1898, A Vintage Year for United States Empire Building

Economic history, International Relations, Military history, Political geography, Regional History

 

“God created war so that Americans would learn geography” ~ Mark Twain (attributed)

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The axiomatic nature of the above much-referenced quotation resounds most strongly in the year 1898. In that year the US expanded its offshore territorial acquisitions in different parts of the Pacific and in the Caribbean. It secured the islands of Cuba, the Philippines, Guam and Puerto Rico as a result of a short, opportunistic, one-sided war with a declining European power. At the same time Washington annexing the Hawaiian Islands, closed the door on four years of ‘independent’ republicanism which followed a successful coup by American businessmen against the indigenous Hawaiian monarchy.

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🔺 Flag of the short-lived Hawaiian Republic


What triggered US involvement in a Cuban conflict against far-off Spain? The immediate pretext was the sinking of the American battleship
Maine in Havana harbour. The explosion is generally believed to have been an accident but leading American newspapers (the Hearst press and to a lesser extent the Pulitzer publications) drove the charge of war jingoism within the country, declaring Spain culpable for the loss of life on the Maine. This and the ongoing reporting of the Cuban insurrection which deliberately exaggerated Spanish atrocities against the Cubans—examples of the “yellow journalism” practiced especially by Hearst—helped to create a groundswell of popular support and agitation for war whilst boosting the newspapers’ sales.

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🔺 “Remember the Maine! To hell with Spain!” (source: www.pri.org

Humanitarian concern for the Cuban people?
In response to the charge that the US engineered the war as a grab for territory (á la Mexico 1846), apologists for the US intervention clothed the action in the garb of a humanitarian attempt to free the Cuban people from the colonial yoke of imperial Spain [Foner, Philip S. “Why the United States Went to War with Spain in 1898.” Science & Society, vol. 32, no. 1, 1968, pp. 39–65. JSTOR, www.jstor.org/stable/404402321. Accessed 21 July 2020]. The McKinley Administration in Washington DC also justified it as an imperative to act given the political instability in Cuba, so close to US soil, and certainly Washington as the hegemonic regional power with a self-appointed role as regional ‘policeman’ had an interest in ridding the Western Hemisphere of the remnants of an old European colonial power [‘The Spanish-American War, 1898’, Office of The Historian, www.history.state.gov/].

Contemporary criticisms of aggressive US foreign policy
Washington’s rapid trajectory towards war in 1898 drew a skeptical response internationally. Keir Hardie, British labour leader, stated that he “cannot believe in the purity of the American motive”, seeing rather the hand of “trusts and Wall Street financiers intent on extending American dominance over Cuba, Latin America, and the Far East”. The French government agreed that the professed humanitarian concerns were “merely a disguise for (US) commercial desires” to conquer the Caribbean and Latin America. Non-mainstream press in the US  like the socialist The People and the New York Tribune argued that the US government ’s real aim was to ”divert attention from economic evils at home” and to protect the US’s extensive interests in Cuba [Foner, Philip S. “Why the United States Went to War with Spain in 1898.” Science & Society, vol. 32, no. 1, 1968, pp. 39–65. JSTOR, www.jstor.org/stable/404402321. Accessed 21 July 2020].

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An economics-driven war
In fact economics was the principal driver of America’s intervention in Spanish Cuba. First, the US was massively invested in the island in the 1890s, importing sugar (predominantly), plus tobacco and minerals from Cuba…the US’s Cuban business ventures were valued at about $50 million in 1895 [‘American Business in Cuba 1898-1959: A Brief Overview’, (Lisa Reynolds Wolfe), Havana Project, 17-Aug-2011, www.havanaproject.com]. The Maine was in Havana harbour to protect these same American interests when it met with disaster. So, rather than a humanitarian motive to aid the beleaguered Cubans, the intervention can be seen as pure economic self-interest: “halting a nationalistic revolution or social movement that threatened American interests” and the subsequent withholding of sovereignty to Cubans (and to Filipinos) [Paterson, Thomas G. “United States Intervention in Cuba, 1898: Interpretations of the Spanish-American-Cuban-Filipino War.” The History Teacher, vol. 29, no. 3, 1996, pp. 341–361. JSTOR, www.jstor.org/stable/4944551 . Accessed 21 July 2020].

