Month: January 2022

How Tucker and I are connected in the weirdest way

A number of years ago, my dear friend LH came over to visit for a few days. This was before the pandemic when casual overnight visits were a Normal Thing. At one point, between our usual hilarious exchanges, she mentioned the ghost in the guest room.

Ah, a ghost?

Yes, he said. And went on to explain the appearance of this ghost. She was young, though not a child. White. Agitated but not violent. And, LH added, from a long time ago, probably someone who lived about one hundred years back. Do you know, she asked, who it might be?

No, I did not know who she might be. No, we did not question at all the possibility of a ghost in the house, either. Firstly, because LH is an amazing witch and I believed her. And secondly, because we’d kind of sensed it. That corner of the house has–let’s say–a different kind of vibe. It’s not as sunny. It always feels a little “hollow.” The other people in my household shy away from the room. Because I really LIKE ghosts, I regularly write in that room.

Just a normal breakfast conversation at our house. The conversation segued. The visit went on. Many jokes were told. Good meals were had. Hugs exchanged.

After LH left, I began researching the previous inhabitants of this house, of which in its one hundred-year history, I am the fourth owner. I met the third owners (of course, during the sale). And the neighbors like to talk about the house’s second owners–to such an extent that I feel like I’ve met them, too. The initial owners? That was more of a mystery.

We were handed a parcel of archival paperwork when we moved in. Some of these papers were on very thin vellum, typewritten, yellowed with age, the architect’s notes for the house. I took the brittle pages out from storage and thumbed through them, each page turn crackling like a spark, looking for the client’s name. And there it was: Maurice Ennis.

And thus began a casual research journey; research that happened on impulse throughout the years.

I learned that there were initially three children in this house, a girl and two twin boys, born in the early 1900s. I learned the name of the girl who grew up and attended Bryn Mawr, then returned to Northern California where she got busted for having a speakeasy in her barn and serving alcohol to minors in the 1950s. In some accounts, it was spun as if Carolyn merely threw a kegger for her children. And in others, I could read between the lines describing who it was she served: her eighteen-year-old son, underaged girls, and adult male acquaintances. Questionable. Notorious. That said, at death, she was described as a socialite. For reals, there was a debutante picture of her.

I forwarded a screenshot of Carolyn’s Bryn Mawr picture to LH.

headshot of Carolyn

That’s her! she said.

So the ghost now had a name. But why did she haunt this house in the form of her Bryn Mawr self?

And for years, I didn’t dig further.

We had made peace with the ghost. I wasn’t sure why she was here, only that she was. It seemed like a moot point to question the intentions of a ghost.

But one boring weekend, I thought about Carolyn’s twin brothers, Oliver and David. Who were they? And why didn’t they haunt the house? Why only Carolyn?

A google search told me David grew up to be an attorney and had a son he named after himself. That son, too, became an attorney. The trail ends.

Oliver, the other twin, married three times and managed an insurance brokerage. He had three children. One of his children was a daughter named Lisa.

And Lisa. Married Dick Carlson. And had a son. Named Tucker.

I screamed. Mostly in shock and horror.

Tucker Carlson’s mother and father divorced when he was young. Tucker’s mother, Lisa, abandoned six-year-old Tucker and his little brother Buckley to pursue a “bohemian life” in France, and subsequently created a great mother wound–which is a fancy psychology term that ensconces the trauma from neglectful parenting.

TUCKER CARLSON HAS BEEN REBELLING AGAINST HIS MOTHER ALL THIS TIME, YO.

Dick Carlson (who himself had been abandoned by a mother), was a single parent for several years to Tucker and Buckley. Carlson married a Swanson heiress and then Tucker was sent off to boarding school (like so many stepmoms threaten to do in black comedy but in his case, really happened). Tucker has gone on record that he wants nothing to do with his birth mother (though when his mother Lisa died leaving him $1 in her will, he suddenly did pay attention to her by suing the estate).

Damn, this house is kind of a busy intersection. Of what? A ghost. Past drama. Current drama. Family drama. And TUCKER CARLSON ENERGY. DAMMIT.

Also now I wonder if the woman haunting this house is Tucker Carlson’s mother, Lisa.

