The Model Minority and Theories of Asian American Subjectivity First and foremost, model minority masochism is a theory of Asian American subject formation that centers the psychic and affective effects of the model minority “myth,” based on the material positionality of Asian Americans of the past half-century. This theory presents a critique of model minority ideology itself but also serves as an analytic of its adherents and detractors alike. Whether as an antiblack “racial wedge” or as ideological fodder for the denial of Asian American racial suffering, the model minority has been a stubborn phantasm impeding the project of Asian American radical politics and has thus been the persistent specter of Asian Americanist critique. Indeed, the racialization of Asian Americans in the United States cannot be separated from model minority ideology (which I will henceforth abbreviate to “model minoritarianism”), which is in turn intertwined with the economic and affective dimensions of modernity. In Colleen Lye’s words, the Oriental in America demonstrates “a putatively unusual capacity for economic modernity, extend[ing] to moments when the affect of the racial discourse has been hostile (‘yellow peril’) as well as admiring (‘model minority’)” (2005, 3). The model minority is oft mentioned but rarely firmly defined; loosely, the model minority is the minoritized subject who, despite their ostensible marginalization, is able to prosper and successfully assimilate into the dominant society. Although not limited to Asian Americans (the label has, at times, been applied to upper-middle-class gay communities and African immigrants, for example), the model minority has been most persistently wedded to Asian Americans, and there are few racial demographics in North America for which the model minority is more constitutive. For the purposes of my argument here, the model minority is only secondarily “cultural,” although culturally essentialist underpinnings of the model minority run the gamut from assimilationist to orientalist, from a purported propensity for adaptation and assimilation to a maintenance of “Confucian values” that emphasize hard work and education.2 This aspect of model minoritarianism is more obviously “myth,” and I will not belabor a refutation here. Rather, I emphasize primary focus on the political-ideological function of the model minority in the maintenance of U.S. racial formation. In the United States, the model minority has principally served two ideological purposes within racial discourse: first, to provide evidence for the prominence of meritocracy over the structural barriers faced by nonwhite peoples, and second, to implicitly blame less “successful” minoritized populations for their own subjugation (most notably, but not exclusively, those racialized as Black). Moreover, as Tara Fickle has recently and incisively observed, the model minority coagulated in the 1960s around Japanese Americans not only as exceptional minorities, but as exceptional Americans in general, perceived as obedient capitalist subjects relative even to whites, prompting white Americans to catch up (2019, 90). For much of its life as a field, Asian American studies has tended to actively disprove or discredit the model minority as a myth, either insisting that (1) Asian Americans have been and continue to be subject to considerable racism and structural barriers, and (2) the model minority does not adequately reflect the socioeconomic diversity of Asian Americans, which can correlate loosely according to disaggregated identity. Thus, anti–model minority critique locates the model minority as a harmful stereotype produced by a white racial order, one that can cause harm to both Asian Americans (such as the increased pressure to “succeed,” via stereotype threat) and to non-Asian people of color. Consequently, since its radical beginnings with the Third World Liberation Front strikes at San Francisco State and UC Berkeley in 1968, and continuing through a wide range of demographic and ideological shifts, Asian American studies has often sought to idealize what Christopher Lee has termed “the ideal critical subject,”3 that is to say, an Asian American subject position that has achieved a kind of Lukácsian racial “consciousness” against white racism. Asian American cultural critique has often accordingly read Asian American literature and theater in terms of its “resistant” potential, seeking out characters and thematics that adequately demonstrate a rejection of whiteness and an assertion of Asian American identity, whether in the vein of so-called “cultural nationalism” of Frank Chin, of feminist empowerment in Maxine Hong Kingston, or of a resistance against logocentric intelligibility in Theresa Hak Kyung Cha. Tellingly, the first major scholarly study of Asian American literature, Elaine Kim’s Asian American Literature: An Introduction to the Writings and Their Social Context (1982), values Asian American works primarily by their resistant potential rather than their aesthetic attributes, a tendency that persists in the field to varying degrees to this day. This premise possesses a range of problematics, most notably that “Asian America” is itself what Susan Koshy provocatively called “a fiction,” an imagined community insofar as it is overwhelmingly diverse in terms of its diasporic cultural origins, but also in imagining its politically “resistant” position against white racism when, as David Palumbo-Liu has written, the position of Asian America has certainly structurally fluctuated between “of color” and honorary whiteness. Moreover, a persistent problem is that judgment of the resistant potential of anti–model minority Asian American literature is not persistent in what precisely it is resisting, whether that be “assimilation” (understood variably as cultural, such as through ethnic marking, or political, understood as allegiance to racially reactionary political positions), racist policy, or economic adherence to (racial) capitalism. To take the internment of Japanese Americans as an example, those Issei (immigrants) who chose to accept incarceration (with the saying “shigata ga nai,” or, “it can’t be helped”) but who remained anti-assimilationist with regard to their cultural practices, exercised a different form of resistance than Nisei “No No Boys,” who primarily spoke English and willingly adopted mainstream “American” cultural mores but refused to serve in the U.S. armed forces. Who is more of a “model minority” in this contrast depends entirely upon the lens through which we judge complicity—cultural, sociopolitical, economic, et cetera. One component of this problematic is that we principally take the “model” of “model minority” in its adjectival, rather than in its verb, or even noun, form. What, precisely, does the model minority model? And then, conversely, what model of minority does the model minority produce? I suggest conceptualizing the model minority (or perhaps, minority modeling) as a scenario, which is, according to Diana