2005, pp. 3-40, on an extensive analysis of Ty Pak’s “The Court Interpreter” in Moonbay, King-Kok Cheung, UCLA, finds the story “both illuminating and troubling, especially in its depiction of the tension between blacks and Koreans,” which along with the acquittal of white policemen for beating Rodney King leads to the 1992 Los Angeles Riots. As well as an Aristotelian tragedy, the hero overthrown by his hubris, the story is seen as a fictional confirmation of the “divide and conquer” scheme inherent in the white-dominant American social structure, the narrator observing that during jury selection both the prosecution and the defense are intent on eliminating those who belong to the race of the opposite party: “The last survivors were. . . all white, Anglo white” (101). It dawns on him that “this was the secret of white success in the US. By default, because the minorities could not trust each other.” Announcing Moonbay and Cry Korea Cry, Publishers Weekly (May 17, 1999) praises “the coolly unruffled prose of Pak’s first-person narrators [that] suits the ironies they confront as they explore the dilemmas of Korea-American history, memory, “national reputation,” migration, survival and pride.” (June) Writing in The Honolulu Advertiser (June 26, 1999) Charene Luke calls Cry Korea Cry "a noteworthy novel that is uniquely Korean," that portrays a mixed-blood Korean War orphan, who names himself Moo Moo, literally "Nothing Nothing," not a whole lot better than Chun Dong, "Wretched Kid," he grows up with in an orphanage, "ironically named the Mercy Home," run by a biased beast of a director, who makes him believe that he is the unwanted byproduct of a hungry Korean prostitute and a sex-starved American soldier. Luke reasons, "It is this very lack of acceptance ... that propels Chundong to survive, seize unlikely opportunities and take on the world... beginning with his first escape," which leads to his ancestry closely tied to the history of modern Korea, annexation to Japan, liberation, division, war, and dispersion. Amidst despair and sorrow over the tragedies that have devastated his entire family, and anger and contempt for the inane fratricidal hostility still continuing between North and South Korea, Moo rejects identification with either side and chooses to live in the US, making films dedicated to the validation of many lives wasted and lost, the fate of a displaced people wandering the globe in search of home and sustenance. Luke notes "Pak’s