Meanwhile, my own ancestry has a much different vector than that of Tucker. My mother was born to wealthy landowners in Pyongyang, before the Korean War. Her family fled to Seoul after the Korean War began when it was clear that they would be persecuted. They went in two groups–the older children walked with my grandfather in the wintertime when the rivers were frozen and walkable. The younger children (my infant mother included), traveled by boat with my grandmother where they were all reunited in Seoul. My mother’s family had a decidedly different life after the war, but they made do. All the children were educated. And my mother, the youngest child, went to Seoul National University where she earned a nursing degree, with plans to study further in the United States.

My father was born in the countryside of what is now South Korea in Chungcheongnam-do. He was never rich. He was the second of five children who survived infancy. His older brother was in the Japanese Resistance; my father’s biggest memory about the end of the War was his brother coming back home after being released from political prison. But not for long; his brother, a well-known socialist and activist, defected to North Korea. And so my father’s family was persecuted under the dictatorship of Park Chung-hee. My father kept his head low, graduating with a very practical and not-political-at-all engineering degree from Seoul National University so as not to attract the attention of the KCIA, with the intention of continuing his studies in the United States. And the added benefit of avoiding KCIA surveillance.

Then my dad got a glimpse of my mom’s older sister. And asked her on a date. That sister, my third auntie, demurred and instead introduced him to my mother. Three months later, they were married. My mom to this day says, “If I had known what a leftist your dad was at the time, I would never have married him!”

They moved to New York City. Gave up on their studies after a few years and started a family instead. Had two children.

Yada yada yada I eventually came to live in Berkeley. Married a man of Israeli descent I met in college. Bought this house.

When I first stepped into the place I now call home, I knew it had never known anyone like me. I was certainly the first BIPOC in the neighborhood. It took five years for the neighbors to say hello to me. I’d been so hazed by my prior neighborhood that I didn’t mind the cold shoulder; I preferred it to the active complaints and bullying I’d experienced for three straight years.

Before leaving, LH told me a little about how to improve relationships with ghosts. The ghost, said my friend, needed to be acknowledged. My daughter and I addressed Carolyn, left flowers in the room, beautified the surroundings. Carolyn calmed. In my research too, I’ve been acknowledging the history of this house. It is a long-delayed meet-and-greet. And I hope it will in return, accept me. (That is a life theme for me for sure).

I thought, mistakenly, that I would be met with silence by an inanimate object. My partner who came to live with me a number of years ago has always said this house is never silent. It’s constantly creaking and sighing, he told me. This is, he said, an ACTIVE house.

Every time I throw out a question, I get an answer. It just isn’t the answer to the question I ask.

How many Koreans does it take to investigate a wound?

Pedagogies of Woundedness by James Kyung-Jin Lee

James Kyung-Jin Lee has a book called Pedagogies of Woundedness: Illness, Memoir, and the Ends of the Model Minority. Published in January 2022 by Temple University Press, Lee examines the question, “What happens when illness betrays Asian American fantasies of indefinite progress?” discussing the model minority myth and its erasure as reflected in “illness memoirs.” Which, as he points out, is a relatively new category within Asian American literature. Pedagogies of Woundedness is an academic narrative and one that highlights a new perspective on how Asian American illness memoirs have come to join the larger genre of Asian American literature. Why didn’t they exist previously? And what does it mean when “the model minority” shows its vulnerability?

Lee establishes the model minority myth early on, opening on Julie Yip-Williams’ 2019 memoir, The Unwinding of the Miracle, involving her terminal cancer diagnosis. “All this seems so incredible and new,” he says, “as if Asian Americans have started dying only recently, in large part because they’ve long been expected to be harbingers of nothing less than the good American life, showing the rest of the United States how it ought to be done” (p. 4). On the same day in 2019, too, Graywolf published Esmé Weijun Wang’s The Collected Schizophrenias. Of this fact, Lee states, “It was as if, in an instant, scales fell from the eyes of U.S. publishers and readers alike: if as a collective, Americans demanded of their Asian American colleagues lives of exceptional mobility and affirmation of the U.S. cultural project, then perhaps…Asian America could also provide a pedagogy to optimize this narrative…Asian Americans can you teach us how to die well?”