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🔺 President McKinley

The contemporary state of the American economy was a factor in America’s timing to act. Economic depression and unemployment was plaguing the country. New markets needed to be found for US goods, this meant not only Cuba and the American ’backyard’, but even extending to the Philippines and the lucrative Chinese market (Paterson). Tom Fiddick argues that the real reason President McKinley backed by the American capitalist class opted for war—having seen Spain‘s failure to pacify the Cuban rebels—was to make certain that the insurectos did not succeed in liberating the island and thereby pose a threat to US business interests in Cuba [Fiddick, Tom. “Some Comments on Philip S. Foner’s “Why the United States Went to War with Spain”.” Science & Society 32, no. 3 (1968): 323-27. Accessed July 22, 2020. www.jstor.org/stable/40401358].

 

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🔺 Battle of Guantánamo Bay (Cuba)

US strategy thinking around imperialist objectives was evident prior to the move to war in 1898 – plans were already afoot for the establishment of naval bases in the strategically important Caribbean and in Hawaii, a precondition to expanding economically further into Latin America and into Asian markets. This “game plan” also envisioned US control of the Isthmus of Panama, an objective secured a few years after the victory over Spain (Foner).

Underpinning ideology for upping territorial expansion
The hawkish US foreign policy in 1898 accords with the prevailing 19th century belief of “Manifest Destiny”, a view that settlers in the US were destined to expand inexorably across the continent of North America. Correspondence between key players (T Roosevelt and HC Lodge) disclose that the McKinley Administration was committed—before the outbreak of hostilities—to  “intervention in Cuba as a stepping stone for expansion in the Far East through the acquisition of Spain’s Pacific possessions”. Foner notes that Cuba comprised the ‘fulcrum’ providing the opportunity for US occupancy of the Philippines as “a base at the doorway to China’s markets” for US capitalists. Also shaping this was the influence of Frederick Jackson Turner’s thesis—the idea that American democracy was defined by a moving frontier line—if America’s frontier at home was closing off as was thought by some, then the most viable course may be to seek new frontiers abroad. The increasingly dominant current in international thought, social Darwinism, was also informing American thinking…the national assertiveness shown in 1898 can be seen as a quantum leap in the “deliberate, calculated pursuit of United States’ greatness” (Paterson).

🔻 Battle of Manila Bay (Phil.)

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Hawaii, a foothold on the “American Lake”
The groundwork for the US’s absorption of the Hawaiian islands as part of the Manifesto Destiny credo was laid five years earlier when a group of American sugar planters under Sanford B Dole overthrew Queen Liliuokalani, replacing the monarchy with a provisional government with Dole as president. The coup was tacitly recognised by the US government (with US marines despatched to Hawaii to protect US citizens), although President Cleveland tried unsuccessfully to reinstate the monarchy. His successor William McKinley, recognising the strategic importance of Pearl Harbour as a naval base in the war with Spain, “rubber-stamped” the formal annexation of the islands by the US in August 1898 [‘Americans overthrow Hawaiian monarchy, History, www.history.com/].

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🔺 US sailors and marines in Honolulu c.1894

Footnote: A “Spanish-American War”
Thomas G Patterson notes the exclusionist nature of the name given to the 1898 conflict – the omission of reference to Cuba and Philippines in the title—in effect “air-brushing” the native populations out of the conflict—was (Paterson suggests) an attempt by the victors to obscure uncomfortable truths, the denial of full-fledged independence to Cubans and Filipinos once freed from Spanish control, and to try to avoid America’s role in the affair being labelled as ‘imperialist’ (Paterson).

🔻 1900 map (Source: Pinterest)

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PostScript: The Filipino insurgency
After the Spanish defeat Filipino nationalists under Emilio Aguinaldo asserted the Philippines’ independence (proclaiming the First Philippine Republic) in 1899. This action was opposed by the US and a conventional-cum-guerrilla war ensued until 1902 when US forces finally subdued Aguinaldo’s army and the Philippines were made an unincorporated territory of the US (although a number of splinter groups of local insurrectos continued to fight the US military occupation for several years) [‘The Philippine-American War, 1899-1902’, Office of The Historian, www.history.state.gov/].

