China Cowboy by Kim Gek Lin Short | Tarpaulin Sky Press 2012 | $14
Gross and gorgeous about sums up the Kansas City karaoke nightclub and TECHNICOLOR cinema that is Kim Gek Lin Short’s China Cowboy—all “gorge,” gore and zero pretty. Short’s work is often grossly disturbing and excruciatingly seductive, catching the reader in a tense push and pull with and against the text. Sticky and stuck among the fucking and fucked-up, Short binds us within tales of fierce femme survival as her main character, the feisty and fisty La La, avenges the repeated death of Hollywood’s “dragon lady” with her boots, her mic, and her “country superstar humility.”
Short’s La La reminds me of the scene in Quentin Tarantino’s Kill Bill Vol. 1 (2003) when O-Ren Ishii (portrayed by Lucy Liu) severs Boss Tanaka’s head in front of the Tokyo crime council. When Boss Tanaka expresses his disgust at the perversion done to the council “by making a Chinese Jap-American half breed bitch [O-Ren] its leader,” she runs across the table and decapitates him, without hesitation. She waits for the blood to finish spurting from the cut, re-sheaths her sword, and with Boss Tanaka’s blood on her forehead, calmly addresses the other men:
[in Japanese] So that you understand how serious I am, I am going to say this in English. [re-sheaths sword, switches to English] As your leader, I encourage you from time to time, and always in a respectful manner, to question my logic. If you’re unconvinced a particular plan of action I’ve decided is the wisest, tell me so. But allow me to convince you. And I promise you, right here and now, no subject will ever be taboo. [cut to close-up] Except, of course, the subject that was just under discussion. The price you pay for bringing up either my Chinese or American heritage as a negative is, I collect your fucking head. [holds up Tanaka’s head] Just like this fucker here. [crescendo] Now if any of you sons of bitches got anything else to say, now is the fucking time! [silence, returns to calmer tone] I didn’t think so. [drops Tanaka’s head on table] (O-Ren Ishii, Kill Bill Vol. 1)
O-Ren’s swift and deadly gesture, as well as her sweet and brutal speech, is punctuated by the smiling faces of the only other women in the room, Gogo Yubari and translator Sofie Fatale. Here in a world of men, O-Ren reminds us of La La, who “can fly like they do in chop-chop movies,” “bawl in cowboy” and “lasso a noodle” (17). Just under 5’3″ in cowboy boots, La La is a ferocious folk-singer who headlines as “Patsy Clone” in the Kansas City nightclub from which this book takes its name, a nightclub that becomes a kissing-confessional booth square-dance around her “stab-n-steal” life, stolen death and steely fame.