LOL.

In his survey of Asian American illness memoirs, Lee writes, “In 2017, Christine Hyung-Oak Lee published her memoir Tell Me Everything You Don’t Remember: The Stroke That Changed My Life with Ecco, the first time in U.S. history that a major trade press published a work of nonfiction by an Asian American whose narrative was primarily occupied by illness” (p. 96).

When my 2014 BuzzFeed essay about my stroke went viral, I was barely cognizant that Asian Americans hadn’t yet pierced the American psyche with regard to illness and to Lee’s point, fallibility. I had simply written about something that happened to me and my path navigating a damaged brain. I was stunned by its reception. Editors wanted to publish such a narrative; my schedule was filled with editor and agent calls for three straight weeks. It was assumed that America was ready, based on the data; I don’t think any of us had at the top of our minds that Asian American illness memoirs were not yet a Thing. I engaged my dream agent (and made some agent and editor friends along the way), and ended up with a book deal. I temporarily ditched my novel-in-progress and wrote a memoir called Tell Me Everything You Don’t Remember based on the essay. I wrote furiously for a year.

Dear Reader: at a point in writing my memoir, I wondered whether to even center my Asian American identity in the narrative. Yes. This was a conscious decision I had to make. My editors thankfully tacitly understood who I was and how I was raised and my cultural context were key components to how I experienced brain damage. Sadly, I felt like I was taking a risk by doing this so explicitly; even though I had no idea I was the first, the only illness memoirs of which I was aware were written by white writers who didn’t have to make explicit their cultural context. Sadly, I was indeed taking a risk.

Yes, in the book reviews, there were folks who asked why I included my Asian American upbringing at all within my illness memoir.

My memoir was published in February 2017, in the wake of Trump’s inauguration, and I blamed many publishing headwinds on that guy (I still do). But there was, I now realize, another headwind: being the first. This was the beginning of a new neighborhood. And there were not yet any neighbors.

Speaking of neighbors: there can be a partnership between scholars and creative writers, one that writers often ignore. Scholarly writing is where I learn most about my own work and the ways in which readers interpret the messages I have sent, whether unconsciously or consciously. And to learn whether my writing has broken new ground as the scholar themself forges new territory.

Some of my most satisfying writing was in the academic term papers I wrote during my MFA–I still have fond memories of writing my term paper on golem imagery in Frankenstein and Great Expectations (Estella is a golem!). Literary writers who attended higher education institutions have if they’ve taken any non-STEM courses at all, likely produced academic writing. And literary writers who attended secondary education institutions most likely wrote academic essays. In this way, many of us have dipped our toes in scholarly work. And it is where, at least in my case, my writing began.

In an undergrad Asian American Studies class, my professor (who is part of the Asian American literary canon and who I won’t name because I am about to criticize him) said, “You should write it. Don’t be a scholar and just study it.” He made clear his opinion that creative writing was superior to scholarship. At the time, what he said was inspiring–I mean, I was nineteen years old and supposed to be premed and didn’t want to go to med school and my secret dream was to become an author, so please give me a break. But I didn’t realize it was at the sacrifice of scholarship. And that this kind of hierarchical perspective isn’t healthy whatsoever, because a literary writer needs readers. And the most thoughtful readers are often scholars.

I’ve never said no to a teacher who teaches my book in class and invites me as a guest speaker. In fact, one of my very favorite things to do as a writer is to zoom into a class. It is an honor to meet students whose academic insights into my writing often surpass those of book reviewers, especially those who question why I bring up being Asian American at all in a…(wait for it) memoir. I’m delighted when I read blog posts by students, those in Professor Lee’s classes included, who’ve read my book. It is good medicine, especially when I need correction or when in the long slog of writing my next book I question whether or not I should continue to write at all.

Scholars are our good neighbors for myriad reasons. And James Kyung-Jin Lee’s Pedagogies of Woundedness is an excellent partner to the burgeoning field of Asian American illness memoirs. May it be an influence as well.

© 2024 Christine H. Lee

Theme by Anders NorenUp ↑