Taylor, “a meaning-making paradigm that structure[s] social environments, behaviors, and potential outcomes” (2013, 28). The scenario includes narrative “but also demands that we also pay attention to milieux and corporeal behaviors such as gestures, attitudes, and tones not reducible to language” (Taylor 2013, 28)—that is, the scenario is as constructed by affect and performance as it is by the familiar story it signifies. The model minority is phantasmal yet instantly recognizable because of its performatic, scenario quality; it can be simultaneously exemplar and sellout, but its modeling tends toward the gravitational pull of social domination along variable axes. Yet, the modeling may also pull in its opposite direction, as well—there is also the model anti–model minority, the “ideal critical subject” of Asian American consciousness referenced earlier. To nod to Homi Bhabha, to “model” is almost, but not quite, to mimic. Bhabha’s mimic is a postcolonial figure who positionally resembles the model minority, the assimilated, educated native who threatens the colonial-racial order with their uncanny resemblance. Not unlike the model minority and the perpetual foreigner, “The ambivalence of colonial authority repeatedly turns from mimicry—a difference that is almost nothing but not quite—to menace—a difference that is almost total but not quite” (Bhabha 1994, 131). However, unlike the mimic, the model minority is marked less by uncanny resemblance to whiteness than by an aspiration to white ideals; resistance to this accordingly supplants those ideals with other ones. Within cultural productions associated with Asian American panethnicity, and certainly within literary representation, “resistance” tends be legible more through affect than through actual political position, and it very frequently takes on masculine characteristics. Frank Chin’s work is particularly emblematic of this trend, misogynistically configuring performative masculine “authenticity” as the route to resisting the pull of whiteness, the will to servility to white institutions, cultures, and bodies. In Chin’s mode, it is an affective disposition to favor whiteness, more than any materialist imperative, that forms the meat of resistance. As Việt Thanh Nguyễn has noted, many artists and scholars who have committed to an Asian American politic would go so far as to limit Asian Americanness to those who perform the required “resistant” identity, dismissive of those Asian Americans who are satisfied with the status quo of capitalist white racism.4 Frank Chin, after all, derided Asian Americans with model minority inclinations as “Uncle Tom minorities.” Nguyễn writes, “critics tend to evaluate resistance as positive and accommodation as negative, without questioning the reductiveness of such evaluations” and suggests instead an Asian Americanist scholarship accounts for the flexible strategies of Asian Americans who “pick and choose their tactics of struggle, survival, and possible assimilation” (2002, 7). Thus, with Foucauldian irony, the principal mode of resistance to the model minority reproduces its transitive structure, modeling what it means to model. Anti–model minority resistance becomes modeling by other means. I assert that it necessarily follows that the signifier “Asian American,” as problematic as it is, must also incorporate the politically less savory presence of those subjects who are an anathema to Asian American cultural resistance, that is, the dreaded “good subjects,” model minorities, the “hard-working, successful” nonwhites discursively positioned in an antiblack racial paradigm to invalidate the structural oppression against other subjects of color. Queer of color critics may note that my configuration bears some similarity to José Esteban Muñoz’s formulation of disidentification, that is, like a melancholic subject holding on to a lost object, a disidentifying subject works to hold on to this object and invest it with new life. [ .. . ] it is the reworking of those energies that do not elide the ‘harmful’ or contradictory components of any identity” (1999, 12) There is certainly a disidentificatory element to this theoretical project, although I believe it would be accurate to say that my project here is more accurately an exposure and undoing of, and meditation on, prior disavowal. As historical monographs by Ellen D. Wu and Madeline Y. Hsu have detailed,5 the production of the Asian American model minority throughout the twentieth century is not entirely the result of a white racial hegemony but is partly the result of the strategic racial positioning by Asian Americans themselves, especially by Chinese and Japanese Americans. Strategic self-stereotyping as ideal conformists to the U.S. social order, while simultaneously self-orientalizing to associate “Asian values” as congruent with both U.S. capitalist culture and heteronormative sexual and kinship relations, allowed Chinese and Japanese Americans to adapt to the changing political circumstances between the United States, Japan, and China, particularly in response to Japanese American internment and anticommunist anxiety toward China. Thus, to put it obtusely, the “model minority” is not merely a “myth”; or, rather, it is not a historical untruth, socioeconomically speaking. Certainly, in addition to being a scenario, the model minority is a myth in the Barthesian sense, a semiological system of signification that “points out and . . . notifies, it makes us understand something and it imposes on us” (Barthes 1972, 87). Yet, it is a scenario actively embraced by some, if not many, Asian American subjects. So when Frank Chin provocatively decries Asian Americans as “racial Uncle Toms,” he refers to both the Asian American positionality of accommodation and the presence of Asian American actors who comply with and further such racial ideologies (although again, this production is more consistently affective than ideological). The masculinist “cultural nationalist” project of which Frank Chin is emblematic does not deny the presence of the model minority (which is often coded in femininized, homophobic language), but it abjects the model minority as “false” Asianness. And although generations of xx Introduction Asian Americanist critique have long since consigned the casual misogyny of Chin’s work to the dustbin of history, the specter of the accommodationist racial Uncle Tom remains, haunting the Asian Americanist project as a constitutive Other, a supposed falsehood that lures Asian Americans into white supremacist and/or bourgeois accommodation. My point here is that from the perspective of Asian American subject formation, we must take seriously the model minority not as an object of immediate disavowal to support the reigning primacy of exclusion as the ontological condition of Asian Americanness, but rather as a foundation for the psychic and affective condition of being racialized as Asian in the United States; that is, as a fabric inextricably woven into Asian American subjectivity itself.