TO THE ORIGINAL LOS ANGELES DAILY NEWS!
by RIP RENSE
Don't you let that deal go down.
signed a publishing deal for my new mystery, "The
Death Sisters," with a well known and established publisher in New York.
A signed contract, accepted and formalized.
I also canceled the deal
and decided to self-publish.
Follow me, if you will,
down this particular rabbit hole. . .
There is a reactionary
term going around,“cultural appropriation.” This is an invention hatched
largely in the “safe spaces” of academia that holds that non-minorities may
not write about minorities. Really. I kid not. The purveyors of this concept
(if that is not too lofty a word for it) have exaggerated ethnocentrism and
politically correct rearrangement to the point where they suggest, no,
command, that one must be of a particular culture. . .in order to write
about that culture.
Hemingway, Pearl S. Buck, Lafcadio Hearn. . .)
Translation: if you are
of European descent and your skin is generally a shade of beige, you are not
allowed to write about characters of any other ethnic background or
epidermic tint. This idea is taken seriously, and is widely advocated by
people claiming intelligence and liberalism. It is a certifiable controversy
Which brings us to the
fact that some characters in my book are of Japanese descent, and/or
Japanese-American culture. Some of the themes of the story are, as well.
I am not. After I was offered a
publishing deal (by e-mail), I was invited to phone the (Caucasian)
publisher for the how-do-you-do. The very first question he asked
“Are you Japanese?”
I was taken aback. What
did this matter? (Never mind that the accurate question would have been,
"Are you Japanese-American?") I just managed to respond with a simple “no.” The publisher then asked:
“Well, can you look Japanese
for the back cover photo?”
Again, I kid you not.
This really, actually, truly, genuinely, mind-bogglingly is what he said.
I was repulsed, confused,
disgusted. What did he want, thick glasses and Hirohito teeth? I mean,
huh? I was disgusted, as I said, but as I also wanted to be published, I
elected to treat it as a (vile) joke, and responded, “Oh, yeah, sure.” He
then suggested that I “wear a funny hat or something.” I had absolutely no
idea what he was talking about, how serious he was, how much crack he
Of course, I
should have taken all this as a bad sign, and backed out immediately. Instead, I
proceeded, lured by the prospect of being “officially” published. Who
knows, I thought, maybe he had incipient senility (he was a bit older than
me.) After I signed the contract, it became clear in dribs and drabs
from the publisher and the co-publisher that they intended to make radical
changes in the manuscript that amounted to de-emphasizing the Japanese and
Japanese-American aspects of the book. This would be like, oh,
de-emphasizing the Chinese aspect of “The Joy Luck Club.”
I was just shocked. I
politely attempted to persuade that there was no need to make
such changes, and that they would, in fact, undermine the effect of the
book. (Duh.) The publisher said he was very surprised at my response,
adding that most authors “welcome editing.” (Oh, God, that old ruse---make
the writer the "bad guy.") I explained that I was happy to be edited, happy
to have my work improved, but that de-emphasizing the main themes and
defining aspects of the book did not amount to “editing,” but rather
enormous, unnecessary revision.
Still seeking a way to
(politely) resolve the matter, I took it upon myself to rewrite a particular
chapter which the publishers deemed too long, and too heavy on Japanese
cultural references. I made it shorter and gave it a harder edge, but given
that it takes place at a Japanese-American Buddhist festival, no, I did not
de-emphasize the Japanese aspect. The publisher’s response? I had
“only” shortened it by a few pages. It was clear that neither publisher nor
co-publisher had even bothered to read it. And then came the coup de grace,
if one was needed:
Co-publisher, the one who would
do the bulk of the editing, informed that I had to tone down the
fact that the main character, a half-Japanese American, half-Caucasian
detective named Ed Funderburke, is a casual Buddhist. And that the same
applied to the chapter that takes place at the Japanese-American Buddhist
festival. Why? "People might get the wrong idea," she said, or words
close to that. It took me about an hour to realize that she meant that
readers would think that I was trying to. . .convert them to Buddhism! (I
don't like exclamation points much, but am making a warranted exception here.)
I mean, hell, better
rewrite all of Faye Kellerman's books (about a detective who incorporates
Jewish themes in his work) to tone down that pesky Judaism. Gadzooks.
|The other possibility is that they thought
they might come under fire for, yes, “cultural
appropriation”---theft of culture by an evil white person---which
could hurt sales.
This all transpired over several unpleasant weeks. In the end, I realized that
there was no hope, and that the publishers had no intention whatsoever of
remotely considering my point of view. (You can imagine the stress of having
signed your work away to people who were legally entitled to ruin it.) In
the end, the guy who had asked me to "look Japanese" pulled the ultimate power
play, offering me a chance to cancel the deal. I’m sure he was shocked that
I would take him up on that offer, but take him up, I promptly and gladly
did. I returned my advance, and we nullified the contract.
