“To admit that behind the mask of American growth is a yellow face is to wither the myth of white exceptionalism”: In an original essay from A24’s ‘Minari’ screenplay book, Ocean Vuong reflects on the film’s cultural legacy.
I was taught—or was convinced, without fail—to think of whiteness, to associate whiteness with its command—control?—of nature itself. I did not know then what I do now: that this whitewashing of nature was orchestrated, both subtly and overtly, to reposition the American pastoral as something other than what it was: the graveyard of the expansionist project, one that saw Native American genocide as a means to American completion.
History, too, is the Chinese American farmers who, 13 years before the Civil War, cultivated the Sacramento River Valley from unusable swamplands into a thriving agricultural hotbed that fed millions in California and the burgeoning West. By the turn of the 20century, over 75% of California’s agricultural force was Chinese.
Until very recently, Asian agriculture workers were positioned in Western media as a mass of foreign peasantries, often through the index of war: farmers with straw hats scrambling over rice paddies lit by tracer shots , or tapping rubber trees, climbing teetering trunks, ape-like, for coconuts, and all of it occurring “over there” among the “uncivilized primitives.
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