PATRICIA FONG

These paintings explore my nuanced experiences of pride, shame, and fluctuating security as an Asian-American woman with a white mother in a racially ambiguous body. The portraits are done in Chinese ink and explore my discomfort as an Asian-American and mixed half-white person within the Black-white binary of American racial consciousness. In the first I fade into white, the third I fade into black, and in the second I inhabit both. I imagine myself not as one specific portrait, but existing somewhere in the grey created by this traditional Chinese ink, in the murky water that runs off the paper unused, and in the ambiguous spaces between dark and light.

Self-Portrait I - Chinese ink on paper, 6.5” x 8”

 

I.

I am on fire.

I wonder if I will burn up.

I hear a pop, a crackle, a roar.

I see a red circle that never ends.

I taste smoke, and a hint of sesame oil.

I want to be self-sufficient. I want to take up space. I am afraid to take up space. I do not want to take up too much space. I want to take up as little space as possible.

I pretend I am in control of these flames. I pretend I am not angry. I pretend I am not tired. I pretend I am not sad. I pretend all this hard work matters.

I wish this “I” could become a “We”. In “We”, there is belonging.

I feel heat. Then cold. Then nothing. It is hard to remember how to breathe. 

I scream to everyone, to someone, to myself, to no one.

I cry silently, with my mouth open. These days, I mostly cry alone.

I smile when the fire is gone, and flowers remain. I smile when a plate is set in front of me: rice and an egg.

I laugh when my brother laughs, when my father laughs, when my mother laughs. I laugh at myself. I laugh because fire is a little ridiculous and so is pain, sometimes. I laugh because power is a little comical and so are the powerful, sometimes. 

Or maybe I laugh because laughing is very close to crying, and I would rather laugh than cry.

I am floating into thick air, where molecules move slowly.

II.

what did it sound like

what words did we use before, when we could pray, when we could listen speak hear 

but now this hot thick silence— this wind tunnel resonance—

I am burnt out, candle wax stub burnt out

someone doused the candle in gasoline and set it on fire 

and I want to burn it all down, burn it all and me within it burning my body burning: 

consider the phoenix.

sometimes all I can do is dig my fingers into this soil

and consider the phoenix.

 

Self-Portrait II - Chinese ink on paper, 6.5” x 8”

III.

There are many hard places on my body

Mostly the skin of my hands and my feet

And one spot on my face, up in the corner by my hairline where there used to be a scar.

In between are many soft places,

Places I sometimes caress

But usually hide.

A man yells at me. From the passenger seat of a car coming around a corner, one block from my house. A red sedan, beat-up. Piles of junk in the backseat. I do not hear what he said. I slide my rollerblades along the broken concrete, head down. No eye contact. My older brother is ahead of me out of earshot and the little one is somewhere behind us. I hope he doesn’t hear. The car rounds the corner. Another yell, longer this time. I look up and see him: Lighter skinned Latinx. Male. A snarl. I put my head back down, neck tight. Eyes on the ground, erase yourself into the ground. One last yell. I still can’t hear him. A plastic bag flies out the window and hits the ground three feet from me, clanking, scraping. Metal. Tires screech. My eyes focus and I see my rollerblades.

I think, I knew I shouldn’t have gone out in these

I think, my body White, he saw my body White, my body an invasive species

I think, but I’m wearing black sweats, a hoodie, hoops, a messy bun, a mask, a performance

I think, it never did belong to me.

Then I remember the soft places no fabric can conceal. I remember age twelve the snarls the smiles the squeals the stares, age fourteen looking over shoulders to see a him standing there, age fifteen beauty to violence the flip of a coin, age sixteen the knowing that nothing ever really happened to me, after all the bag didn’t touch me, after all the words went unheard, after all: guilt.

When I asked my father about his childhood, he sat silent for a while then said: I’d rather not rehearse trauma.

It was only afterward that I remembered the hate crimes towards Asian-Americans this year. 

It was only afterward that I remembered the stories of erased Asian women, the ones with bodies crusted hard from the inside out. 

It was only afterward that I remembered the other incident from a week before, when an old white man with blurry eyes looked at me and said: Korean girl. Not even from here. 

I erased this memory. Because I was certain he saw some other girl’s body when he looked at me. I was certain I made up the phrase, heard wrong, projected indecency onto a man with a cart of dirt-plastered blankets, a man who I pitied, a man I should not have pitied, a man I am at once above and below depending on what hierarchy I choose to analyze, a man who looked at me and said: Korean girl, not even from here.

We go home. My mother is there. I explain what happened in simple sentences, keeping my voice level. My little brother says he would beat up the man and the older one looks troubled. They both know who the enemy is. My mother says, I’m sorry, I’m so sorry. Who is she apologizing for? I slip away, up the stairs, eyes fixed on the wood. I pause. My fist smashes into a shoe that hangs on the wall. I go to the bathroom, shut and lock the door. I stare at my face hoping that this time I will find something telling in this grey pool, this murk of a body. I stare and stare and try to uncover what part of this being—the woman, the White, the Asian, the both, the neither, the everything, the nothing—was to blame for that bag of metal. What place: Soft or Hard?

If I had heard what he said, would the knowing make any difference? 

There is a space between this ground and me. A hazy space.

Sometimes, when my feet connect with this ground, I understand that my soul resides there—here—in this ground, this concrete ground.

But today I am floating— 

I push my heel down but it will not connect 

I take off my shoes and lower my toes but I feel nothing

I know my soul is planted in this concrete

There: by the abandoned Health at Home center, with its plywood windows and rotting fruit trees 

There my soul sleeps, 

binding my body to this place.

I wish someone would wake her up.

Self-Portrait III - Chinese ink on paper, 6.5” x 8”

Self-Portrait IV - Chinese ink on paper, 10.5’’ x 6.25”

Self-Portrait IV - Chinese ink on paper, 10.5’’ x 6.25”

 

IV.

This is not a poem but a declaration and a question, a story unfinished:

I am an mixed Asian-American woman with a white mother and a Chinese-American father. 

I am the ink that spreads and runs off the page, the grey that bleeds into black and white, the grey that is in itself substance.

I grow sideways, a wing spreading out from the bird.

I am two halves and more.

I am nuance.

I am the crack on Alemany Street and the weed that climbs through it.

I am rooted in San Francisco, in the Southeast Corner, in the Excelsior: this house, that tree, this lamp-post.

I am woven through We’s that remain undefined.

I am enfolded within many loving fabrics called Us.

I am art made by The Artist, unravelling.

I am an this: an unfinished poem.

P1011432%2B%25282%2529.jpg
 

ABOUT PATRICIA

Patricia Fong grew up in San Francisco, California in the Excelsior District. She is currently a second-year undergraduate student at Seattle Pacific University where she studies creative writing and visual arts. Her mother is Euro-American and her father is Chinese-American, and they are both pastors at her home church, Redeemer Community, in San Francisco. Patti identifies as a mixed, Asian-American woman.

Check out more of Patricia's work here

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