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Tens of thousands of men from southern China changed the course of American history with their tireless work in the California gold fields in the 1850s and their crucial contribution in the building of the first Transcontinental Railroad in the following decade. Chinese Brothers, American Sons tells the little-known story of these brave adventurers through the eyes of two brothers, Li Chang and Li Yu, who arrive in San Francisco in 1854 in search of the Gold Mountain. Their hope is to make some money to take back to China, but they also encounter violence and discrimination and, yes, American food. This apocryphal tale celebrates and illuminates the struggles and achievements of a largely-ignored group in the rich history of the United States of America--the Cantonese men who conquered the toughest part of the construction of the Transcontinental Railroad: the tunnels through the granite of the Sierra Nevada Mountains. Despite their efforts, Asian-Americans were the target of racism for a century beyond the opening of the railroad in 1869, and the poison has yet to fully disappear. The author's own story of trying to "fit in" to his hometown birthplace of St Louis is one of the many rich strands to this broad narrative. In the end, the story is one of hope and triumph--the Chinese brothers are no longer invisible. They are now American sons. Praise for Chinese Brothers, American Sons: "In telling the story of what the Chinese brothers endure, Shew has essentially combined two books. One is the novel, as Li Chang and Li Yu gradually make their way through American culture and prejudices. The other is history, first of the search for gold, then of how railroad crews -- Chinese and otherwise -- laid track in impossible conditions to unite America in the wake of the Civil War." St. Louis Post-Dispatch
Five brothers who look just alike outwit the executioner by using their extraordinary individual talents.
Authentic retelling of the classic Chinese folktale of the seven brothers and their supernatural gifts.
Guangdong -- Gold Mountain -- Central Pacific -- Foothills -- The High Sierra -- The Summit -- The Strike -- Truckee -- The Golden Spike -- Beyond Promontory.
This account of five generations of one family's life in America could simply be called an historical drama--the "characters" are all people who lived and breathed and walked the earth of China and California, from the 1850s to the present day. It is my hope and intention that these fact-based stories will enlighten, encourage and inspire whoever reads them: students, historians, Asian Americans and all other peoples of different races who may recognize themselves or their families in this drama--in short, we human beings who inhabit our world with skins of different shades, and languages made of different sounds, but with minds and hearts aligned to what is good and true in life, taught to us by our mothers and fathers, aunties and uncles, brothers and sisters and family friends, down through the generations. -- Bruce Quan, Jr.
In the book of Ephesians, the church is revealed as the assembly, the household, the Body of Christ, and the new man. The church as the Body of Christ needs Christ as its life, whereas the Church as the new man, the highest aspect of the church, needs Christ as its person. According to Colossians 3:10-11, Christ is all and in all in the new man; thus, in the new man, there is no room for natural persons, culture, status, or ethics. In the new man there is only one person—Christ.
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.