TOM GUBBINS RETIRES and sells his business to Father Louie. It becomes the Golden Prop and Extras Company. Father Louie puts May in charge, even though she doesn’t know beans about running a business. She now earns as much as $150 a week as a technical director, supplying extras, costumes, props, translation, and advice. She continues to work in countless films, which are now sent around the world and viewed by millions of people to show how bad the Japanese are. Her parts are small: a hapless Chinese maiden, a servant to some colonel or other, a villager being saved by white missionaries. But May is best known for her screaming roles, and, with the war on, she’s played victim after victim in films like Behind the Rising Sun, Bombs over Burma, The Amazing Mrs. Holliday, in which an American woman tries to smuggle Chinese war orphans into the United States, and China, with its tagline, “Alan Ladd and twenty girls—trapped by the rapacious Japs!” May seems to be well liked by the various studios, especially MGM. “They call me the Cantonese ham,” she boasts. She brags that she once earned one hundred dollars in one day for her screaming abilities.
Then May gets the call to supply MGM with extras for the filming of Dragon Seed, which will be released next summer in 1944. She contacts the Chinese Cinema Club on Main and Alameda, where members of the Chinese Screen Extras Guild hang out, to hire people, making a commission of ten percent for each extra, and she works in the motion picture herself.
“I tried to get Metro to let Keye Luke play one of the Jap captains, but the studio doesn’t want to ruin his image as Charlie Chan’s Number One Son,” she says. “They have the prize Chinese egg, and they don’t want it to go bad. It isn’t easy to fill all the roles. I need hundreds of people to play Chinese peasants. For the Jap soldiers, the studio told me to hire Cambodians, Filipinos, and Mexicans.”
Ever since my night on the movie set, I’ve been torn between my distaste for Haolaiwu and my desire to put money aside for my little girl. Joy has worked steadily since the war began, and I’ve made a good start on what I imagine she’ll need for an education. My chance to pull her away from that world comes one night when Joy and May return from the set. Joy’s crying and goes straight to our room, where she now has a little cot in the corner. May’s furious. I’ve gotten mad at Joy sometimes. What mother doesn’t get upset with her children on occasion? But this is the first time I’ve seen May angry at Joy, ever.
“I had a great role for Joy as Third Daughter,” May fumes. “I made sure she got a good costume, and she looked darling. But just before the director called her, Joy went to the toilet. She missed her opportunity! She embarrassed me. How could she do that to me?”
“How?” I ask. “She’s five years old. She needed to use the pot.”
“I know, I know,” May says, shaking her head. “But I really wanted this for her.”
Grasping at my opportunity before it disappears, I continue. “Let’s have Joy work in one of the stores with her grandparents for a while. That way she’ll learn to be more appreciative of everything you do for her.” I don’t say that I won’t let her go back to Haolaiwu, that in September Joy will start American school, or that I don’t know how I’ll save enough for Joy to go to college, but May’s so mad she agrees with me.
Dragon Seed remains a highlight of May’s career. One of her most precious possessions becomes the photo of her with Katharine Hepburn on the set. They’re both wearing Chinese peasant clothes. Miss Hepburn’s eyes have been taped back and heavily lined with black. The famous actress doesn’t look even a little bit Chinese, but then neither do Walter Huston or Agnes Moorehead, who also star in the picture.
ON MY DRESSER, I put a photo of Joy at the orange juice stand we’ve set up for her outside the Golden Dragon Café. She’s surrounded by servicemen, who crouch around her, smiling and giving her a thumbs-up. The photograph captures a single moment but one that’s repeated day after day, night after night. The boys in uniform love to see my little girl—wearing cute silk pajamas and her hair in pigtails—squeezing oranges. They get to drink all they want for ten cents. Some of those boys will drink three or four glasses just to watch our Joy, her lips pursed in concentration, squeezing, squeezing, squeezing. Sometimes I look at that photograph and wonder if she knows how hard she’s working. Or does she see it as a break from all-night calls and her aunt’s demands? An added bonus: if men stop to look at this little Chinese girl—a curiosity—and drink her orange juice, which doesn’t poison them, then they might come in for a meal.