🔻 Flag of the República Filipino


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 this famous but elusive quote has also been attributed, in slightly modified form, to Ambrose Bierce

  the US government paid Spain $20 million, compensation for the loss of infrastructure in the Philippines  

characterised by sensationalism (eg, eye-catching headlines) typically with scant regard for accuracy

US business giant Standard Oil for instance talked about its ”Manifest Destiny being in Asia” (Foner)

  calling themselves the “Committee of Safety”

Tarzan, the Enduring, Politically-incorrect, Pop Culture Myth of a White Saviour in a Black World

Cinema, Creative Writing, Literary & Linguistics, Memorabilia, Natural Environment, Popular Culture, Racial politics, Society & Culture

Start of the Tarzan pulp fiction phenomenon

2CFFCD21-92B3-448D-B44C-002354849965When testosterone-charged visitors to coastal Belgian towns began strolling around the shops and cafes bare-chested in 2015, locals objecting to this aesthetic blight on the landscape took to labelling the offending blow-ins “Tarzan tourists”. References to that archetypical, mesomorphic white hero of amorphous jungle habitats, Tarzan, have permeated popular culture for over a century. Since the time pencil-sharpener salesman Edgar Rice Burroughs (ERB) turned his hand to writing his first story in 1912, the aura of Tarzan, carefully cultivated by the author into a cultural icon, has extended from pulp fiction, to various media including comic strips, films (over 90!), radio shows, TV series, Broadway musicals, computer games and a raft of commercial merchandise𝓪.

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Celluloid Tarzan – from urbane gent to LCD savage
The phenomenal success of ERB’sTarzan of the Apes and follow-up pulp novels provided prime adventure material for a rapid transition into cinema, starting with a silent movie in 1918. Later sound film interpretations, especially those with former American Olympic swimming champion Johnny Weissmuller as Tarzan, departed radically from Burroughs’ original conception of the heroic jungle adventurer as a cultured, multilingual, erudite aristocrat (John Clayton II, Viscount Greystoke). Weissmuller’s “dumbed-down” depiction of Tarzan was as an innocent and noble savage, the “strong and silent” type given only to monosyllabic utterings (“Me, Tarzan, you, Jane”).

  ERB at home in Tarzana, California

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White skin, white supremacist
As successful as the books and later franchises have been, Tarzan’s character has engendered a persistent stream of controversy. ERB’s creation, from the start, was an obvious target for accusations of racism – a white boy/man𝓫 thrown into a dangerous and alien environment (the “dark continent”), who manages not only to survive but to triumph over hordes of dark-skinned peoples and over numerous wild animals. Tarzan emerges from the pages as a “consummate colonial-era adventurer” – “a white man whose novel civility enabled him to communicate with and control savage peoples and animals…using appropriate technology” to help natives who “cannot solve their own problems” [RJ Gordon in Tarzan was an Eco-Tourist … and Other Tales in the Anthropology of Adventure, (edited by Luis A Vivanco & Robert J Gordon), 2006]. The world that Tarzan creates in the jungle is in effect a “white supremacist Eden parable”, the books and films completely omit the point-of-view of the indigenous people who live in the African jungle (or the Amazonian rainforest𝓬) ‘[‘The Only Good Tarzan is a Bad Tarzan’, (Aaron Bady), Pacific Standard, 08-Jul-2016, www.psmag.com; ‘From Tarzan to Avatar: the problem with “the white man in the jungle”’, (Steve Rose), The Guardian, 06-Jul-2016, www.theguardian.com].

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TV Tarzan (loin-clothed Ron Ely) in Mesoamerican climes  (Source: www.nbc.com)

A white world of comfortable racial assumptions Tarzan’s brand of chivalrous “white masculinity” precludes him from engaging in sexual violence against women, but he is utterly implicated in the negative racial stereotyping of Africans, an explicit feature of the books – black men are described as “lithe, ebon warriors, gesticulating and jabbering”, Arabs are “surly looking”. Without holding back, ERB tells us, Tarzan is “a killer of many black men”, revelling, shockingly for modern sensitivities, in the act of ‘lynching’ blacks [Gail Bederman, quoted in ‘Tarzan’, Wikipedia, http://en.m.wikipedia.org].

