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i guess clarification is needed given "-american." i thought it was apparent. OP is talking genetics, HBD. "-american" is in this context meaningless, it is only present to avoid the obvious absurdity of wondering why 1.5 billion east asians aren't producing great english novels. but it is even more absurd to use this framing as the gotcha for "where are their great novels--they aren't particularly creative--they aren't particularly intelligent" when east asian storytelling in the west has success ranging from merely incredible in video games to total domination of the market in comics and animation.
yukio mishima
yasunari kawabata
kazuo ishiguro
haruki murakami
that's poetry and prose. beyond that, japanese creatives apropos manga and anime are the most successful and among the most interesting storytellers in the world. i consider pure prose as incomparably above illustrated stories, so the great mangaka do not compare with the great authors of the last 150 years, but below the likes of hemingway, mccarthy, faulkner, rushdie, coetzee, updike and of course mishima/kawabata/ishiguro/murakami, and above almost all other living english language authors, are katsuhiro otomo, akira toriyama, hiromu arakawa, masamune shirow, kentaro miura, and also sunrise/"hajime yatate".
ref. above. when adapted, many of those iconic japanese series have iconic scores by japanese composers.
one of the greatest living producers is the filipino chad hugo. the biggest japanese artist in pop right now might be rina sawayama, i don't know, i don't listen to much. steve aoki is successful, mike shinoda extremely so. the popular lofi owes much to the various -waves, especially vaporwave, which itself pulls heavily on work like tatsuro yamashita/japanese citypop. but these aren't straight causal lines, music is collaborative, between partners like hugo and williams and between generations like yamashita to macintosh plus, and that's ignoring everything else vektroid worked off. i'd sooner criticize pop anyway for lagging behind, all the brilliant producers work in hip hop and electronic. what's popular on the radio today uses techniques kanye worked out 20 years ago.
great artists often have troubled childhoods where their creative expressions go from psychological escape to literal escape. i think this is why the US black community produces so many singers and musicians, and this could explain why the asian community of the US, half as a whole (which it certainly is not) as large as the black community and far more economically successful, seemingly produces fewer great musicians. forcing a kid to play piano or violin for 13 years isn't going to turn them into a superstar, they have it or they don't, they'll be exposed and fall in love or they won't. how many white kids play instruments in school but never do anything beyond orchestra or band?
and again to close . . .
many, varied, and incredibly easy to find. the concluding point of your short essay was to discredit yourself with profound cultural illiteracy. you should consider this an opportunity to reexamine how you think about the world, as you are wrong.
Ishiguro is British, not American.
OP argues from genetics, legal nationality is immaterial. pointing out the immense success of east asian creatives answers the substance of his essay.
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Don't forget video games; the stories contained within their media are probably even more popular than their works of written and televised art.
Nearly everyone on the face of the Earth has heard the compositions of Koji Kondo in some form or another. Sure, you can argue that the reason for that is circumstantial, yet I don't believe any other composer has the same distinction.
i thought about editing my comment or posting a reply mentioning video games but figured someone else would. sure enough.
it is especially laughable to asperse creativity when the juggernaut of manga/anime still strides inside the footfalls of the behemoth called NINTENDO
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