IN SEPTEMBER I get Joy ready for kindergarten. She wants to go to Castelar School in Chinatown with Hazel Yee and the other neighbor kids. But Sam and I don’t want her to go to the school that passed Vern from grade to grade even though he couldn’t read, write, or do sums. We want her to have a step up in the world. We want her to attend school outside Chinatown, which means Joy has to say she lives in that district. She also has to be taught the official family story. Father Louie’s lies about his status were passed to Sam, the uncles, and me. Now those lies go to a third generation. Joy will forever need to be careful when she applies for school, a job, or even her marriage certificate. All that starts now. For weeks we rehearse her as though she’s about to go through Angel Island: Where do you live? What’s the cross street? Where was your father born? Why did he return to China as a boy? What is your father’s job?
Not once do we tell her what’s true or what’s false. It’s better if she knows only fake truth.
“All little girls need to know these things about their parents,” I explain to Joy as I tuck her in her cot the night before school starts. “Don’t tell your teacher anything except what we’ve told you.”
The next day Joy puts on a green dress, a white sweater, and pink tights. Sam takes a photo of Joy and me standing on a step outside our building. She carries a new lunch box with a smiling and waving cowgirl sitting astride her trusty horse. I gaze at Joy with mother love. I’m proud of her, proud of all of us, for having come so far.
Sam and I take Joy by streetcar to the elementary school. We fill out the forms and lie about where we live. Then we walk Joy to her classroom. Sam stretches out Joy’s hand to the teacher, Miss Henderson, who stares at it and then asks, “Why can’t you foreigners just go back to your own countries?”
Just like that! Can you believe it? I have to respond before Sam works out what she’s said. “Because this is her home country,” I say, imitating the British mothers I used to see walking along the Bund with their children. “This is where she was born.”
We leave our daughter with that woman. Sam doesn’t say a word as we ride the streetcar back to China City, but when we reach the café, he pulls me to him and speaks to me in a voice ragged with emotion. “If they do something to her, I’ll never forgive them and I’ll never forgive myself.”
A week later, when I go to the school to pick up Joy, I find her crying on the curb. “Miss Henderson sent me to the vice principal’s office,” she says, tears dripping down her face. “She asked a lot of questions. I answered like you told me, but she called me a liar and said I can’t go here anymore.”
I walk to the vice principal’s office, but what can I do or say to change her mind?
“We keep an eye out for these infractions, Mrs. Louie,” the heavyset woman intones. “Besides, your daughter doesn’t belong here. Anyone can see that. Take her to the school in Chinatown. She’ll be happier there.”
The next day I walk Joy the couple of blocks to Castelar School, right in the heart of Chinatown. I see children from China, Mexico, Italy, and other European countries. Her teacher, Miss Gordon, smiles as she takes Joy’s hand. She escorts Joy into the classroom and shuts the door. In the weeks and months that follow, Joy—who’s been raised to be obedient, and refrain from doing something as wild as ride a bicycle, and been scolded by our neighbors for laughing too much and too loudly—learns to play hopscotch, jacks, and leapfrog. She’s happy to be in the same class with her best friend, and Miss Gordon seems like a nice enough person. We do the best we can at home. For me, this means making Joy speak English as much as possible, because she’s going to have to make a living in this country and because she’s an American. When her father, grandparents, or uncles speak to her in Sze Yup, she answers in English. Along the way Sam’s understanding of English—but not his pronunciation—improves. Still, the uncles constantly tease her about going to school. “Education is only trouble for a girl,” Uncle Wilburt cautions. “What do you want to do? Run away from us?” I find an ally in her grandfather. Not so long ago, he threatened May and me, telling us we’d have to put a nickel in a jar if we spoke any language other than Sze Yup in front of him. Now he tells Joy a variation of the same thing: “If I hear you speak something other than English, you will put a nickel in my jar.” Her English is almost as good as mine, but I still can’t imagine how she’ll break out of Chinatown completely.