The mystique of Tarzan: Green mascot, eco-warrior and proto-expat
Part of Tarzan’s durability as a cultural icon might lie in his versatile utility. It has been noted that Tarzan possesses an “ability to adapt to the zeitgeist of different eras”. In seamlessly managing an environment that is unnatural and unfamiliar to him, he demonstrates a flair for “ecological sustainability”, we are shown the ape-man’s apparently impeccable “green credentials” [‘The Untamed Image of the Perfect Savage’, (Bram Wicherink), Efnofoor, vol. 22, no. 2, 2010, pp.90-97. JSTOR, www.jstor.org/stable/25758188. Accessed 10 July 2020]. For Paul Theroux, who had hands-on experience of being part of the ‘invasion’ of Africa by Peace Corps Volunteers in the 1960sTarzan is “in the jungle, but not of the jungle”…therefore he was the “first expatriate”𝒹 [Theroux, P.  “Tarzan Is an Expatriate.” Transition, no. 32, 1967, pp. 13–19. JSTOR, www.jstor.org/stable/2934617Accessed 10 July 2020].

The first screen Tarzan, Elmo Lincoln, 1918

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Tarzan as metaphor – defender of masculinity
The period in which ERB wrote the first Tarzan books (just before, through and after WWI) saw the emergence of a challenge to the hegemony of white masculinity – from the Suffragette Movement…according to Robert Gordon, Burroughs’ creation of the all-conquering jungle superhero constituted a buffer against that perceived threat. This held sway again in the 1960s and 70s when the advent of women’s, LGBT and civil rights movements loomed as a threat to (white heterosexual) masculinity. Tarzan, as “the archetypal white-manhood fantasy” represented a “refuge of sorts for white audiences”. What they could observe in the story of Tarzan was an ideal of manliness, a he-man proving himself physically in the most testing of circumstances [Gordon; ‘Me, Tarzan. You, Really Still Doing This?’, (Devon Maloney), Mel, 11-Jul-2016,  www.melmagazine.com.

PostScript: An attempt at a politically-corrected Tarzan
The talkies motion picture era has seen a string of mostly forgettable actors taking on the role of Tarzan, as well as a TV series or two and even Disney animation versions of the vine-swinging king of the jungle. In recent decades the Tarzan phenomenon has appeared to be running out of steam, although a recent entry, a 2016 screen production, The Legend of Tarzan, sought to present a Tarzan with ‘woke’ politics and more psychological complexity. Tarzan is this time avowedly anti-colonial, taking to task the odious slave-based Congo empire of Belgian king Leopold II, and displaying his capacity for “racial sensibilities” in the endeavour. Resurrecting a Tarzan who is more nuanced is still in itself problematic for its contemporary tone-deafness –  “propagating…a white saviour narrative during the charged era of Black Lives Matter” is not the most prudent or politically savvy card to play [Glenn Kenny, ‘The Legend of Tarzan’, (01-Jul-2016), www.rogerebert.com]. The hero’s mate Jane departs from her character’s standard “eye-candy” function and exhibits a “feisty proto-feminist” defiance and the film gives a nod to environmental and conservationist concerns. Unfortunately the movie got at best only mixed reviews and basically bombed at the box office [‘The Legend of Tarzan’ Falls Well Short of the Tree Tops’,  (David Edelstein), Vulture, 01-Jul-2016, www.vulture.com].

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Ft’note: Tarzan, very much “all-American”
Oddly, in all the graphic representations of Tarzan—in films, on book covers and illustrations—he is presented as clean-shaven, always sans beard, somewhat of an anomaly considering he is almost always off the grid, cut off from all the usual paraphernalia and comforts of life.  