I haven't been so relieved
since my bowels began moving two days after kidney stone surgery.
My wild guess is that
there were two possible motives on the publishers' part. First, perhaps they
thought that the target audience was mostly beige-colored
European-Americans, more commonly known as “white folk,” and feared
that a book with some Japanese themes and Japanese-American characters (set
in L.A., with lots of white folks, brown folks, black folks) would not sell
with such an audience. Of course, such thinking is racist, reductive, and
yet another example of decisions crippled by demographic thinking---epidemic
in this society. What, Caucasians didn’t read “Memoirs of a Geisha?”
(written by one Arthur Golden, not incidentally.)
The other possibility
is that they thought they might come under fire for, yes, “cultural
appropriation”---theft of culture by an evil white person---which could hurt
sales. Need I say that I find either scenario odious? Whatever
happened to deciding to publish a book because it’s. . .good? Isn’t that
what they had done initially, before finding out that I am not of Japanese
descent? Hmm. . .
After this debacle, I
sent sample chapters to the few other publishers who were even deigning to
accept manuscripts. One was so imperious and downright nasty that I refused
to send the full book to her when requested to do so. Others took the "it's
not right for us" way out. Again, I suspect the “ethnic” factor made them
hesitant. (Agents didn't even bother to write back.) Were they afraid of a “niche market?” I thought all publishing has
become “niche marketing.” And I practically browbeat a very kind woman
publisher in L.A. (who was appalled by the New York jokers) into reading the
manuscript, and while she allowed that it was a great, suspenseful read with
captivating characters---and captures contemporary L.A.---"debut fiction is
just too hard."
|I mean, hell, better rewrite all of Faye
Kellerman's books (about a detective who incorporates Jewish themes
in his work) to tone down that Judaism.
fiction." Hadn't heard that one before. A novel novel rejection! I guess my two previous novels and
two previous short story collections don't count because they are
self-published. I guess the fact that I've been writing professionally since
age 20, have written for just about every newspaper in the country (and a
lot of magazines---you remember magazines), and have won four L.A. Press
Club Awards for on-line writing, and that my name is somewhat recognizable.
. .doesn't count. You can't be published because you haven't been
published. And here I thought people had grasped Joseph Heller. Still,
I'm sure the L.A. publisher was right. If you're not a proven commodity in
an insanely competitive market, why take on the additional burden of
promoting an "unknown?"
Here is a little
denouement. The New York publisher, ever seeking to put a (fake) civil
face on things, had invited me to resubmit the manuscript if I was unable to
find another publisher. I did not do this, but I did contact him again a
couple months later. I sent a copy of one of the very good Naomi Hirahara
“Mas Arai” detective novels to him. Why? They had objected to the many Japanese
terms in my book (as well as the Chicano slang, "vato"), and the small glossary at the end. I wished to show them
that there were published books just loaded with Japanese terms (not to
mention books with French terms, Latin terms, German terms, etc.) Publisher
wrote back that this made no difference because he didn't like it, end
story. He added that it was my “my way or the highway” attitude that “caused
me to say ‘Sayonara’ to you.” Yes, direct quote. He really said this. The
guy just couldn't shake his impulse toward racist cracks, not to mention having
turned the events around 180 degrees. (It was "his way or the highway," not
Snide? Check. Lame?
Check. A lie? Check. Racist? In my opinion, check.
And you wonder why people
Oh, by the why, I expect
you have been wondering why this book somewhat concerns Japanese and
Japanese-American themes. (It's actually a hodgepodge of L.A. people and
places.) Well, why did Mark Twain write about African-Americans, and
Steinbeck about Mexicans? Why did Kazou Ishiguro write "Remains of the Day," the
heartbreaking story of British servants? Why did Ruth
Prawer Jhabvala adapt it?
In my case, I have
known a great many people of Japanese and Japanese-American background,
and I grew up around this and many other cultures, including
African-American, Jewish, Chinese and Chinese-American, Mexican and
Mexican-American, etc. How can you grow up and live in Los Angeles without
being exposed to all these cultures, and more? As far as I’ve always been
concerned, my lifelong culture has been the ethnic mish-mosh that is Los
Angeles. In other words, these cultures are part of my culture. On top of
this, I have great affection for Japanese-American culture, and took it as a
challenge to write convincingly with this as a partial backdrop.
In closing, I would like
to take this opportunity to figuratively thumb my nose (with accompanying
raspberry) at my would-be publisher, and all those who believe in “cultural
appropriation." If that isn't too white of me.
