Legal dimensions of the Chinese experience in Los Angeles, 1860-1880

On October 24, 1871, a massacre of eighteen Chinese in Los Angeles brought the small southern California settlement into the national spotlight. Within a few days, news of this “night of horrors” was reported in newspapers across the country. This massacre has been cited in Asian American narratives as the first documented outbreak of ethnic violence against a Chinese community in the United States. This is ironic because Los Angeles’ small population has generally placed it on the periphery in historical studies of the California anti-Chinese movement. Because the massacre predated Los Angeles’ organized Chinese exclusion movements of the late 1870s, it has often been erroneously dismissed as an aberration in the history of the city.

The violence of 1871 was an outburst highlighting existing community tensions that would become part of public debate by decade’s close. The purpose of this study is to insert the massacre into a broader context of anti-Chinese sentiments, legal discrimination, and dehumanization in nineteenth century Los Angeles. While a second incident of widespread anti-Chinese violence never occurred, brutal attacks directed at Chinese small businessmen and others highlighted continued community conflict. Similarly, economic rivalries and concerns over Chinese prostitution that underlay the 1871 massacre were manifest in later campaigns of economic discrimination and vice suppression that sought to minimize Chinese influence within municipal limits. An analysis of the massacre in terms of anti-Chinese legal, social and economic strategies in nineteenth-century Los Angeles will elucidate these important continuities.

The Art of Madness

The nineteenth century was not an entirely kind time for the female artist. Coming of age as the 1800’s bridged into its latter half, literary artists Elizabeth Stuart Phelps Ward, Charlotte Perkins Gilman, and Kate Chopin were all well aware of their uncharitable culture. Equipped with firm feminist bents and creative visions, each of three women produced a seminal work – The Story of Avis, “The Yellow Wallpaper,” and The Awakening, respectively – taking that atmosphere to task. In these stories, each of the three women produces a female protagonist who struggles for having been born simultaneously an artist and a woman. The writers pit their women’s desires against the restrictive latitude of their time and show how such conditions drive women to madness, as a result of which they are forced to either escape into the blind mind of insanity or deal daily with their pain and inescapable societal condemnation. In an age where “hysteria” was a frequent hit in the vernacular, Phelps, Gilman and Chopin use art and literature as mediums to show that, indeed, there is a method behind the madness.