Ma/Rose Character Analysis

That time when I was five or six and, playing a prank, leapt out at you from behind the hallway door, shouting, "Boom!" You screamed, face raked and twisted, then burst into sobs, clutched your chest as you leaned against the door, gasping. I stood bewildered, my toy army helmet tilted on my head. I was an American boy parroting what I saw on TV. I didn’t know that the war was still inside you, that there was a war to begin with, that once it enters you it never leaves—but merely echoes, a sound forming the face of your own son. Boom.

“I’m sorry,” you said, bandaging the cut on my forehead. “Grab your coat. I’ll get you McDonald’s.” Head throbbing, I dipped chicken nuggets in ketchup as you watched. “You have to get bigger and stronger, okay?”

The time we went to Goodwill and piled the cart with items that had a yellow tag, because on that day a yellow tag meant an additional fifty percent off. I pushed the cart and leaped on back bar, gliding, feeling rich with our bounty of discarded treasures. It was your birthday. We were splurging. “Do I look like a real American?” you said, pressing a white dress to your length. It was slightly too formal for you to have any occasion to wear, yet casual enough to hold a possibility of use.

If we are lucky, the end of the sentence is where we might begin. If we are lucky, something is passed on, another alphabet written in the blood, sinew, and neuron; ancestors charging their kin with the silent propulsion to fly south, to turn toward the place in the narrative no one was meant to outlast.

“You have to be a real boy and be strong. You have to step up or they’ll keep going You have a bellyful of English. […] You have to use it, okay?”

As a girl, you watched, from a banana grove, your schoolhouse collapse after an American napalm raid. At five, you never stepped into a classroom again. Our mother tongue, then, is no mother at all—but an orphan. Our Vietnamese a time capsule, a mark of where your education ended, ashed. Ma, to speak in our mother tongue it to speak only partially in Vietnamese, but entirely in war.

Paul finishes his portion of the story. And I want to tell him. I want to say that his daughter who is not his daughter was a half-white child in Go Cong, which meant the children called her ghost-girl, called Lan a traitor and a whore for sleeping with the enemy. How they cut her auburn-tinted hair while she walked home from the market, arms full with baskets of bananas and green squash, so that when she got home, there'd be only a few locks left above her forehead. How when she ran out of hair, they slapped buffalo shit on her face and shoulders to make her brown again, as if to be born lighter was a wrong that could be reversed.

“If it’s the same price anyway,” she says. “I can still feel it down there. It’s silly, but I can. I can.”

In the nail salon, sorry is a tool one uses to pander until the word itself becomes currency. It no longer merely apologizes, bur insists, reminds: I'm here, right here, beneath you. It is the lowering of oneself so that the client feels right, superior, and charitable. In the nail salon, one’s definition of sorry is deranged into a new word entirely, one that’s charged and reused as both power and defacement at once. Being sorry pals, being sorry even, or especially, when one has no fault, is worth every self-deprecating syllable the mouth allows. Because the mouth must eat.

“I don’t like girls.”

I didn’t want to use the Vietnamese word for it—pê-đê—from the French pédé, short for pédéraste. Before the French occupation, our Vietnamese did not have name for queer bodies—because they were seen, like all bodies, fleshed and of one source—and I didn’t want to introduce this part of me using the epithet for criminals.

“Tell me,” you sat up, a concerned look on your face, “when did all this start? I gave birth to a healthy, normal boy. I know that. When?”

A few months before our talk at Dunkin' Donuts, a fourteen-year-old boy in rural Vietnam had acid thrown in his face after he slipped a love letter into another boy's locker. Last summer, twenty-eight-year-old Florida native Omar Mateen walked into an Orlando nightclub, raised his automatic rifle, and opened fire. Forty-nine people were killed. It was a gay club and the boys, because that's who they were—sons, teenagers—looked like me: a colored thing born of one mother, rummaging the dark, each other, for happiness.

I’m not telling you a story so much as a shipwreck—the pieces floating, finally legible.