WHERE IS THIRD BEATLES REUNION SONG?
Read "Who's a Whore?" a fun
little verse for all sellouts to, I mean investors in. . .China!
cover by David
New Stories by RR.
the greatest grateful dead album
the grateful dead never made.
PERSUASIONS OF THE DEAD
20 TRACKS. 2 CDs. 12 GUEST ARTISTS.
The Persuasions, Brooklyn-grown
street singers who became the most important
and powerful a cappella group in American
history, interpret the songs of Robert
Hunter and Jerry Garcia of the Grateful
Dead. Songs that still are among the most
engaging in American music.
Sheer poetry, meet sheer melody.
---grateful dead lyricist
produced by Rip Rense
mixed by Marc Doten
cover illustration by Luis Genaro Garcia
SPECIAL GUESTS ARTISTS:
Country Joe McDonald, Mark Karan (Ratdog),
Jackie LaBranch and Gloria Jones (Jerry
Garcia Band), Grateful Dead keyboardist
Vince Welnick, Dongming Qiao, James King,
Alyn Kelley, Eric Thompson, Peter Rowan,
Pete Grant, Mary Schmary.
"Deadheads, take a hit from
this double disc dose of the real thing.
Persuasions fans, this may be the last time
you'll ever hear a Persuasions line-up with
original lead, and once-in-a-lifetime
talent, Jerry Lawson. . .These tracks are
stories that happen to have been set to
song, not songs that happen to have a
---Jonathan Minkoff, Recorded A Cappella
"Album producer Rip Rense calls the marriage
these two acclaimed artists
"a surprisingly natural fit." He couldn't be
more right. It works because these tracks
are more than just covers; they're tributes.
Each arrangement is designed to draw
something new out of the original. Many of
them include actual instruments, such as
piano, guitar, and baritone saxophone."
---Nicole Maria Milano, Recorded A Cappella
AND RENSART PRODUCTIONS
LISTEN TO SAMPLES AND ORDER
BY RIP RENSE
"Staggeringly well written. .
.sweet. . .funny. . .sad. . .elegaic. . .not a
thought nor sentence out of place."
---Keith Snider, San
by Barbara Weeks
Daily Breeze column on "The Oaks"
MAN CHAINS SELF
TO OAK TREE, READS 'THE OAKS' AGAIN AND AGAIN!
"I stayed up
to finish the last 100 pages.”
---Dave Allen, Thousand
""This book deserves to
be read by hundreds of thousands of people It is a
gem that talks to a diverse group of people: those
who grew up in dysfunctional families(!); Southern
Californians who will love the suburban anecdotes;
teens and everybody who has ever been a teen with
all the awkwardness those years impart. It's also
quite funny. Readers simultaneously laugh while
groaning over these horribly insensitive 'adults'
raising Charlie, who is much more adult than they
columnist for the Daily Breeze,
People Mag. Correspondent.
Rense interviewed about "The Oaks"
in Ventura Star
LESS THAN SATISFYING ENCOUNTERS WITH
THE DECLINE OF WESTERN CIVILIZATION. . .
Measured by its attitude.
"The greatest book I've ever read---in the
bathroom."---Mike Ball, Glendale, CA.
"You have more 'less than satisfying encounters'
than any three other people I know. I've
given this some thought and my conclusion is
that it is your unhappy fate to be something of
a "schmuck magnet." Unpleasant-incompetent-self-aggrandising
people enter your close orbit with greater
than the rest of us."
---Bob Ballenger, Encino, CA.
230 pages of LTSEWH's.
OF WESTERN CIVILIZATION---
Measured by its language.
The long-running column
(L.A. Times, The Rip Post) is now
210 acid-dripping pages exposing rigidly
conformist slang, pin-headed outbursts, 'cool'
patois, abominable cliches, infantile drivel,
smug rejoinders, mandatory peer-enforced
buzzwords and iPhone-speak that Americans are
spewing from their 500-word vocabularies as
their knuckles hang ever closer to the sidewalk.
IT IS: THE MOST IMPORTANT SPEECH MADE BY ANYONE IN
THE LAST 60 YEARS. WELL, MAYBE. THE GREAT
The Rip Post
ALL FOR TAIKO, AND
TAIKO FOR ALL.
How two educators and a
scientist came to
devote themselves to the drum.
CHINESE MEDICINE DOC EXTRAORDINAIRE!
AND. . .
AUTHOR OF "WHILE
MY GUITAR GENTLY WEEPS: THE MUSIC OF GEORGE
teacher, deejay, recording
on Mata Hari, Daktari, high school
students, John Donne, the future of the planet, and
his album. . .
plus: 'Breakfast With The Beatles'
host Chris Carter, and more