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  Just your average Middle American family

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𝓪 Tarzan was “the first fictional character to be multi-mass-media marketed…the growth of a veritable Tarzan industry, with “Tarzan Clubs” rivalling the Boy Scouts (Gordon). But not just boys, famed ethnologist and world chimpanzee authority Jane Goodall was captivated by the mystique of Tarzan, his impact on the primatologist’s childhood imagination “set her on a path to Africa to work with wild animals” [‘How Tarzan created Jane Goodall and how Goodall then repaid the favour’, (Shawn Thompson), The Ethical Ape, (2013), www.news.mongabay.com]  

𝓫 in the books Burroughs explains that the name given the eponymous hero, ‘Tarzan’, means (in African “ape language”) “white of skin”  

𝓬 occasionally for plot variety the setting for Tarzan’s adventures diverts from the customary (vaguely) African location to Latin America and India

𝒹 apparently he was the inspiration for future  adventure junkies – for many restless souls in the West who flocked to join the Peace Corps in an Africa emerging from colonialism, as well as for later devotees of the ongoing craze for adventure tourism (Gordon)

 

“Coronavirus’ Continuing Story: “Model Countries”, The “Second Wave”, More of the “New Normal”

National politics, Politics, Public health,

Virtually from the onset of the pandemic, public health boffins around the world, mindful of the deadly follow-up wave of the Spanish Flu in the northern hemisphere autumn of 1918, were warning countries that even if they managed to suppress the virus, the danger of a second strain was incredibly real. And now it seems that second wave has come to fruition. Australia, which had pretty much contained the spread of coronavirus by early June in all states and territories, has seen a renewed spike of infections in metropolitan Melbourne and a reimposition of border lockdowns by other states in the Commonwealth. In addition, another Covid cluster is currently emerging  in a pocket of south-west Sydney.

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Elsewhere there are even more concerning trends of new flare-ups. In Covid-19 ravaged Europe, Portugal was until recently thought to be an exemplar of sorts on how to handle the pandemic and minimise its harmful impact. While neighbours Spain and France had been beset by rapid rates of infection and steepling mortality counts in the earliest phase of the pandemic’s first wave, Portugal by April was coping comparatively well. The republic’s small population (about 10.25 million) no doubt aided the authorities’ efforts to fight the pandemic, but this was counterbalanced by inherent drawbacks – an elderly population (3rd highest population of over 80s in Europe) and underfunded health system (just 4.2 critical care beds per 100.000 people). Portugal’s centralised system of government and the early implementation of measures—locking down public places and events—was key to the country’s success in slowing the pace of infection, reflected in the comparative death rates [‘How Portugal became Europe’s coronavirus exception’, (Paul Ames), Politico, 14-Apr-2020, www.politico.com].

European country

Per capita mortality from coronavirus

Portugal 🇵🇹

3%

Spain 🇪🇸

>10%

Britain 🇬🇧

12%

France 🇫🇷

15%

(as at mid-April 2020)

{Ames}

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(Source: Reuters/ Rafael Marchante / File Photo)

Portugal’s relative success at that time, 18,091 confirmed cases of coronavirus and 599 deaths, was also attributed to a unified political approach—opposition and government working towards the common goal of tackling the pandemic—and to  the self-discipline of Portuguese people in faithfully adhering to the stay-at-home guidelines during the crisis (Ames). The situation in Portugal now sits at 46,818 confirmed cases and 1,662 deaths (14-Jul-2020) – the result of the reopening of economic activity and relaxation of restrictive measures [‘How Sweden and Portugal Went from Pandemic Role Models To Record Infections’, (Marina Velasco), Huffington Post, 11-Jul-2020, www.huffpost.com]. This surge in virus numbers is centred around the capital Lisbon.

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Next door Spain is currently confronted with two new very serious cluster points in the north of the country. Galicia region (the northwest) and autonomous Catalonia (the northeast) have both imposed a second lockdown after the earlier easing of restrictions due to a similar upsurge in infections [‘Coronavirus: Spain imposed local lockdown in Galicia’, BBC News, 05-Jul-2020, www.bbcnews.com] . The timing of the spike is not good, especially as Spain and Portugal have just reopened their common border at the start of July.

