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Crossing distinct literatures, histories, and politics, Giving Form to an Asian and Latinx America reveals the intertwined story of contemporary Asian Americans and Latinxs through a shared literary aesthetic. Their transfictional literature creates expansive imagined worlds in which distinct stories coexist, offering artistic shape to their linked political and economic struggles. Long Le-Khac explores the work of writers such as Sandra Cisneros, Karen Tei Yamashita, Junot Díaz, and Aimee Phan. He shows how their fictions capture the uneven economic opportunities of the post–civil rights era, the Cold War as it exploded across Asia and Latin America, and the Asian and Latin American labor flows powering global capitalism today. Read together, Asian American and Latinx literatures convey astonishing diversity and untapped possibilities for coalition within the United States' fastest-growing immigrant and minority communities; to understand the changing shape of these communities we must see how they have formed in relation to each other. As the U.S. population approaches a minority-majority threshold, we urgently need methods that can look across the divisions and unequal positions of the racial system. Giving Form to an Asian and Latinx America leads the way with a vision for the future built on panethnic and cross-racial solidarity.
This book examines how Asian American authors since 1945 have deployed the stereotype of Asian American inscrutability in order to re-examine and debunk the stereotype in various ways. By paying special attention to what narrative theorists have regarded as one of the most extraordinary aspects of fiction—its ability to give (or else deny) readers a remarkably detailed knowledge of the inner lives of their characters—this book explores deeply and systematically the specific ways Asian American narratives attribute inscrutable minds to Asian American characters, situating them at various points along a spectrum stretching between alterity and empathy. Ultimately, the book reveals the link between narrative form and larger cultural issues associated with the representation of Asian American minds, and how a nuanced investigation of narrative form can yield insights into the sociocultural embeddedness of Asian American literature under the case studies—insights that would not be available if such formal questions were by passed.
A necessary reconceptualization of Latinx identity, literature, and politics In Latinx Revolutionary Horizons, Renee Hudson theorizes a liberatory latinidad that is not yet here and conceptualizes a hemispheric project in which contemporary Latinx authors return to earlier moments of revolution. Rather than viewing Latinx as solely a category of identification, she argues for an expansive, historicized sense of the term that illuminates its political potential. Claiming the “x” in Latinx as marking the suspension and tension between how Latin American descended people identify and the future politics the “x” points us toward, Hudson contends that latinidad can signal a politics grounded in shared struggles and histories rather than merely a mode of identification. In this way, Latinx Revolutionary Horizons reads against current calls for cancelling latinidad based on its presumed anti-Black and anti-Indigenous framework. Instead, she examines the not-yet-here of latinidad to investigate the connection between the revolutionary history of the Americas and the creation of new genres in the hemisphere, from conversion narratives and dictator novels to neoslave narratives and testimonios. By comparing colonialisms, she charts a revolutionary genealogy across a range of movements such as the Mexican Revolution, the Filipino People Power Revolution, resistance to Trujillo in the Dominican Republic, and the Cuban Revolution. In pairing nineteenth-century authors alongside contemporary Latinx ones, Hudson examines a longer genealogy of Latinx resistance while expanding its literary canon, from the works of José Rizal and Martin Delany to those of Julia Alvarez, Jessica Hagedorn, and Leslie Marmon Silko. In imagining a truly transnational latinidad, Latinx Revolutionary Horizons thus rewrites our understanding of the nationalist formations that continue to characterize Latinx Studies.
Ethnic American Literatures and Critical Race Narratology explores the relationship between narrative, race, and ethnicity in the United States. Situated at the intersection of post-classical narratology and context-oriented approaches in race, ethnic, and cultural studies, the contributions to this edited volume interrogate the complex and varied ways in which ethnic American authors use narrative form to engage readers in issues related to race and ethnicity, along with other important identity markers such as class, religion, gender, and sexuality. Importantly, the book also explores how paying attention to the formal features of ethnic American literatures changes our under-standing of narrative theory and how narrative theories can help us to think about author functions and race. The international and diverse group of contributors includes top scholars in narrative theory and in race and ethnic studies, and the texts they analyze concern a wide variety of topics, from the representation of time and space to the narration of trauma and other deeply emotional memories to the importance of literary paratexts, genre structures, and author functions.
The Cambridge Companion to Twentieth Century American Poetry and Politics shows how American poets have addressed political phenomena since 1900. This book helps students, teachers, and general readers make sense of the scope and complexity of the relationships between poetry and politics. Offering detailed case studies, this book discusses the relationships between poetry and social views found in work by well-established authors such as Wallace Stevens, Langston Hughes, and Gwendolyn Brooks, as well as lesser known, but influential figures such as Muriel Rukeyser. This book also emphasizes the crucial role contemporary African-American poets such as Claudia Rankine and leading spoken word poets play in documenting political themes in our current moment. Individual chapters focus on specific political issues - race, institutions, propaganda, incarceration, immigration, environment, war, public monuments, history, technology - in a memorable and teachable way for poetry students and teachers.