That time when I was five or six and, playing a prank, leapt out at you from behind the hallway door, shouting, "Boom!" You screamed, face raked and twisted, then burst into sobs, clutched your chest as you leaned against the door, gasping. I stood bewildered, my toy army helmet tilted on my head. I was an American boy parroting what I saw on TV. I didn’t know that the war was still inside you, that there was a war to begin with, that once it enters you it never leaves—but merely echoes, a sound forming the face of your own son. Boom.

“I’m sorry,” you said, bandaging the cut on my forehead. “Grab your coat. I’ll get you McDonald’s.” Head throbbing, I dipped chicken nuggets in ketchup as you watched. “You have to get bigger and stronger, okay?”

The time we went to Goodwill and piled the cart with items that had a yellow tag, because on that day a yellow tag meant an additional fifty percent off. I pushed the cart and leaped on back bar, gliding, feeling rich with our bounty of discarded treasures. It was your birthday. We were splurging. “Do I look like a real American?” you said, pressing a white dress to your length. It was slightly too formal for you to have any occasion to wear, yet casual enough to hold a possibility of use.

If we are lucky, the end of the sentence is where we might begin. If we are lucky, something is passed on, another alphabet written in the blood, sinew, and neuron; ancestors charging their kin with the silent propulsion to fly south, to turn toward the place in the narrative no one was meant to outlast.

“You have to be a real boy and be strong. You have to step up or they’ll keep going You have a bellyful of English. […] You have to use it, okay?”

As a girl, you watched, from a banana grove, your schoolhouse collapse after an American napalm raid. At five, you never stepped into a classroom again. Our mother tongue, then, is no mother at all—but an orphan. Our Vietnamese a time capsule, a mark of where your education ended, ashed. Ma, to speak in our mother tongue it to speak only partially in Vietnamese, but entirely in war.

Paul finishes his portion of the story. And I want to tell him. I want to say that his daughter who is not his daughter was a half-white child in Go Cong, which meant the children called her ghost-girl, called Lan a traitor and a whore for sleeping with the enemy. How they cut her auburn-tinted hair while she walked home from the market, arms full with baskets of bananas and green squash, so that when she got home, there'd be only a few locks left above her forehead. How when she ran out of hair, they slapped buffalo shit on her face and shoulders to make her brown again, as if to be born lighter was a wrong that could be reversed.

“If it’s the same price anyway,” she says. “I can still feel it down there. It’s silly, but I can. I can.”

In the nail salon, sorry is a tool one uses to pander until the word itself becomes currency. It no longer merely apologizes, bur insists, reminds: I'm here, right here, beneath you. It is the lowering of oneself so that the client feels right, superior, and charitable. In the nail salon, one’s definition of sorry is deranged into a new word entirely, one that’s charged and reused as both power and defacement at once. Being sorry pals, being sorry even, or especially, when one has no fault, is worth every self-deprecating syllable the mouth allows. Because the mouth must eat.

“I don’t like girls.”

I didn’t want to use the Vietnamese word for it—pê-đê—from the French pédé, short for pédéraste. Before the French occupation, our Vietnamese did not have name for queer bodies—because they were seen, like all bodies, fleshed and of one source—and I didn’t want to introduce this part of me using the epithet for criminals.

“Tell me,” you sat up, a concerned look on your face, “when did all this start? I gave birth to a healthy, normal boy. I know that. When?”

A few months before our talk at Dunkin' Donuts, a fourteen-year-old boy in rural Vietnam had acid thrown in his face after he slipped a love letter into another boy's locker. Last summer, twenty-eight-year-old Florida native Omar Mateen walked into an Orlando nightclub, raised his automatic rifle, and opened fire. Forty-nine people were killed. It was a gay club and the boys, because that's who they were—sons, teenagers—looked like me: a colored thing born of one mother, rummaging the dark, each other, for happiness.

I’m not telling you a story so much as a shipwreck—the pieces floating, finally legible.