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🔺 Before the second strain: as of around 1st May Portugal had the Iberian bragging rights for best at weathering the coronavirus storm sown up (Source: www.ft.times)

Israel is another country whose fortunes with the pandemic have ebbed in recent weeks – going from “model nation fighting the novel coronavirus to a small, isolated country whose citizens face a long, deadly summer locked down”. An early, enforced lockdown saw Israel hold its fatalities to only 271 by May, with Israeli prime minister Netanyahu proclaiming it “the safest country on earth”. Two months later everything has gone pear-shaped in Israel, virus cases are spiking concurrently with a cratering economy and 23% unemployment (all adding to Netanyahu’s pre-existing political woes). The head of Israel’s public health service has quit in protest, frustrated by the government’s handling of the crisis – alleging a hesitant, disjointed, stop-start approach from the government (“six wasted weeks”), and equally worrying, a Trump-like reluctance by the prime minster to heed official public health expert advice. Adding his voice to the chorus of critics of the government’s approach, President Rivlin has commented that “Israel has failed to develop a clear and coherent doctrine to combat the coronavirus” [Noga Tarnopolsky, ‘“The Second Wave” of COVID Hits Israel Like a Tsunami’, Daily Beast, 10-Jul-2020, www.thedailybeast.com].

Ashdod, one of Israel’s virus hotspots
(Source: www.timesofindia.com) 🔻

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PostScript: “Second wave-ism” and relaxed response mode
In fact “second wave” contagion seems quite a global prospect at the moment. Other countries such as Germany, Singapore, South Korea and China have all managed to contain the first wave outbreak in their respective countries, only, as restrictions on movement and travel get lifted, to be hit afresh with subsequent clusters of local infections [‘New Covid-19 clusters across world spark fear of second wave’, (Emma Graham-Harrison), The Guardian, 27-Jun-2020, www.theguardian.com].

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(Image: Getty Images)

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Professor Nick Talley (Australian Journal of Medicine) refutes the view that Australia is experiencing a “second wave” of the virus, contending that the current outbreak is actually the “real first wave”
✥ over a six-week period the number of confirmed cases multiplied by 499%; currently (14-Jul-2020) Israel has confirmed 40,632 cases and 365 deaths from the pandemic
✪ the concept of what constitutes a virus second wave is not a definitive or consensual  one – “no precise epidemiological definition” (Harvard School of Public Health). It can be applied to “anything from localised spikes in infection to a full-blown national crisis” – so some medical experts avoid the term itself (Graham-Harrison)
⊡ epidemiologists worry that “social distancing fatigue” arising from being in lockdown for extended periods can contribute to pockets of new infections emerging

Chan and Chang: The Origin and Cultural Vicissitudes of the Most Famous Chinese-American Literary and Screen Detective

Biographical, Cinema, Inter-ethnic relations, Literary & Linguistics, Performing arts, Popular Culture, Racial politics

The literary character Charlie Chan, created by Earl Derr Biggers, is best remembered in numerous cinema representations from the 1930s and 1940s. While the obsequious but sagacious Chinese-American detective became one of the enduringly nostalgic fictional figures of US popular culture, his creator in fact based him on a real life-and-blood Hawaiian-Chinese policeman – Chang Apana (his name is Hawaiianised but he was born “Chang Ah Pang” of Chinese migrant parents).

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Downtown Honolulu, circa 1935
 (Source: www.reditt.com)

Over the first three decades of the 20th century, the diminutive and slightly-built Chang Apana, a paniola (Hawaiian cowboy) before entering the Honolulu police service, patrolled the dingy and dangerous Chinatown district of Honolulu armed only with a 1.5m-long bullwhip. Chang’s detective escapades were legendary, involving – audacious, single-handed arrests of members of gambling dins, mastery over disguises in working undercover and shrewd and meticulous powers of sleuthing on murder cases (a cornucopia of material for Biggers to drawn on). Biggers’s own account of Charlie Chan’s genesis, is that he happened upon the existence of the “real Charlie Chan” after reading about Chang’s exploits in a Honolulu newspaper one day in the New York Public LibraryA.

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‘The House Without a Key’ (1925): the first Charlie Chan novel, although Chan appeared in it only as a minor character

A wellspring of a literary character
The portly Chinese detective with a penchant for “Confucius says”/fortune cookie-style aphorismsB appeared in six crime novels—initially serialised in the influential American magazine Saturday Evening Post—in the 1920s and ‘30’s. Biggers’ premature death in 1933 cut short the Chan literary sequence but not the film adaptations which continued to proliferate with a  series of extremely popular Fox mystery filmsC. Charlie Chan‘s first screen appearances were in obscure silent movies with Japanese and Korean actors playing the leads before Walter Oland, a US actor with Swedish-Russian parents, took over  and played Chan in 16 pictures. Upon Oland’s death American Sidney Toler assumed the mantle for 22 more CC movies,and lastly, Roland Winters, the son of German and Austrian parents, for a further six films.

