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This anthology covers writings by Asian Americans in all genres, from the early twentieth century to the present. Some sixty authors of Chinese, Filipino, Japanese, Korean, South Asian, and Southeast Asian American origin are represented, with an equal split between male and female writers. The collection is divided into four sections-memoir, fiction, poetry, and drama-prefaced by an introductory essay from a well-known practitioner of that genre: Meena Alexander on memoir, Gary Pak on fiction, Eileen Tabios on poetry, and Roberta Uno on drama. The selections depict the complex realities and wide range of experiences of Asians in the United States. They illuminate the writers' creative responses to issues as diverse as resistance, aesthetics, biculturalism, sexuality, gender relations, racism, war, diaspora, and family.
This book examines the influence of genre on contemporary Asian American literary production. Drawing on cultural theories of representation, social theories of identity, and poststructuralist genre theory, this study shows how popular prose fictions have severely constrained the development of Asian American literary aesthetics.
An introduction to the literary works of Chinese-Americans, Japanese-Americans, Filipino-Americans, and Korean-Americans, this book focuses on the self-images and social contexts of the nineteenth-century immigrants, their descendants, and the Americanized writers of today.Although the book examines the novels, autobiographies, poems, and plays themselves, the social history of Asians in American is a significant backdrop-as Maxine Hong Kingston herself argues it should be. These racially distinctive Americans have confronted in their lives and writings American stereotypes of the "Oriental," racial discrimination, and the cultural gulf between East and West.After a chapter on Fu Manchu, Charlie Chan, and other Anglo-American caricatures of Asians, the author turns to a discussion of the first immigrant writers, many of whom were educated aristocrats playing the role of cultural ambassadors, and then to the less privileged, more socially critical generations of writers who followed.From works like Flower Drum Song, Eat a Bowl of Tea, The Woman Warrior, China Men, and a host of lesser-known writings, the author shows how portrayals of Chinatown, the Japanese-American family, and the roles of all the Asian-American women and men have changed. Drawing on her personal interviews with Asian-American writers, Kim also conveys their attitudes towards their own group, other Asian-Americans, other racial minorities, and white Americans-a complex mix of bitterness, acceptance, and militance. Author note: Elaine H. Kim is Associate Professor of Ethnic Studies at the University of California, Berkeley. She directs the Korean Community Center of Oakland and Asian Women United (California).
This book bridges comparative literature and American studies by using an intercultural and bilingual approach to Chinese American literature. King-Kok Cheung launches a new transnational exchange by examining both Chinese and Chinese American writers. Part 1 presents alternative forms of masculinity that transcend conventional associations of valor with aggression. It examines gender refashioning in light of the Chinese dyadic ideal of wen-wu (verbal arts and martial arts), while redefining both in the process. Part 2 highlights the writers’ formal innovations by presenting alternative autobiography, theory, metafiction, and translation. In doing so, Cheung puts in relief the literary experiments of the writers, who interweave hybrid poetics with two-pronged geopolitical critiques. The writers examined provide a reflexive lens through which transpacific audiences are beckoned to view the “other” country and to look homeward without blinders.
The last ten years have witnessed an enormous growth in American interest in Asia and Asian/American history. In particular, a set of key Asian historical moments have recently become the subject of intense American cultural scrutiny, namely China’s Cultural Revolution and its aftermath; the Korean American war and its legacy; the era of Japanese geisha culture and its subsequent decline; and China’s one-child policy and the rise of transracial, international adoption in its wake. Grice examines and accounts for this cultural and literary preoccupation, exploring the corresponding historical-political situations that have both circumscribed and enabled greater cultural and political contact between Asia and America.
Ecocriticism and Asian American Literature: Gold Mountains, Weedflowers, and Murky Globes offers an ecocritical reinterpretation of Asian American literature. The book considers more than a century of Asian American writing, from Eaton’s Mrs. Spring Fragrance (1912) to Ozeki's A Tale for the Time Being (2013), through an ecocritical lens. The volume explores the most relevant landmarks in Asian American literature: the first-contact narratives written by Bulosan, Kingston, Mukherjee, and Jen; the controversial texts published by Sui Sin Far (Edith Eaton) at the time of the Yellow Peril; the rise of cultural nationalism in the 1970s and 1980s, illustrated by Wong’s Homebase and Kingston’s China Men; old and recent examples of “internment literature” dealing with the incarceration of Japanese Americans during WWII (Sone, Houston, Miyake, Kadohata); and the new trends in Asian American literature since the 1990s, exemplified by Yamashita’s and Ozeki’s novels, which explore the challenges of our transnational, transnatural era. Begoña Simal-González’s ecocritical readings of these texts provide crucial interdisciplinary insights, addressing and analyzing important narratives within Asian American culture and literature.
In the eyes of mid-twentieth-century white America, “Aiiieeeee!” was the one-dimensional cry from Asian Americans, their singular expression of all emotions—it signified and perpetuated the idea of Asian Americans as inscrutable, foreign, self-hating, undesirable, and obedient. In this anthology first published in 1974, Frank Chin, Jeffery Chan, Lawson Inada, and Shawn Wong reclaimed that shout, outlining the history of Asian American literature and boldly drawing the boundaries for what was truly Asian American and what was white puppetry. Showcasing fourteen uncompromising works from authors such as Carlos Bulosan and John Okada, the editors introduced readers to a variety of daring voices. Forty-five years later the radical collection continues to spark controversy. While in the seventies it helped establish Asian American literature as a serious and distinct literary tradition, today the editors’ forceful voices reverberate in contemporary discussions about American literary traditions. Now back in print with a new foreword by literary scholar Tara Fickle, this third edition reminds us how Asian Americans fought for—and seized—their place in the American literary canon.
Form as function in Asian American literature.
A survey of Asian American literature.