He came
at roughly the Beaver�s age, learnt our language word by word, each syllable
mangled, botched, before being straightened out, finally, but some sounds would
remain elusive, even towards the end, whimpers and bangs. �Kill �em all, let
God sort �em out.� �We�re going to bomb them back into the Stone Age.� �Kick
ass then go home.� Beneath a nuclear mushroom: �Made in America, tested in
Japan.� There are so many cool ones. When he tried to talk, he mumbled, �as if
he had something in his mouth,� which made them guffaw and shout, �Go back to
China,� a generic taunt I�ve heard more than once, of course. �You talkin� to
me? Hey, I said, Are you talkin� to me?�
There was
nothing he could do about his unusual eyes, nose and mouth, short of violence,
but he could have changed his name to �Joe� or something, placate them a
little, betray his good will. By college, he had enough Anglo-Saxon, Latinated
gibberish roiling in his head to entertain the funky, desperate notion that he
could become a writer, an American one. Holy shit, no joke, say what? Feeling
queer about it, a naked impostor, he pretended to be a business major. �Do you
write in Korean? Chinese? Mongolian?� At last, he�d open those lips and flash
his never-seen tongue.
He could
never join, only looked. He was a looker only, only he wasn�t a looker. Through
his lens, he checked the scenery beneath tables, to examine seams, ruffles,
pleats, ruffles, anything hidden by anything else, fuzz, scars, socks,
pom-poms, pores, he measured hips. True, everyone else just mostly looked
also�this is, after all, a land of tireless oglers and vigilantes�but
occasionally they could mesh into a resistant something or other, after a six
pack, a vodka or a cognac. He shared their values, totally, only he couldn�t
get none, until that moment when he finally ran across the land-mined border,
to join his peers on the other side. After his catharsis, we all got plenty to
watch on TV, between the car, Coke and bullshit commercials, of course.
Why
couldn�t he be like Hen Ly, or Henry Lee, one of his victims? Fresh off the
boat, Henry just grinned, untied his tongue, snatched most of the awards,
became a salutatorian. �Imagine sitting in class not knowing the language, now
I am number two.� Why couldn�t he be like Bruce Lee, or Donald Trump, for that
matter? Hell, why couldn�t he be like Linh Dinh, who was poised enough to write
these calm lines:
Refrain
Well, then, if an alien object, something tiny
Even, like a grain of bullshit, is persistently
Lodged within the brain, there�s nothing to do
But to shoot the motherfucker. My eyes
Are alien to me, their defects hindering
My already dire discourse with the real,
This lake here, them privates. That�s why
I must shoot the motherfuckers.
[from �Jam Alerts,� Chax Press, 2007]
Judging
from his plays, Cho Seung-hui never nicked his target. Judging from his acts,
he was as American as, well, too many to mention. Pumping iron, cropping his
hair short, flipping his black baseball cap backward, in a black T-shirt, he
finally looked like he belonged, an Army of One, ready for action. Bring �em
on.
Linh
Dinh was born in Vietnam in
1963, came to the US in 1975, and has also lived in Italy and England. He
is the author of two collections of stories, �Fake House� (Seven Stories Press 2000) and �Blood and Soap� (Seven Stories Press 2004), and four books of poems, �All Around What Empties Out� (Tinfish 2003), �American Tatts� (Chax 2005), �Borderless Bodies� (Factory School 2006) and �Jam Alerts� (Chax 2007).
His work has been anthologized in Best American Poetry 2000, 2004, 2007 and Great American Prose Poems from Poe to the Present, among other places. His poems and stories have also
been translated into Italian, Spanish, German, Portuguese, Japanese and Arabic. �Blood and Soap� was chosen by the Village Voice as one of the best
books of 2004.