ED Biggers

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Life inextricably entwined with art
There were some interesting connexions arising from ED Biggers’ magnum opus…firstly, Chang and Chan’s creator actually met – in 1928. By then, such was the fame of CC, people in Honolulu had started to call the real detective ‘Chan’. The local newspaper recorded their meeting at the Royal Hawaiian Hotel as “AUTHOR MEETS ‘LIVE’ CHINESE DETECTIVE”. Three years later there was the even more improbable meeting of Chan and Chang when 20th Century Fox shot The Black Camel on location in Honolulu. The meeting between sleuth Chang and actor Walter Oland and obligatory photo op occurred during filming…Chang was invited to watch the action and ended up coming every day apparently totally engrossed in the unfolding film [‘Chan, the Man’, (Jill Lepore), The New Yorker, 02-Aug-2010, www.newyorker.com].

Chang and Oland (Chan) meet at Waikiki

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The dragon’s embrace of Chan
Charlie Chan’s international cinematic popularity extended, perhaps surprisingly to observers looking at it with the greater cultural sensitivity of the present time, to the Chinese themselves. Walter Oland, at the height of his CC fame, visited Shanghai in 1936 on a promotional tour – to widespread acclaim. Local Chinese newspapers even presented the event in terms that suggested that Biggers’ literary creation was in fact a real person: “Great Chinese Detective Arrives in Shanghai”DAnd of course the Chan movies spawned home-grown imitators within China [‘Charlie Chan in China’, The Chinese Mirror: A Journal of Chinese Film History, 08-Jul-2011, [http://web.archive.org]. Chinese-born American academic Yunte Huang’s hunch as to why people in China took so whole-heartedly to the clearly faux-Chinese film character is to do with a tradition you see in Chinese operas of performing “the other”. He explains, there’s an acceptance of this “kind of imitation (be it opera or cinema) as part of the artistic culture of China” [‘Investigating The Real Detective Charlie Chan’, NPR, 07-Sept-2010, www.npr.org].

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(Source: www.movieposters.ha.com)

Charlie Chan, detective at large

As the series progressed and the search for plots to accommodate the oriental ace detective widened, Charlie Chan took on a ”globe-trotting” role à la the “Road to“ series. Hence the public were served up increasingly formulaic offerings in a variety of exotic locales – Charlie Chan in Shanghai, Charlie Chan in Egypt, Charlie Chan in Panama, Charlie Chan in Paris, Charlie Chan in Rio, Charlie Chan in Reno, Charlie Chan at Monte Carlo, etc, etc.

Backlash against the honourable Mr Chan in an era of PC sensitivity
What passed—unchallenged in a ‘whitebread’ society—for innocuous humour in the 1930s and ‘40’s was viewed very differently in the more pluralistic and multicultural milieu of the 1980s and ‘90s and beyond. Many Asian-Americans looking back have found the Charlie Chan depiction objectionable, a Chinese racial stereotype of subservience and pidgin English, a relic of ‘yellowface’ (a kind of “Yellow Uncle Tom”, much akin to the contemporary view of ‘blackface’ minstrel entertainment in the US) [Charlie Chan: The Untold Story of the Honorable Detective and his Rendezvous with American History, Yunte Huang (2010); Lepore].

Chan (Sidney Toler) with #1 son and #2 son

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Yunte Huang has sought to redress or balance this jaundiced perception of Charlie Chan, arguing that the fictional Asian-Honolulan super-sleuth is “as American as Jack Kerouac” – “precisely because of (Chan’s) theatrical implausibilities and mixed-up origins”. To Yunte Chan “epitomises (both) the racist heritage and the creative genius of (America’s) culture”, and he notes that while Chan himself is Chinese, “his methods and his milieu are American”, eg, the books and films’ settings are Hawaiian/American mainstream, not set in Chinatown [‘Watching the Detective’, (Pico Iyer), Time, 23-Aug-2010; Yunte].

