with your use of alliteration? (Fail.)

And why, after a week of comments on the NPR website  where you take Kyung-sook Shin’s novel “Please Look After Mom” to task, has there not been a response from NPR or from you, Ms. Corrigan? Surely you would want to explain yourself and this misunderstanding. After all, you are just a critic who didn’t like the book, which you pointed out has sold 1 million copies in the author’s native South Korea and is set to hit the shelves in 22 other countries. Your opinion is just one of a million, and clearly no one at Knopf asked your opinion before claiming the U.S. rights to the translated version so I’m certain you would be sorry if you offended anyone even though that was not your intention. I’m sure of it.

So why not just come out and say it? You could probably cut and paste or adapt a version of the standard non-apology.

Or maybe you or NPR could come clean and and apologize because Ms. Corrigan your review did offend and continues to offend real people – not the fictional characters you clearly did not connect with in the novel. Some of us are actually American readers, by the way, who might even be able to bridge what appears to be a cultural gaping hole in your understanding of Korean/East Asian mother guilt, family values and shame even as you poo-poo the novel as “Korean soap opera decked out as serious literary fiction”.

You offend those of us “ladies” in book clubs all across America (I’m in two of those book clubs of American readers, btw) who read all sorts of books we like and dislike and suggest or read only because it was on the book club list which is our ticket to a fun night out, and not all of us would see the message of this novel as “alien”. (Couldn’t you have phrased that better? Maybe you tried “foreign” but perhaps that was too literal or obvious?) You offend me because throughout your review you allude to your POV as “an American reader” but I am an American reader and I “get” the message and nuances of this book by reading the excerpt. I am not an American woman (whose ethnic and racial heritage I do not know) who was “indoctrinated in resolute messages about ‘boundaries’ and ‘taking responsibility’.”

I am an American reader who learned that taking responsibility meant a deep connectedness between my happiness and my mother’s, but I don’t want to wallow in the cross-cultural self-pity you describe. I am hoping you will understand that I just don’t get what you don’t get. This is a novel that you read in English but was written in Korean by a Korean woman who grew up in rural Korea and then moved to Seoul (!). The words were translated, but I’m not sure you want to do the work to understand the characters and their culture and their point of view or even get a deeper sense of the author’s voice, which is so obviously different than yours. Maybe that’s why I didn’t like “The Tender Bar” that much now that I think about it.

I can gather from your critique you are missing the things that make novels connect with its reader and thus earns its place on a bookshelf or top 100 list. Surely much in the plot and prose has been lost in translation because the words “mom” and “mother” don’t carry the same weight and meaning as the Korean words “uhm-mah”, “uh-muhn-nee” and “uh-muhn-neem”. Three words to describe the relationship between a mother and her child. Three. But you don’t get that because you, Ms. Corrigan, are an American reader as am I, but we read with different eyes, hearts and connections, and I’m trying to understand you.

So, let me ask my question in a different way.

Do you really think Korea’s Kleenex smells like kimchee? Because if you do you’re just silly.

Translation: Jung-mahl mee-chus-suh.