IN LATE FALL we gather around the radio to hear that President Roosevelt has asked Congress to repeal the Chinese Exclusion Act: “Nations, like individuals, make mistakes. We must be big enough to acknowledge our mistakes of the past and correct them.” A few weeks later, on December 17, 1943, all exclusion laws are overturned, just as Betsy’s father hinted they would be.
We listen to Walter Winchell’s broadcast when he announces, “Keye Luke, Charlie Chan’s Number One Son, just missed being number one Chinese naturalized U.S. citizen.” Since Keye Luke is working in a picture that day, a Chinese doctor in New York becomes the first. Sam commemorates that moment of happiness by taking a picture of his daughter standing with one hand on her hip and her other hand resting on top of the radio. No cheongsams for her! Since Joy started school and we gave her that lunch box, she’s decided she loves cowgirls and cowgirl dresses. Her grandfather has even bought her a pair of cowgirl boots on Olvera Street, and once she has her outfit on, there’s no getting it off. She grins happily. Even though the rest of the family is not in the picture, I will always remember that we all smiled with her.
After that day, Sam and I talk about applying for naturalization, but we’re afraid, as are so many paper sons and the wives who squeaked in with them. “I have my fake citizenship from masquerading as Father’s real son. You have your Certificate of Identity through being married to me. Why should we risk losing what we have? How can we trust the government when our Jap neighbors are sent to internment camps?” Sam asks. “How can we trust the government after everything it’s done to us? How can we trust the government when the lo fan look at us funny—like we’re Japs too?” May is in a different situation than Sam and I. She’s married to a real American citizen, and she’s lived in the country for five years. She becomes the first person in our building to become a citizen through the naturalization process.
THE WAR DRAGS on month after month. We try to keep life as normal as possible for Joy, and it pays off She does so well in school that her kindergarten and first-grade teachers recommend her for a special second-grade program. I work with Joy all summer to get her prepared, and even Miss Gordon—who’s taken a continuing interest in our girl—comes to the apartment once a week to help my daughter with her sums and reading comprehension.
Maybe I push Joy too hard, because she gets a bad summer cold. Then, two days after the bomb drops on Hiroshima, her cold takes a turn. Her fever rages, her throat burns red, and she coughs so hard and long that she throws up. Yen-yen goes to the herbalist, who makes a bitter tea for Joy to drink. The next day, when I’m working, Yen-yen takes Joy back to the herbalist, who blows an herb powder into her throat with the cap of a calligraphy brush. On the radio Sam and I hear that another bomb has been dropped—this one on Nagasaki. The broadcaster says that the destruction is terrible and vast. Government officials in Washington are optimistic that the war will end soon.
Sam and I close up the café and hurry to the apartment, wanting to share the news. When we get there, we see that Joy’s throat has become so swollen she’s starting to turn blue. Somewhere people are rejoicing—sons, brothers, and husbands will be coming home—but Sam and I are so afraid for Joy that we can’t think beyond our own fear. We want to take her to a Western doctor, but we don’t know one and we don’t have a car. We’re talking about how to find and hire a taxi when Miss Gordon arrives. In the chaos of the news of the bombs and the anxiety we feel for Joy, we’ve forgotten about the tutorial. As soon as Miss Gordon sees Joy, she helps me wrap her in a sheet, and then she drives us to General Hospital, where, she says, “They treat people like you.” Within minutes of our arriving at the hospital, a doctor cuts a hole in my daughter’s throat so she can breathe.
Less than a week after Joy’s encounter with death, the war ends and Sam—shaken by almost losing his little girl—takes three hundred dollars of our savings and buys a very used Chrysler. It’s old and dented, but it’s ours. In our last photograph from the war years, Sam sits in the Chrysler’s driver’s seat, Joy perches on the fender, and I stand by the passenger door. We’re about to go for a Sunday drive, our first.