Comprising new work by leading scholars, this book traces the history of American short fiction and provides original avenues for research.
Contemporary fiction has never been less contemporary. Midcentury writers tended to set their works in their own moment, but for the last several decades critical acclaim and attention have fixated on historical fiction. This shift is particularly dramatic for writers of color. Even as the literary canon has become more diverse, cultural institutions have celebrated Black, Asian American, Latinx, and Indigenous novelists almost exclusively for their historical fiction. Writing Backwards explores what the dominance of historical fiction in the contemporary canon reveals about American literary culture. Alexander Manshel investigates the most celebrated historical genres—contemporary narratives of slavery, the World War II novel, the multigenerational family saga, immigrant fiction, and the novel of recent history—alongside the literary and academic institutions that have elevated them. He examines novels by writers including Toni Morrison, Viet Thanh Nguyen, Colson Whitehead, Julia Alvarez, Leslie Marmon Silko, Michael Chabon, Julie Otsuka, Yaa Gyasi, Ben Lerner, and Tommy Orange in the context of MFA programs, literary prizes, university syllabi, book clubs, and the National Endowment for the Arts. Manshel studies how historical fiction has evolved over the last half century, documenting the formation of the newly inclusive literary canon as well as who and what it still excludes. Offering new insight into how institutions shape literature and the limits of historical memory, Writing Backwards also considers recent challenges to the historical turn in American fiction.
Diaspora is an ancient term that gained broad new significance in the twentieth century. At its simplest, diaspora refers to the geographic dispersion of a people from a common originary space to other sites. It pulls together ideas of people, movement, memory, and home, but also troubles them. In this volume, established and newer scholars provide fresh explorations of diaspora for twenty-first century literary studies. The volume re-examines major diaspora origin stories, theorizes diaspora through its conceptual intimacies and entanglements, and analyzes literary and visual-cultural texts to reimagine the genres, genders, and genealogies of diaspora. Literary mappings move across Africa, the Americas, Middle East, Asia, Europe, and Pacific Islands, and through Atlantic, Pacific, Mediterranean, Gulf, and Indian waters. Chapters reflect on diaspora as a key concept for migration, postcolonial, global comparative race, environmental, gender, and queer studies. The volume is thus an accessible and provocative account of diaspora as a vital resource for literary studies in a bordered world.
In this expansive and provocative new work, Michael Dango theorizes how aesthetic style manages crisis—and why taking crisis seriously means taking aesthetics seriously. Detoxing, filtering, bingeing, and ghosting: these are four actions that have come to define how people deal with the stress of living in a world that seems in permanent crisis. As Dango argues, they can also be used to describe contemporary art and literature. Employing what he calls "promiscuous archives," Dango traverses media and re-shuffles literary and art historical genealogies to make his case. The book discusses social media filters alongside the minimalism of Donald Judd and La Monte Young and the television shows The West Wing and True Detective. It reflects on the modernist cuisine of Ferran Adrià and the fashion design of Issey Miyake. And, it dissects writing by Barbara Browning, William S. Burroughs, Raymond Carver, Mark Danielewski, Jennifer Egan, Tao Lin, David Mitchell, Joyce Carol Oates, Mary Robison, and Zadie Smith. Unpacking how the styles of these works detox, filter, binge, or ghost their worlds, Crisis Style is at once a taxonomy of contemporary cultural production and a theorization of action in a world always in need of repair. Ultimately, Dango presents a compelling argument for why we need aesthetic theory to understand what we're doing in our world today.
In Dreams in Double Time Jonathan Leal examines how the musical revolution of bebop opened up new futures for racialized and minoritized communities. Blending lyrical nonfiction with transdisciplinary critique and moving beyond standard Black/white binary narratives of jazz history, Leal focuses on the stories and experiences of three musicians and writers of color: James Araki, a Nisei multi-instrumentalist, soldier-translator, and literature and folklore scholar; Raúl Salinas, a Chicano poet, jazz critic, and longtime activist who endured the US carceral system for over a decade; and Harold Wing, an Afro-Chinese American drummer, pianist, and songwriter who performed with bebop pioneers before working as a public servant. Leal foregrounds that for these men and their collaborators, bebop was an affectively and intellectually powerful force that helped them build community and dream new social possibilities. Bebop’s complexity and radicality, Leal contends, made it possible for those like Araki, Salinas, and Wing who grappled daily with state-sanctioned violence to challenge a racially supremacist, imperial nation, all while hearing and making the world anew.