Assuaging the perception of ‘Orientals’ in America
The dominant literary precedent to Charlie Chan in American (and Western) popular culture of Asians was the figure of Fu Manchu. The creation of English writer Sax Rohrer (Arthur Henry Ward), the Fu Manchu novels (1913-48), exploited the “Yellow Peril” conspiracy image prevalent in the West of an Asian stereotype of evil – Fu was depicted in literature and on-screen as a mad scientist–cum–archvillain hellbent on a mission to rule the world. Yunte points out that Charlie Chan fulfilled a purpose of refuting or challenging the negative Fu Manchu image in the minds of many Americans. In contrast to the iniquitous Fu Manchu wreaking havoc everywhere, Chan is a “man of logic” (as are his fellow detectives extraordinaire Hercule Poirot and Sherlock Holmes), Chan’s personal qualities are that of moral rectitude, observation and logic (Yunte). Biggers himself derided the Fu Manchu portrayal as “sinister and wicked” and “old stuff”, compared to his creation, “an amiable Chinese on the side of the law (which) has never been used (before)” (1931) [‘Creating Charlie Chan’, Popular Culture1975].

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Other observers concur that the amiable Chinese detective was a departure from the old, more overtly racist stereotypes in US fiction at the time – supplanting the “heathen Chinee” with a more positive image of a Chinese person [‘The Importance of Being Charlie Chan’, (Sandra M Hawley), in Jonathan Goldstein, Jerry Israel & Hilary Conroy (Eds), America Views China: American Images of China Then and Now, (1991)]. Fletcher Chan notes that the books and movies “were a big factor in softening the attitude of white Americans towards Asians”, Charlie Chan as a sort of “goodwill ambassador” [‘Charlie Chan: A Hero of Sorts’, Fletcher Chan, Californian Literary Review, 26-Mar-2007, www.calitreview.com].

Where the Yellow Peril stereotype of Fu Manchu personifies the evil, scheming and immoral Asian in popular culture, the character of Charlie Chan presents—albeit with the retention of some truly cringeworthy ethnic stereotyping—an equal, at least intellectually, to the whites in the world he traverses [Yunte; ‘Charlie Chan’, Wikipedia, http://en.m.wikipedia.org].
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 Mr Wong: Charlie Chan rip-off with Boris Karloff

Endnote: Hollywood imitators, Moto and Wong
The success of Charlie Chan on the big screen led other filmmakers to try their hand at using European actors to portray Asian-American crime fighters, however these were pale imitations of the original and lacking the Chan series’ success and its longevity. Fox’s “Mr Moto” series had Hungarian-American Peter Lorre as a Japanese secret service agent with a Viennese accent. Monogram Pictures, a low-budget specialist, also tried to emulate the success of Chan with its copy/interpretation of a Chinese-American detective Mr Wong, with British horror specialist Boris Karloff in the title role. The last in the series of Mr Wong flicks, Phantom of Chinatownwas a first…in place of Karloff, Chinese-born Keye Luke (previously Charlie Chan’s “Number One Son”) featured in the role of Wong, avoiding the then standard ‘Yellowface’ casting for Asian-American roles.

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A Biggers’ story of reading about a slick piece of detective work by Sergeant Chang Apana and another Hawaiian-Chinese detective Lee Fook has been extensively investigated by Yunte Huang who could not confirm the said article appearing in the Honolulu media of the day. An alternative explanation is that Biggers discovered the local police celebrity on a holiday he took to Hawaii in 1919 or 1920
B eg., “Tongue often hang man quicker than rope”; “Mind like parachute – only function when open”; “Front seldom tell truth. To know occupants of house, always look in backyard”; “Truth is like football – must receive many kicks before reaching goal”; ad nauseam. This idiom or element of Chan’s persona is known today as a ‘flanderisation’ – where a single (often minor) trait or action of a character is increasingly exaggerated or accentuated until it becomes the character’s defining characteristic [www.allthetropes.fandom.com]
C as well as a regular stream of radio shows, comics and television series
D mind you, contestants on a 1980s US quiz show asked to name some historical or contemporary Chinese persons came up with “Charlie Chan” as their fifth response (‘The Chinese Mirror’)